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Poldark: Season One

This dark, Colonial period drama from the BBC stars Aidan Turner (The Hobbit) as Ross Poldark.  The shows 8 episodes chronicle his return to his small Cornish town after years away fighting in the American War for Independence.  If you're disappointed that there aren't more episodes, fret not! Season two is on its way.







Ted 2

Seth MacFarlane's sequel to his hysterical live action debut starring a crude stuffed bear magically brought to life by the love of his owner sees much of the same humor and jokes.  That being said, it's certainly got it's laugh out loud moments.  Mark Wahlberg is so unbelievable in comedic roles his time on screen is almost funny in and of itself.  If you're a Family Guy fan than odds are you enjoyed the first Ted and odds are you will enjoy the second.




Diary of a Teenage Girl

This fabulous coming of age drama is one part funny, two parts creepy, and three parts brilliantly emotional.  Based on the graphic novel memoir of the same name by Phoebe Gloeckner, the film stars Alexander Skarsgard (True Blood), Kristen Wiig (Bridesmaids), and introduces Bel Powley as protagonist Minnie Goetze.  Minnie's middle teen years and her sexual awakening at the hands of her mothers boyfriend (Skarsgard) paint an interesting portrait of mid-70's San Francisco in the wake of the hippie movement.

White Lung Deliver Clear Vocals and Hardcore Intensity

Deep Fantasy the third album by Canadian punk band White Lung combines the high pitched, supersonic guitar components of metal with the lightning drums of early 80’s hardcore giants like Minor Threat.  The quartet has been at it since 2006 and has three full lengths under their belt, all of which have received critical acclaim.  Their latest, just released in June of this year is a savage display of what makes hardcore so great.  Lead singer Mish Way delivers her vocals in a whiny squeal but sounds amazingly close to Meredith Graves while keeping her words clear and recognizable.  Notable tracks off Deep Fantasy include “Down it Goes” and “Just for You” which have superb sing-a-long choruses and are prime examples of the caustic intensity seen across the whole album.  Hardcore has always been a misunderstood genre and is difficult to do right but White Lung has struck up a balance which sacrifices lo-fi sincerity for pure, raw intensity.  While many bands in the genre trade clarity for breakneck speed and power, White Lung manage walk a line between their ferocious sound and Way’s clearly stated words.  It’s refreshing to hear a hardcore band find this balance incorporating rock and heavy metal influences with precise vocals similar to early bands like Morris era Black Flag or the Dead Kennedys.  All that said, the band clearly represents the direction modern hardcore is taking and overall, I’d say it’s an impressive one.  I’d love to attend one of their shows to see the crowd’s response as the attendees of hardcore shows are the unofficial “fifth member” of the group and the force they add to the music only serves to enhance the band’s sound and potency.  I’ll definitely be keeping my eye on White Lung and would love to see other hardcore bands adopt the precision and tightness seen on Deep Fantasy.

