In Defense Of Lost Causes

5 Mar

.In Defense

.

.

Killer Boogie

  “The Golden Age”

Photo By Massi Belly

Photo by Massi Belly

.

.

Lately I’ve been on the Jones for anything post-Sabbath leaning, as a result I now have Killer Boogie’s Detroit (Heavy Psych Sounds Records: January 2015) all but memorized from start to finish. How many more bands do we have to sit through who’ve spent more time adjusting their fuzz pedal than playing through it before we say enough is enough? They’re rampant.

It’s probably just age speaking but the bands with enough fuckall to homage the glory days of distortion and easily accessible drugs are the ones giving me the tingles in the sweatiest parts of my leather pants. Not that I wear leather pants but if I ….ya get what I’m saying…. these dudes rule, in a humbly pretentious “turn it to eleven” kind of way. If you like talking about chicks with subtle hints of sexism and ride a motorcycle to your job as a diesel mechanic, Killer Boogie is your band.

.

Killer Boogie – Bandcamp | Facebook | Heavy Psych Sounds Records

.

.

Pushy

“If I Cry”

Pushy-Optimized

.

.

There have recently been sparks of similar purity as Pushy, bands such as Sweat Lodge and American Sharks (naming two rad local examples) have come close to getting it right, but their vocals seem too post-millenially self-conscious, like they expect Dave Brock to stumble in on their next show to tell them how great they sound or something. Pushy are a rare example that some of us in this Myspace wasteland dare to worry less about standing out from, or in most cases above, the crowd than just being part of the perpetuation of all that has been great and noble since the first needle breathed life over shellic resin.

Despite the constant generic churning of douche bag bands of beards in skinny jeans oozing from Portland’s every orifice I’m struck as much as anyone else by Pushy calling it home, yet not all that surprised. I’m bitter but far from naive enough to believe those herding douchey beards have lacked talent, maybe this is a sign of their beginning to have some actual tastes. If so, I wonder if Ikea will survive (maybe I’ll finally be able to land a few Expedit cabinets on clearance!)?

Doomtown Sounds will be putting out a 7″ with the two songs currently featured on their Bandcamp at some point in the near future with no specific date given, both songs are available for immediate download for $1000.00 … I’m yet to hear back from the band as to whether those mp3’s include a free handjob.

.

Pushy – Bandcamp | Facebook | Doomtown Sounds

.

.

The Bolos

“Dead This Morning”

Photograph by Greg Gabrisch

Photograph by Greg Gabrisch

.

.

So The Bolos played two weeks ago at Hotel Vegas and I skipped  for the simple fact I refuse to do the cold… I still feel like an asshole about it (missing the show…not the cold). Scenes die and bands disappear for that very reason yet there I was watching season three episodes from  The Walking Dead instead of sweating at one of my favorite hangouts with one of my favorite new found Texas bands. I promise that if they were on tour from Australia or something I would have packed up my balls and braved the forty-five degree arctic tundra of Austin’s bi-polar winter.

So many incredible bands are rising out of San Antonio it has gotten to the point where I could very well see us in two years discussing whether Austin is still Rock N Roll’s messiah, or more likely we end up with a similar situation as the Fort Worth and Dallas scene in the late 60’s (which would rule too), either way The Bolo’s (and most likely The Rich Hands) could very well be catalysts for the process.

If you were to search out only one record this week I highly (and personally) recommend making it Booze Blues (Nov. 2014). From start to finish it is the kind of record we would typically expect from a band a few albums in with moderate success on a DIY label. The kind of record that’s very aware of the process but not overly concerned as to the end product or how it will be perceived; each song seems consciously written but for the sole purpose of creating a whole instead of the typical crafting a song to trigger some abstract connection with strangers for the sake of sham adulation. We are left with this well rounded yet ambitious record that manages to err in the way of youth without losing itself to it. It’s a rad album, it’s up for name-your-price on Bandcamp, seek that shit out.

