Carpet Denim is the latest release from California’s Tijuana Panthers. The trio specializes in surf-infused british era punk that captures the sunshine and beaches of its locale. The band has been known for their scrappy and stripped down approach to vintage rock & roll, but in this latest offering, they open themselves up to new ideas. Refining their sound with a few studio innovations while staying true to the carefree attitude of its roots.

Take the opener “Path of Totality” as an example, which is sharp and jangly punk mixed with surf melodic lines. It balances between harsh and playful harmonies, a wild and conflicted ride from start to end. “First Date” is full of reverb, claps and discordant guitar lines. A polarizing choice for a song that’s about asking someone out to a first date. Based on a true story, this is a fun recollection that’s equally enticing and hypnotizing. “Little Pamplemousse” captures the playfulness of SoCal surf while sharing the day-to-day adventures of a Father and Son. An endearing insight into life as a punk rock Dad.

The Panthers start switching things up in “Generation Singular” which is held together by a droning drum and bass line while synth waves wheeze in and out like laser beams. Stabbing staccato vocals ala The Clash warns us about the perils of the tech age, where the ubiquity of information can lead us to darker times. “TV People” follows up with the feeling of despair and loneliness. It wrangles with the idea that we’re all becoming more and more isolated, with no one to be with except for characters on screen.

“You Died” is the track that packs the heaviest emotion. It addresses the passing of a father figure and is a reflection in one’s own mortality. It asks the question: “Do I have the same heart you had in patient men?”.

The album closes with “Friday Night Baby”, which is a stripped down lo-fi guitar and vocal jam. Even with the minimalistic setup it maintains the smooth and electrifying dynamic that characterizes the band’s sound.

There’s a lot to unpack into this 14 track collection. Unlike their previous albums which were composed of raw energy that captured the garage rock spirit, Carpet Denim was crafted across years of songwriting and went through a methodical production process. There is rich variety here, each number has its own story that together forms a narrative, resembling life in all its craziness. 

This album sees the Tijuana Tigers moving through mature themes of self-introspection and musings on the state of the society. All of these come wrapped in surf rock that’s timeless and familiar. 

Goose Bumps is the debut album from Connecticut’s Boyscott. It features a lo-fi aesthetic that’s smooth and laid back. The band makes use  of clean tones with plenty of reverb for both the guitars and the vocals, where the latter is drenched in a ghostly veneer. It evokes the feeling of carefree bliss, where you can just jam with your friends and shoot the shit, while still managing to pluck one’s heartstrings on gloomier topics as it needs to. 

Boyscott takes us on a trip to the woods to freshen up and forget our worries for a moment, and I’m sure everyone of us is in need of a much needed break from all the chaos. Production is well-defined and consistent throughout the album. I would greatly recommend listening to this in order, as there’s a subtle narrative and tonal shift that can be experienced by doing so.

The first few tracks are warm and cozy. “Blonde Blood” has an endearing melody and charming surf guitar riffs that can easily get stuck in one’s head. “Nova Scotia 500” has a rhythm that can get you off your feet with sweeping guitar chords and flowing breakdowns. While the bright and sunny vocals of “Marco Polo” makes you want to jump into the water. “Sinking Down” is a refreshing instrumental that soaks you in with lovely guitar lines and flourishing oohs and ahhs. It captures the feeling of floating in the sea with its cool and vibrant harmonies.

By the midpoint of the album, the sunshine slowly fades and is slowly draped with layers of clouds. The songs shift into a dreary mood, while still maintaining the soft and welcoming soundscape. “RIP Sophie Moore” is somber and gloomy, with a luminous undertone. A song that both mourns a friend’s passing while celebrating the good times shared together. In “Lake House” there’s a heavy feeling of wistfulness that suggests a longing to get back to more carefree times: “In the lake we can take our clothes off everyday.” Excellent vocal harmonies sell the feeling of nostalgia very well.

The album closes with “Sleepaway” which is at odds with opener “Sleepwalk”. Comparing both tracks shows a development of the warm and cold moods that Boyscott plays around with. It’s a neat conclusion that tightly wraps up this album and shows the amount of thought and dedication that was poured into this fantastic first offering.

“Goose Bumps” is a care package in musical form. Boyscott is a band that deserves more attention, and is one that I’ll be looking out for. I highly recommend everyone to check this out. 