Bob Mould In All His Alternative Glory

Bob Mould has once again succeeded at creating alternative rock gold.  His latest solo album Beauty and Ruin has the same raw intensity seen in his time with Husker Du while maintaining the more alt rock oriented sound of his early solo albums and influential 90’s band Sugar.  The albums 10 tracks combine elements of alternative, punk, grunge, and rock in a way which can best be described as a mash up between the Foo Fighters and Bad Religion if you must draw a comparison.  Lead in track “Low Season” starts with a haunting and mesmerizing guitar riff which navigates slowly through a melancholy drum beat and comes crashing down with the symbols during the chorus setting a dark and mystifying tone which is abandoned on second track “Little Glass Pill” which hits you like a ton of bricks after chilling out to the slow opener.  The tracks fast, punk rock tempo startles you at first but reminds you that this is in fact the ex-guitarist for one of the preeminent 80’s hardcore bands of the Midwest.  “I Don’t Know You Anymore” follows with a more pop rock, radio friendly sound before continuing into “Kid With Crooked Face” which brings us right back to the blistering tempo and punk sound of Glass Pill and ends up sounding the most like Husker Du on the album alongside the later track “Tomorrow Morning”.  “Nemeses are Laughing” comes next and again returns to the radio rock of some of the earlier tracks.  Mould manages to switch back and forth almost seamlessly providing catchy songs for both mainstream rock fans and underground die-hards.  “The War” comes next and is one of the best songs on the album employing a mix of 70’s punk influences and pop rock to craft a sound similar to the Foo’s.  This sound is continued on “Hey Mr. Grey” but not before cooling off, as is the style of the record, with “Forgiveness” a soft rock ballad with no central guitar riff and a xylophone in the background which definitely sounds the most out of place on the record.  The album comes to a close with two songs which again vary greatly in sound while still maintaining a cohesiveness which ties the album together.  “Let the Beauty Be” is an acoustic soft rock gem which calms your pulse before the record finishes with a bang.  Closing track “Fix It” is some incredible alterna-pop and has the best drums out of all 12 songs which is only fitting as any self-respecting rock album should leave your pulse racing at the end.  In the same vein as Ian Mackaye and his band The Evens, Bob Mould has shown that it is not only possible for the early 80’s hardcore sound to evolve and grow over time but that it’s influences can be used to create something totally new which exemplifies the fact that music is too great and varied to restrict yourself to one style.

Cloud Nothings Deliver Powerful Follow Up to 2012's Attack on Memory

Cloud Nothings new LP Here and Nowhere Else is a sophisticated and logical follow up to 2012’s Attack on Memory.  Employing the same influences and sounds cultivated on their 2012 breakout, lead singer Dylan Baldi has proven that his band has not only done a 180 from where they began, but has carved out a nitch in the current indie-rock landscape which is sure to see continued success.  Much like Attack, Here and Nowhere Else’s eight tracks combine the forceful, gut punching drums of heavy metal with the blistering guitar riffs of punk.  Combined with Baldi’s uniquely shrill howl, the album is some truly fantastic modern rock and roll.  Lead in track “Now Here In” is reminiscent of The Men and has great tempo changes combined with a loud/quiet/loud song structure alongside some softer vocals from Baldi.  “Quieter Today” has heart stopping pauses which erupt into mind numbing explosions of lightning drums and a much shriller howl from Baldi.  “Psychic Trauma” starts out slower but transforms halfway through as Baldi shrieks into the mic as if it were his last time on stage.  By the end, his sincerity oozes from the speakers and finishes out the punkiest song on the album.  The poppier “Just See Fear” is the most radio friendly on the album and is followed by the rock heavy “Give Into Seeing” which has a forceful chorus that builds and builds and finishes with an echo-y verse that gains momentum with its repetition even as the song comes to a close.  “No Thoughts” is very reminiscent of the songs from Attack on Memory with a central guitar riff which is accentuated by several pauses of the rhythm section all leading up to Baldi’s loudest finish on the album which sees his voice so raspy and ready to break that you’d think he had laryngitis.  The 7 minute “Pattern Walks” shows that the band has not only settled in to their new sound extremely well, but that they are also not afraid to push the boundary.  Combining the best elements of every song on the album, the song is a powerhouse of modern indie-rock and sets Cloud Nothings apart from other bands.  The album closes with the chunky “I’m Not Part of Me” which has a catchy chorus and is a stand out stadium rock song that definitely sounds the most “mainstream” out of any other song on the album.  Overall, Cloud Nothings has put out a phenomenal release which follows up the incredible songs on Attack on Memory and shows that this is a band which is not only capable of making a dramatic change in their sound, but capable of evolving that sound and continuing to develop it on subsequent releases, something many bands struggle with.  One thing is certain, Cloud Nothings are here to stay and have proven that they are band whose genre bending rock and roll is a force to be reckoned with in the modern music landscape.

