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Atari Teenage Riot – Collapse of History Remixes (Dim Mak)
Atari Teenage Riot
Collapse of History
Dim Mak
Links:
Steve Aoki wrote a song for his Wonderland album titled, “The Kids Are Not the Same.” Atari Teenage Riot begs to differ. On Collapse of History, the aggro-electro punks charge at us with the accusation that the kids are indeed the same progressive, rebellious youth that have been with us for decades, and indeed fans of ATR will agree that things better not change for this band. And they don’t. If there are problems in the world, the kids are going to riot, and ATR will be their soundtrack.
Within this three-song onslaught of anarchy-infused energy, it’s like they have had pent-up aggression built up for years and just now released it. What makes this band still tick is that every album they have done has that same sentiment. They just won’t slow down.
Through chanting of what sounds like a sample ripped from a live show and electro speed power, the song will instantly send your pulse into a rapid procession of quick fire beats and loudness. And if you think that’s all fine and dandy, the second version of this song doubles the level of intensity. It’s no surprise that Mustard Pimp can do that to a song. If you have ever experienced Mustard Pimp, you know just how far they are willing to push a song while keeping the core essence in tact.
The Tits & Clits Remix is null and void compared to Mustard Pimps re-working, but it’s still a version of the song to take note as it does not deviate far from the tree. It’s all about perspective and proof that this band feels increasingly viable.
Broadcaster – Tightrope Walker (Jump Start Records)
Broadcaster
Tightrope Walker
Jump Start Records
Link: Jump Start Records on Bandcamp
At one point in my life, I couldn’t wait to get home and pop in something like a Descendents album or Samiam release spinning on vinyl. Feeling those modern pop punk songs at the time and a band pounding their hearts out on a platter for you to relate to, it really meant something.
Broadcaster is supposed have the same effect or so my first impression implied. I am much older now, but I can still see where a band like this comes from and what they could mean to you. Personally, I wanted more out of this trifecta of pop punk verbage. Maybe I wanted more grit and singing at the top of their lungs until they are on the verge of passing out with passionate rage. These are the things that made the genre in the ‘80s so great, and leaves the debate of which is more important, carrying a note or stressing that note passed its breaking point because you are pouring your heart out. The Descendents did a great job at making that tune of puppy love so great, while Samiam wanted to rip their own hearts out.
Even with something like Weezer’s Pinkerton, you felt that sense of desperation in the songs. The title track to Tightrope Walker tries to spit out lyrics with a singed tongue. He wants more. It shows in the lyrics, but even beyond the bouncy crunch, the harmonies glosses over the fact that the music is just smoothed-out ritual. One has to give, and for these three songs, none of them do and that does little to convince you that he is giving it all for the cause of love.
“Anything You Never Heard” does a better job simply because it’s a great summer-like jam. The guitars crunch with fervor and you want this band to be that band that gets you. This is as close as it comes.
Three songs are not enough to develop a close relationship with Broadcaster. The Joyride EP does a better job and is a better all-around release for the band. You cannot go wrong with the rock and roll atmosphere of “Snow Party” and the college rock demeanor.
Tightrope Walker is a step down and does not capture the lively spirit that Joyride provides. Chalk it up to a smoothed-out production or trying to fall into a niche of modern rock where bands like Jimmy Eat World resides. Maybe it’s that strive for bigger hooks. Whatever it is, Tightrope Walker needs to be more pungent. Turn the volume up and cut to the quick. It’s where this band does its best work.
Hoots & Hellmouth – Salt (sonaBlast)
Hoots & Hellmouth
Salt
sonaBlast
Link:
Growing up, there is that one album you listened to that you are never sure why you started listening in the first place. It’s usually a result that you are too young, or it consists of a genre you are not as in-tuned to.
Mine was Elvis’ His Hand In Mine, one of several religious-themed albums from The King. It was my mother’s album and at my age, I had no idea why I would listen to it. But there it was, always by the turntable with Elvis Presley’s mug glowing like a spectre. The album sufficed both criteria and there was plenty reason for a six-year-old to stay away from it. But it was the allure of Elvis and one particular song that stood out for me. “I’m Gonna Walk Dem Golden Stairs,” is a punchy song in the spectrum of traditional gospel-themed songs like “Milky White Way” or “Swing Down Sweet Chariot.” 42 years later, I still get goosebumps when The Jordanaires belt out “I’m gonna walk dem golden stairs, ’cause I know my Jesus answers all my prayers.” At that age, it wasn’t the message that made me cling to this song. It was the immediacy and the rolling movement of the song that I took to.