Jazzhound is the latest album from LA’s The Buttertones, and there’s no other 2020 release that has captured the mood of this year. It’s dark atmosphere fits the feeling of rambling uncertainty, anxiety and isolation that most of us may have experienced to some degree lately. Although this was recorded a few months prior to the global pandemic, it nevertheless paints an apt representation of our current woes with its jazz-infused post-punk soundscape that explores mental issues and loneliness. 

This discomfort is perfectly captured in “Denial You Win Again”. Singer Richard Araiza’s smooth baritone confronts feelings of pain and regret, while trying to unravel what’s wrong with himself: “I’m not the one / I thought I was / I’m sick and distracted / With my pounding disavowal.” Accompanied by a swaying rhythm and buttery melodies, this is a great companion for anyone wanting to slow-dance away their feelings. 

“Fade Away Gently” uses surf-rock to illustrate the longing for something that has long since gone. Every belt and croon from Araiza is taken from deep within his soul, filled with emotion in every breath. Then the saxophone comes in and adds a layer of melancholy to the mix. If you’re missing someone right now, or perhaps longing for a certain period in your life, this should be your jam.

While half of the songs are smoky noir ballads, the rest are blistering punk romps that embrace chaos while still maintaining clarity of sound. “Bebop” is brimming with energy, a track that somehow fuses Spanish flamenco with punk and big band jazz. Creating a larger than life track where everyone goes all out from start to end. “Blind Passenger” mixes the restlessness of punk with an anxious and dreary atmosphere. The raucous arrangement depicts someone slowly falling into insanity: “When I look into the mirror / My head’s drowning in thought / And things don’t look clearer / I’m tired of feeling distraught.”

The band pulls off a twist with its title track. “Jazzhound” is fiery and harsh while its preceding tracks are cold and smooth. It feels like we’ve finally descended into jazzy hell after hopping through several smoky nightclubs. There’s a lo-fi filter in its vocals and an abrasive tonal pallet. Perhaps the butter is in the skillet now, and it’s been heading there all along. I applaud this choice for the band, it could have been a jarring transition if not for the fact that I’ve already been sold from the beginning.

Jazzhound is propulsive and exquisite, it’s the kind of record that you can immerse yourself repeatedly and still have a new experience every time. There’s a lot of misleading advertisements these days, but you won’t find any with The Buttertones.

The first LP from SadGirl is the perfect companion for a breezy summer day. The LA-based trio has been making music together since 2015, but their previous releases have only been EPs and singles. The wait is definitely worth it. Water is a refreshing mix of soul, surf-rock, slow blues and everything in between. At times romantic and nostalgic, we get the best of classic 50’s to 70’s ballads and pop tunes but peppered in with neat little subversions to add a modern take on the genre.

From the first moments of “The Ocean” we take a dip to the soothing vocals of front man and guitarist Mischa Linde. Accompanied by soft rhythms and flowing doo-wop melodies, we get a sip of what this album is has in store.

“Miss Me” is a slow ballad reminiscent of Sam Cooke. A tune one could slow dance to if not for the heavy air of tension and a fuzzy guitar solo, along with the chorus: “Miss me with that bullshit”. One of the many ways SadGirl changes up conventions to keep things fresh.

“Breakfast for 2” takes you back to the 50’s with its lo-fi production and crooning synths. Released in 2018 as a single, this is one of the few tracks that solidified the group in their current musical trajectory.

Nestled in between sections are instrumentals that add to the immersion. These tracks stand on their own and showcase the groups arrangement chops. “Hazelnut Coffee” highlights the smooth coordination of Dakota Peterson’s bass with David Ruiz’ groove, leading to a fluid psychedelic trip. “Mulholland” is more ghostly and surreal, with everything engrossed in a smoky atmosphere. “Avalon” is my favorite pick of the bunch, combining hula and surf with bongos and samples of crashing waves. An inviting experience that takes you to a summer vacation with a cocktail in one hand in front of the glittering sea, neatly flowing to the next track.

“Water” culminates the album in a stripped down and intimate ballad. Linde’s vocals channels Alex Turner, with that combination of soft and gentle with a slight hint of pain. “While it doesn’t quench my thirst like it used to / Everyday I need a glass.” Suggesting how one’s life may change but we are still stuck in our old habits instead of striving to do better.