Angel Olsen's Debut LP Is Some Truly Captivating Indie-Folk Music

The soft, indie folk of Angel Olsen’s debut LP Burn Your Fire for No Witness is as diverse and eclectic as it is powerful.  Each of the albums eleven tracks are incredibly unique and yet the album feels very cohesive from start to finish.  Tracks like “Forgiven/Forgotten” incorporate some alternative influences using lo-fi guitar mixed with slow and steady folk drumming.  Still there is plenty of that modern, indie sound mixed in which is reminiscent of Silversun Pickups to a degree (albeit substantially toned down).  A wide array of instruments are used as well, including piano on several tracks like “High and Wild” which maintains the alternative sound of “Forgiven/Forgotten”.  Still, the albums strengths are in its slower songs which really capture Olsen’s exceptionally distinctive voice.  She channels Johnny Cash on the electronic acoustic “Hi-Five” which incorporates a distinct feel of the 1940’s.  Florence Welch comes through on songs like “Stars” and closing track “Windows” which both offer up Olsen’s voice as the focal point.  This is especially the case on “Enemy” an extremely soft, acoustic ballad with barely any backing track.  “Lights Out” exemplifies Angel Olsen’s style.  The vocals evoke some of the best singer-songwriters in the modern indie landscape and the alterna-folk sound subtly present on the whole album comes through heaviest on this song.  My favorite track on the album may be “White Fire” whose dark, melodic sound is unlike anything I’ve heard in a while.  The enchanting echo of the steady guitar and drums in the background drive Olsen’s poetic lyrics in a haunting and mesmerizing way.  The track is the longest on the album clocking in at nearly seven minutes long but that works to the songs advantage as you feel yourself getting sucked further and further into Olsen’s captivating lyrics.  This entire album blew me away with its many influences, instruments, and techniques.  Incorporating so many genres including folk, indie, lo-fi, alternative, singer/songwriter (the list goes on) the album has a little something for everyone.  While the tracks all have a slower, I hate to say depressing feel similar to Lana Del Ray, they invoke a wonderfully pleasing calmness which at the end leaves you feeling more serene than depressed.  Definitely an album EVERYONE should check out.

Plague Vendor - "Free to Eat" is an Interesting and Diverse Debut

Plague Vendor’s debut LP “Free to Eat” is a 10 song burst of howling vocals and wiry guitar riffs which contrast some intensely groovy bass lines.  The California based four piece recently signed to the great Epitaph Records for the release of their first album and overall, I’m pretty impressed.  Lead in track “Black Sap Scriptures” is my favorite on the album.  The bass in the background establishes a phenomenal sliding beat which helps define sharp tempo changes and haunting vocals by lead singer Brandon Blaine.  After the lead in track, the band shifts dramatically which was shocking at first but ended up making a lot of sense.  Second track “Cursed Love Hexed Lust” sees Blaine’s vocals elevating to a shrill howl akin to Jack White on some of the early White Stripes records.  Jay Rogers guitar speeds up throughout the song and gets the blood pumping after the more melodic opener.  “Breakdance on Broken Glass” has a unique back and forth between the vocals and the pounding drums of Luke Perine who erupts with intense ferocity after each break in Blaine’s singing.  “My Tongue is So Treacherous” opens with a riff reminiscent of Dick Dale overlaid with a piercing howl which goes on for longer than I thought humanly possible, but works against the surf rock style guitar.  Self-titled track “Plague Vendor” sees the band spelling out its name as the chorus which gets a little annoying but works with the songs chunky, broken rhythm.  Other songs like “Seek the Ruby Scarab” bring Jack White back to the table in a big way with a chorus that could literally be a White Stripes or Dead Weather B-Side.  Interestingly enough, the album closes with “Neophron Percnopterus”, a song which sees Blaine returning to vocals similar to “Black Sap Scripture” allowing the album to come full circle.  In this way the open and closer act more as warm up and cool down tracks for the explosions of intensity that is the eight middle songs.  The band maintains the punk rock speed and aesthetic throughout most of the album with some definite Lo-fi influences and ample amounts of garage rock glory.  This young band is currently touring with the Vans Warped Tour which is stopping at its usual spot in Mansfield this summer.  If you have tickets I would HIGHLY recommend checking these guys out as their live show is supposed to be off the charts.  If not, at least give the record a listen because it’s some marvelously gritty rock and roll.