.

The Bolos – Bandcamp | Facebook | Tumblr

.

.

The Highway Kind

“When the Storm Comes to Greet You”

The Highway Kind-Optimized

.

.

Casey from Pharaohs said The Highway Kindsound like Dallas,” that’s as good of place as any to start with these dudes. Barroom forward vocals. Guitar-riffs begging to solo at any given moment. Uncommitted sound as to genre loyalty .

Are they straight forward Rock N Roll? Is the lead singer intentionally going for a J Tillman in a Laurel Canyon era Jim Morrison look-alike contest? How many members are from Chicago and do those members a) own multiple Black Keys records b) and if so do they feel the Black Keys are a better band now than they were ten years ago? All valid questions, all worth their importance to coming to a real decision as to whether this band is worth digging deeper or not, lucky for our troubled minds the answers are of no importance; The Highway Kind are Canadian despite their very middle-American strut and as is the case with all Canadian bands since the beginning of time, they have a free pass on all counts (the obvious argument against this statement being Nickelback because well they’re Nickelback and they blow).

What stands out about this band, and only in small doses throughout their entire S/T self-released album, is the occasional garage-pop cadence which is brilliant for both its placement and sparsity. In most cases a reference to cadence would be reflective of the “aye-oh” sort of Ramonesish rhythm perpetuation bands such as The Tough Shits and Nobunny have built their existence on, The Highway Kind are the adverse of that, Matthew Camirand (The Violent Years, The Black Halos, Black Mountain, etc…) is intelligently aware of the expectations and seems to know the exact line to pull off on to give an off-axle imbalance making the songs feel tangibly real.

As with most bands, there are moments when The Highway Kind fall short of the mark and feel average but when Camirand nails it on songs such as “When the Storm Comes to Greet You” these dudes (and babe) are as charged and full of potential as it gets, they seem more than worth the effort to keep tabs on going into the future.

.

The Highway Kind – Bandcamp | Facebook
.
..

Black Planet

“Bad Moon”

Photograph by Scott Beseler

Photograph by Scott Beseler

.

.

Am I just not looking through the right lens or has the well of quality babe garage noise really been drying up lately? I thought the whole chillwave ship had sailed yet more and more bands that would rule playing chunky-ass waves of distortion are opting for four half-ass repetitive notes on some reverbed out keyboard while singing ironically in tandem with that-dude-from-that-other-rock-band in an attempt to sound quasi-like the B52‘s if they had formed in 2010, went acoustic, and totally sucked. No thanks. Here’s what Black Planet put out at this time last year, it stands out even more now than then.

.

Black Planet – Bandcamp | Facebook

.

.

Son of a Gun

“Wrong Things”

Son Of A Gun - Bread-Optimized

.

.

I know right, another band that rules outta Chicago, how blasé. I blame Dumpster Tapes. I say we demand blood.

How long has this record been out? Three weeks maybe and I’m already doing that teenage fist-in-the-air pounding lyric rhythm thing along with every single song. I kinda hope this record doesn’t take off, that’s how gnarly it feels. If you took the record that Bass Drum of Death should have made instead of Rip This and combined it with the record Bad Sports should have made instead of Bras then No Bread (Dumpster Tapes: Jan 2015) would be the result, so basically they remind me of Cheap Time before they sucked.  I’m not sure if they’ll be through for SXSW, my fingers are crossed though.

Bonus:

.
Son of a Gun – Bandcamp | Facebook

.

.

Annabelle Chairlegs

“Pipeline”

Photo by Robert Eastham

Photo by Robert Eastham

.

.

Living in Austin has some major setbacks, the upturned noise from peers whom I respect whenever I mention Annabelle Chairlegs is at the top of the list. I get it, they don’t sound like anything out of the seventies, I get it, they aren’t covered in denim and bathed in obscure band flair, I get it, there’s no arrogance on stage…. I get it, they’re not “Austin.”