SadGirl puts a new spin on established genres. Water is not only a great modern take but also a solid addition to the canon. There’s not a lot of new songs in this style anymore and this should be a great listen for anyone searching for a new drink.

At first listen, the latest album from Sleepies seems to be a puzzle that’s hard to dissect. You’ll never know what you’ll get with every track. The band seemingly shapeshifts from synth-heavy beats to industrial rock to post-punk in a moment’s notice. Regular listeners will know for sure that Time V Pleasure is largely different from the band’s past releases.

After subsequent listens however, a pattern starts to emerge. As illustrated in the primary shapes and colors in the album cover, this collection takes post punk and de-constructs it to get to the very basics. This baseline serves as a jumping off point, giving each track the permission to veer off into any direction, opening up a wide range of possibilities while sticking to the core of what makes the genre exciting and expansive.

Opener “Something Better” is stripped down to synths and drum loops with guitars taking a back seat. A huge departure from the Sleepies usual material, this experimental art piece has a surprisingly bright and optimistic character to it. “Ancient Dirt” is a return to form. Filled with raucous grit and pounding in with blistering noise, it pays homage to the early years of punk. This track is most in line with their previous releases, but takes a bit of a leap with better production.

The band shifts again with “Container 8”, this time with a grid-like tapestry of monotonous vocals, static straight-edged riffs and industrial noises. It mimics modern expressionist art in its complex composition using basic forms. 

“Sleep V Pleasure” saunters in with jagged distortion and shifts its vibe with every section. A robotic chanting of the line “Time or Pleasure / Feelings feel more fun” is explored in several variations, illustrating how pleasure-seeking endeavors end up losing their meaning. “On Again” doubles down on this theme with its repetition, creating a hypnotic atmosphere that’s surprisingly catchy. Whenever this track comes on I get a sense of vertigo of walking into a spiral of right-angled stairs. 

Sleepies stretches out their experiments in Time V Pleasure, and each track lands in a slightly different territory while still maintaining a straight path to its roots. The result is a collection that could pass up as coming from different bands of branching pathways and sonic ideas. The track arrangement also adds to the enigmatic flow of this album as songs are strikingly different from the next, an unconventional approach that adds greatly to its anything-goes character. Time V Pleasure is a fun and interesting listen, I sincerely recommend anyone to dive into its sublime world.

With plenty of touring and live events canceled due to lockdowns and social distancing restrictions from Covid-19, those of us who are craving for live music are forced to rely on online sources to satisfy our needs. Patiently getting our fix from off-angle phone recordings with poor lighting and crowds yelling and heckling in the background.

 Thankfully a lot of artists are releasing live performances online. One of which is Vancouver’s Japandroids, with their new release entitled Massey Fucking Hall. This was recorded during their tour in 2017 and named after the band’s stop in a legendary Toronto venue with years of history behind it. A stage that has graced the likes of George Gershwin, Neil Young and Rush. 

The punk and alt/rock duo’s discography has the energy and grit that’s best suited for tightly spaced clubs and outdoor venues. Yet this fact doesn’t seem to faze singer-guitarist Brian King and drummer David Prowse in the slightest (despite them alluding to the contrary), as they still manage to deliver their signature sound to the 3000-seat theatre. No small feat from a two-man group.

The forthcoming album features 12 tracks taken from the group’s 3 LPs and clocks in at just above 1 hour. Signature heavy hitters like “Young Hearts Spark Fire”, “Heart Sweats” and fan favorite “Younger Us” are nestled in between later hits such as headliner “Near To The Wild Heart Of Life” and the electrifying “North East South West.” Some songs like “Continuous Thunder” and “Arc of Bar” are given a fresh coat of paint. The collection concludes in Celebration Rock’s “The House That Heaven Built” where the Prowse and King’s vocals intertwine with the crowd in a beautiful celebration. A cathartic end that leaves us missing concerts even more.

Massey Fucking Hall breathes new life into the band’s discography. What you’re hearing is a band performing at their best on a well-renowned stage and on the final leg of the tour. Every strum of the guitar and pound of the drum is full of precision from a well-oiled unit, every chorus is filled with passion and dedication to a loud and cheering fanbase. It captures the visceral quality of a live performance that you can’t get from a regular recording. Re-contextualizing its songs and shedding a new light to the band. This isn’t just a retelling of old material, this is a completely new addition to their discography. One that seasoned fans can and newer listeners alike can enjoy.