Eagulls Make Some Fantastic 80's English Post-Punk

Eagulls have put out the best British post-punk I’ve heard since Echo and the Bunnymen which is saying a lot considering the latter is considered one of the best bands to play the genre and the former just put out their debut less than a year ago.  The five piece rock band from Leeds, England released their debut eponymous album and its 10 tracks ooze with hardcore guitar riffs, exquisitely deep and haunting base lines and vocals which sound straight out of the 1980’s New Wave/Post-Punk English scene with an extra gritty sincerity all their own.  Lead in track “Nerve Endings” has singer George Mitchel melodically shrieking the chorus in a way that is reminiscent of Mark E. Smith with a hoarser, "punkier" squeal which reveals Eagulls history in the hardcore scene .  The following track "Hollow Visions" is a veritable punk explosion of energy.  Tracks like "Amber Veins" and "Fester/Blister" have great speed and 80's guitar riffs that recall early Joy Division with a faster, heavier tempo.  The group clearly has an ear for history while bringing their own style and feel to each and every song.  The tempo changes brought to the table by drummer Henry Ruddel are perfect and not only drive the songs forward but keep them interesting as the sound of each starts to blend slightly by the end of the album.  While almost all songs maintain the punk aesthetic like "Footsteps" which channels 70's bands like The Damned or closing track "Soulless Youth" (one of the best on the album) some like "Possessed" and "Tough Luck" are reminiscent of the more pop oriented 80's sound of bands like Gang of Four (also from Leeds) or The Cure while still maintaining that hardcore influence alongside drumming that sounds straight out of Mission of Burma's entire catalog.  The band, which formed in 2010 is setting itself up for a successful run.  Their live show is supposed to be out of this world and they're slated to play Great Scott in Allston two weeks from today.  I have tickets and am so excited to see these guys rip through some songs which you would swear were straight out of 1984.  If you grew up in the 80's or are a fan of underground music from the era, you will not be disappointed with this album.

The Strypes Shove 60's Garage Rock in Your Face

The Strypes are bringing 60’s garage rock back into the mainstream in a charismatic and enthralling way,  combining elements of jazz, blues rock, and some minor undertones of the New York post-punk revival scene of the early 2000’s to create an original sound all their own.  The Ireland based four-piece recently released their debut album Snapshot on March 18^th and the albums 12 songs are rock and roll at its grittiest, earliest, most gut punching best.  The bands mature sound is made all the more exceptional by the member’s respective ages.  None are out of their teens yet they sound like they’ve been a band for decades.  Lead singer Ross Farrelly’s howling snarl has the same earnestness as early Mick Jagger and the harmonica, brought to the table by both Farrelly and bass guitarist Pete O'Hanlon adds a bluesy southern feel which feels right at home with lead guitarist Josh McClorey’s classic riffs.  Touching on 50’s swing in tracks like “Mystery Man”, pure southern rock bliss on songs like “Blue Collar Jane”, and the folk rocky sound of “You Can’t Judge a Book by the Cover” The Strypes display a wide and eclectic knowledge of the many forms of roots rock.  The band brings their youthful energy and power to every track which makes for enthusiastic performances and exuberant recordings.  Classic suits, leather jackets, and dark sunglasses give each band member that feeling of quintessential cool (despite somewhat ripping off Julian Casablancas) and make you do a double take as you wonder if it is 2014 or 1966.  I expect The Strypes to do many more great things and with so much time to go before they even finish puberty, I’m excited to see where the band takes things in the near future.