What those whom I respect don’t seem to understand is that Annabelle Chairlegs are the single hardest working band in town, they are the most humble and kind group of strangers I’ve ever smoked outside of a venue with, and the progress they have made in both sound and presence live is unreal. I can fully understand to say that one doesn’t get into their noise, although that seems biased as fuck, but to have even the slightest belief that they don’t deserve the same respect as all the bands with unbelievable talent carrying the torch of slacker mentality with pride is unfathomable to me. Take note now; in five years let us look around at what insert-whichever-band-you-see-as-the-best-in-Austin (who are probably the most talented and real band in town) are up to and then we can compare that to the inevitability of Pitchfork’s unflinching adoration for these babes.

Annabelle Chairlegs may not be conditioned for the south with their Brooklyn-pop flavor, who cares, midwest kids are going to eat up their songs as if it were their parent’s Valium. AC are one of those bands who never really find a scene to settle into yet are outrageously conditioned for the internet. I don’t take risks with band predictions, you can see it in the cards, you can feel it in their sound, things are mounting in the right direction for these dudes.

They’ve been on tour three times since the fall playing three shows a week in the space between. All while managing to put out a couple of videos and recording an album. They are putting in more work than any four typically solid bands in town combined. To be obviously working so hard it is impressive seeing them around town knowing how dedicated they are and how far opposite they conduct themselves from the ambitious social status debutantes or even worse those smoozey wannabe musician types where everything they say and do is meant for self-perpetuation. Seemingly Annabelle Chairlegs are one of those unicorn bands who actually just love the music they are creating.

Good dudes with an unreal work ethic; If we can’t respect that then what the hell are we doing? Do we really feel justified subscribing to the same status-quo of our mainstream commercial consumer counterparts where we would rather just glorify the bands who fit in the exact mold of who we need playing a role in some fake shallow existence of “cool?” Count me out, I’ll take people who treat their art and the experience we share with it seriously. Remember last year when I wrote very similar sentiments about Banditos? They signed with Bloodshot Records last month. Just saying.

.

.

Annabelle Chairlegs – Bandcamp | Facebook

.

.

Sheer Mags

“Hard Lovin”

Sheer Mag.

.

I have been looking for an excuse to write about Sheer Mag for months now and I’ve finally found two. First being that on March 23 they will be getting the chance to prove to the rest of the world they exist now that Static Shock Records are shipping that killer 7″ they gave us back in September over to Europe.

.
The second being the announcement of their inclusion on a bunch of super rad SXSW shows; their being part of the lineup for the Dressed To Kill Fest* is the one I’m most pumped for. Ben Tipton (Burger City Rock N Roll) and friends have managed to help bring yet another year of the best bands in the world to intimate venues where kickin the dirt with your heroes is commonplace. Last year I became slightly annoyed by one of the members of Mozes and the Firstborn asking to borrow my lighter every twelve seconds… that’s how rad the experience is.

At any point you find yourself without a destination strongly consider hitting up either Hotel Vegas or The Grand depending on the date… the more bands you are currently unaware of on the lineup the more you deserve it to yourself to make an appearance, you’re favorite band will be playing and you may not even know it yet.

Between previously mentioned The Tough Shits and Sheer Mag I may actually start believing the rumors of how solid things are becoming out in Philadelphia. This latest batch of bands cobbling hopeless noise from that fading wasteland of broken concrete dreams somehow embrace the current prodigal son shift in the collective scene subconscious while managing to incorporate all the traditional philly hard-luck working man stuck to the bottom of capitalism’s boot heritage into their sound. Something about people who know things are terrible but remain cool with it is both calming and noble. No city I have experienced embodies that mentality more than Philadelphia. Sheer Mag are a huge step forward to cliff-noting how the city was the occupied territory of Emo just a few short years ago.