Massey Fucking Hall is out on June 19th digitally and on vinyl October 2nd.

This review will be a throwback of sorts, we will be looking at the first LP from Chicago’s The Men. The group as we know by now from their latest release Mercy has undergone such a drastic change that you could listen to both albums side by side and you wouldn’t be remiss to think they come from different bands. The Men is a highly iterative and prolific group that started its roots in aggressive punk/shoegaze before transitioning into softer and more sensitive tones of country-rock and folk.

Immaculada was released in 2010, and despite its constant use of holy imagery, it is mainly fueled by abrasive energy and harsh textures. From the heavenly initial chords of “Stranger Song” — which mimics a choir organ but played on a sand-paper laden guitar riff, we are introduced to the nuanced but tongue-in-cheekiness character of this album. This is followed by “Problems_Burning Up”, a fuzz-out ocean of turbulent riffs that drowns out its vocals in a desperate cry of anger and frustration. “Grave Desecration” does what it says on the title and revs up the chaos even further. Screeches and growls permeate every second, that the line separating voice from guitar is obfuscated. Seemingly every noise in the kitchen sink is jumbled up, but it leads to an unexpected conclusion. A solemn acoustic guitar emerges from the ashes, leaving its listeners in awe of the artfully coherent resolution.

Other notables in this album are “Praise The Lord And Pass The Ammunition”. Not only does this have an ironic title but it delivers the same in its execution. Familiar riffs and rhythms which are primarily used in surf rock are coated with a thick slathering of noise, juxtaposing between fun lightheartedness and scathing vitriol. The title track on the other hand incorporates drone rhythms with drowned out vocals wrapped in a siren filter, seemingly in the middle of a sermon. A track that is at times hypnotic and psychedelic.

The album’s highlight for me is “Madonna; The Star of The Sea”. The song starts with swelling shoegaze noises that slowly build up. From listening to the previous tracks you may think that it leads up to an explosive end, but this resolution is continually held back, creating the anticipation that something is about to blow without actually following through. A subversion that surprises the listener and rewards them with a solemn meditation.

The Men have come a long way, and although Immaculada is a thousand worlds away from their latest release. Looking back we can see a rich history of one of indie rock’s most innovative bands.

The debut from Rosie Plaza is here. The trio from Oakland CA offers indie rock in its essence, covering a range of dreamy, jangly pop to angst-filled post-punk and several layers in between. Themes of anxiety, relationship woes and troubled thoughts are explored in their lyrics. While modern indie is dominated by electronic sounds and techniques, Rosie Plaza sticks to the basics with a guitar-driven sound, capturing the 80’s to mid 90’s pallet of indie rock that invites listeners to dance and rock out in catharsis.

“Ghost” starts with an ethereal gallop that laments seeing the passing of time and spending it without having a concrete purpose: “You’re just like me / Waste away your weekends / Searching for nothing that you lost”. Laid back vocals are contrasted by an urgent drum and bass rhythms while fleeting guitars riffs capture the feeling of nostalgia and regret. “Daysleeper” moves around the same theme, following a character that is lost in their thoughts, unable to find the courage to get out of bed and be productive. It’s languid start captures the feeling of overwhelming apathy, but the song transforms after the bridge, moving to a blistering tempo, perhaps sparking a wake-up-call to change for the better.

“Days Away” moves away from the angular riffs in favor of heavy distortion. This almost-instrumental is a hypnotic mesh of shoegaze textures that ebb and flow in a restless whirlpool. The guitar work here is exceptional, something that gradually keeps getting better until the climactic end. “Left of Center” alternates between dreamy, delay-driven sounds and aggressive noise. The soft-loud dynamic is used to great extent with many rhythmic shifts, contrasting airy vocals with the pounding drums. A song that could pass up for an 80s punk alt/rock tune with nods to the Smashing Pumpkins. 

  The highlight of this album is its title track, which also serves as the emotional core of this collection. It sets itself apart with a more contemplative and somber mood. A highly relatable song about recurring ups and downs in a relationship without seeing any improvements at all.

  Off/On is a solid debut. Each instrument plays its part so well, something that can only be achieved from a tight-knit group. There’s a DIY character to their compositions, but the production is very well defined with every sonic element put rightly in its place. Rosie Plaza has a strong foundation to build from, and should be a good addition to anyone who is a fan of the earlier days of indie rock. 