Older, wiser, I realize its cinematic approach to the religious trend of country and rock of the early ‘60s. But overall, it’s that feeling of retribution on an album like this that creeps into your skin and makes you pay attention.
Hoots & Hellmouth’s Salt is not a religious album, but it is religious in a soulful way. The album bears the same characteristics and temporal direction that Elvis was trying to remark on with His Hand In Mine, or How Great Thou Art, released later in the decade.
The result of a second studio session, Salt follows on the heels of Face First in the Dirt. So this album is like a continuation to the soil they dug up on the EP.
A lackluster start “Why Would You Not Want To Go There?” is not at all how I imagined the album to begin. It’s a song that sticks out because you gauge how the band plans to present themselves, but does little to move you. After two songs, I was beginning to contemplate if I was going to like this album at all.
And like “Dem Golden Stairs,” “Lay Low” gave me the incentive. I can imagine this song to be a stand out at any of their live gigs. The hypnotic swing, the gritty blues rustled from the Deep South, and the background gospel reminders all give this song the power to attract attention with their rock and roll exorcism. You won’t find the devil in their bones, but you will be glad to see the light coming out of this song.
It takes “Apple Like A Wrecking Ball” to make me appreciate the musicianship of this group. Guitar picking moves about with folly that is ever so impressive. They flush across gentle bluegrass musical landscapes like Paul Simon does to the Serengeti.
But “City Lights on a Country Ceiling” is what defines the heart of their music. What lies in this Old Country song are summer wildflowers shinning up from the countryside, worn out from the heat. The gentle breeze blowing a warm wind around and the last spectacle from the dog days gives a final perspective that things move a little slower during this time. This is the turning point to Salt and the moment where I can fully appreciate what they are trying to do to this album.
These are songs I didn’t think I would want to carry with me, but now I know they will be there for me like that worn out Elvis record I grew up with.
The Jukebox – Dorsh’s “Alias” (Rad Summer)
Rad Summer is gearing up to release Dorsh’s new album Neopolitan in May and throughout April they have been dropping Easter eggs out into the blogosphere. Their recent gift is a cool, summer driving song, “Alias.” The artist/producer spins through cultures drawing from influences like a chameleon, but most prominently taken from his remix work for Kingston’s Ska Rebirth label. “Alias” is a sunny drive through ‘90s R&B fundamentals where bands like Jade paved the way (my recollection could be from the intro voicemail that allows the music of “Alias” to fade in). Dorsh keeps the song cool and collected even when he powers through quick word spins and gentle rapping. His mixture of Jamaican Hip Hop fused with a proper UK house sound reeks of sun tan oil and sandy beaches. And the quick nod to dancehall serves as punctuation to a statement that builds a high class party vibe and late night rendezvous all rolled into one. The only way “Alias” works best is if you have the top down and you let Dorsh’s cool song permeate the air.
Call in sick because you are on holiday.
Johnny Headband – Who Cooks For You (Self-Released)
Johnny Headband
Who Cooks For You
Self-Released
Link: Johnny Headband on Bandcamp
This is too good to be true. Detroit’s Johnny Headband is one of the greatest hidden secrets of the year. Who Cooks For You will blow your mind with songs that run the gamut of generations. If someone threw in the kitchen sink, they would make it sound like it fit all along. Even though they suit up to bring you some amazing tunes, they do so with a sense of grit. What else can you expect from the Motor City?
The title track sounds like a lost ‘80s gem with synths galore and cool rock poses. When the guitar springs into crisp depth mode, you will instantly get a boner for their silky sounds.
This album will sex you up right from the start. But that’s not where things end. This is only the beginning. With nine songs of action, bring a change of underwear, “And Then Again” is your own private party in Montenegro. Then comes “Pineapple Triangle” that spins downtempo, lounge, and a love scene out of that one spy movie. They may not be as cool as Mancini, but you will never be as cool as what Johnny Headband can do.
And if “Argentina” does not make you dream of sun and drives down the coast, then I don’t know what to tell you. Their white on white sound is pure carefree dominance. It’s hard to get through the song because I want to keep replaying it before it’s over to give off the impression of an infinite loop of awesomeness.
I could keep going, but what mystery is that to the listener. Besides, it will take repeated listening to get to the heart of what these songs really mean to me. For now, I can say that they make one hell of a first impression.