Moses Boyd has had a dazzling career so far. A few of his accolades include being the poster boy of the London jazz scene, after winning the Mobo for best jazz act in 2015 as half of free jazz duo Binker and Moses. Binker and Moses have a few releases under their belt, all with great critical acclaim. 

In his solo debut Dark Matter, he plays a multifaceted role and the result is astounding. Not only is this album an impressive jazz collection, Boyd also solidifies his talent as a composer, arranger, band leader and producer. Dark Matter features a rich melting pot of genre influences including Afrobeat, gospel, dub, R&B, rock and the electronic stylings of Boyd’s childhood favorite-grime.

Opener “Stranger than Fiction” strikes a unique balance between careful composition and free improvisation. It features a bouncy, brass driven rhythm with a smoky saxophone jazz line. “BTB” features an electric guitar solo, commanding horns and a dense percussion suite. An ever-dynamic journey that pits an ensemble of instruments to improvise under a tight samba rhythm.

Boyd works with a lot of great artists in this record. Poppy Ajudha lends her vocals in “Shades of You”, A song filled with pop and R&B influences and plenty of electronic hues. “Dancing in the Dark” features Obongjayar, who swaggers in with a rap/spoken word performance in a hybrid of Afrobeat, reggae, hip hop and gospel. A political piece that follows the tribulations of Black youth in the UK.  

“2 Far Gone” is my favorite pick. It features Joe Armon-Jones’s stellar work on the keys, jumping through moods and shades along with Boyd’s sampled drum rhythms and spliced up vocals. A marriage of traditional jazz and modern techniques.

The greatest strength of Dark Matter is the drum work. Boyd displays exceptional skill on the kit and his arrangements using electronic 808’s and drum pads is a masterclass for any musician. 

Dark Matter is a stellar debut. The mixture of styles and genres thrown into the mix should keep listeners on the hook. Every number invites you to dance and move. Even with the Boyd’s tendency to throw off syncopated beats and rhythms, each tune is relatively easy to follow if you’re in the mood to groove. 

Moses Boyd is an exciting artist to look out for, and should make everyone excited for the future of jazz. Even when most of the greats of the genre are already gone, Boyd proves that there are a lot of things yet to explore.

Control is the latest album from Constant Smiles. This project is spearheaded by prolific songwriter and multi-instrumentalist Ben Jones. Jones has constantly collaborated with a lot of like-minded musicians, and it shows in this offering’s collection of expertly crafted sounds. 

Control’s soundscape is dark and gloomy. Shaded with a  dense layer of guitars and ambient shades to create its world. None of the music imposes too much on its listener, instead inviting them to find their own emotions through the thick fog of haze. Vocals are faded and layered, capturing a ghostly effect that blends well with the multifaceted use of guitars and shoegaze effects. 

The album opens with “Felt’,’ a dark and moody instrumental. Akin to what you would hear from a movie soundtrack where the protagonist journeys through a harsh landscape. It broadly sets the tone for the rest of the album. “Only Love” follows up with somber dreampop, a hazy and contemplative piece with ethereal vocals, glimmering guitars and expressive violin. “Thawing Out” stands out with its use of synth pulses under an urgent motorik rhythm. Its frantic rhythm follows the mood of its character, one that is doubting their path and striving for a change: “How did I get here / where’s my life? / for you I hope to make things right.”

Although drenched in a thick cloud of mist, there are a few relatively bright numbers in here. “Swells” is a multilayered instrumental of lines that ebb and flow, it starts off slow yet gradually ascends to a hopeful end. “Floating” follows the same aqueous theme. Although wrapped in a dense and foggy environment, this song is wrapped in a hopeful promise: “If I could just believe / I’d give you everything you need.”

The most beautiful track is “All Drugs”, this time Jones’ vocals are at the forefront, boldly confronting his struggles with substance abuse. Accompanied by ghostly chants in the background that eerily paints the demons that haunt him. 

Control’s strong atmosphere is where it shines. It’s an immersive experience that takes listeners through a melancholic dream, conjuring soundscapes that evoke the senses with stellar craftsmanship. This is the first album where Jones allowed his vocals to come in front of the mix, and it pays off spectacularly, as it drives the songs to a forward momentum while still keeping it esoteric and intimate for those who want a lighter listen. Another solid addition to Constant Smiles’ ever growing discography.