The entire self-titled Sheer Mag 7″ is chock-full of valiant potential. “Hard Lovin” is the most accessible of the songs so from the outside it is the best way to experience them first but the entire record only has four songs on it, they all rule, you’ve got enough time to make your own opinion.

*Note: Yes… Dressed To Kill Fest is a reference to the incredible KISS, thus every band on the lineup will be including some novel but shoddy interpretation of Frehley‘s perfection in their set. I’m hoping to hear the entire Love Gun album before the day comes to a scuzzy incoherent end, more importantly I dream that either Ditch Witch or The Yolks cover “God Gave Rock N Roll To You,” that song is silly, I bet either would kill it in a real cool way.

.

Sheer Mag – Bandcamp | Static Shock Records | Big Cartel

.

.

The Number Ones

“Girl”

The Number Ones-Optimized

.

.

Obviously huge supporters of End of the Century (Sire Records: 1980) era Ramones, The Number Ones are as sugary as leather swaddled Rock N Roll gets, I can’t stop going back to it.

Where most of their songs nail that sweaty shitty venue on a Tuesday vibe, “Girl” is the song which gets to the heart of what makes them notable; catchy liquid pop with a hard(ish) candy shell. Since even Austin hasn’t been spared the garbage weather on this side of the world, this song just seems more fitting with the current, stuck in the apartment, vibe I’m trying to embrace over the rest of their sounds.

I spent so much time last year playing catch up it made this record float off in my peripherals far longer than it should have. As a matter of fact it was December before I even considered checking it out and I only picked it up in the first place because the cover reminded me of this Tommy Conwell and the Young Rumblers Rumble (Columbia Records: 1988) record I have. I may not have the money to dish out for a monthly subscription to Spotify but I sure as hell don’t mind blowing fifteen bucks on a long shot and this one paid off….. well sorta, it got smashed after like three days when I was moving around furniture. The time we had together was beautiful though.

.

The Number Ones – Bandcamp | Facebook | Static Shock Records

.

.

Teenage Moods

“Manic Again”

Teenage Moods-Optimized

.

.

Minneapolis’ Teenage Moods are a less sold-out The Orwells or just Milwaukee’s version of the Chicago scene. Whichever, we are in debt for it. Of all the bands I’ve come across recently not one represents promittentes potential more than these guys. Some songs on the Rosebuds record are misses, landing across the board as far as genre labels could go, things occasionally feel unfulfilled but in a positive way. It’s not like every single record can be a bands best, some though are perfect allusions to what will eventually be their best album. If these skuzzies can manage to stick together for another three years they could be onto something genuinely special.

.

Teenage Moods – Bandcamp | Facebook | 25 Diamonds Records

.

.

No Tropics

“Blurry and Nothing”

No Tropics-Optimized

.

.

Blurry and Nothing” is the best mixed song off this week’s post. Everything is layered ideally, the vocals swell and recede in and out of existence with ease, the bass drives when the guitar pulls back, switching roles heading into the instrumental break, it could be a fluke but No Tropics seem like they actually know what they are doing.

They’re French which explains that quasi-Scotish anthem vibe covered with much more passivity in lyrical content, something even more apparent on songs of theirs such as “23.” I’d be lying if I said I didn’t want them to have a bit more grit, a little more angst to counter balance the smooth, it is their canvas though and not mine and what they’ve used it for is commendable for sure.

No Tropics – Bandcamp | Facebook

.

.

Juniper Rising

“Wanderin”

Juniper Rising-Optimized

.

.

Finally we get to something a bit more fun. “Wanderin” hits all the right nerves. Regardless of interpretation, this is a good-time kind of song, addictively singalongish, simple without being plastic. Let the line “I couldn’t help you anymore if I tried” pass you by without immediately feeling you should be doing something, anything, while singing along. Juniper Rising make me want to live the best version of my life possible, even if that means drinking boxed wine while sitting crosslegged on someone’s dirty-ass floor, they challenge us to feel alive. The entire Days of Days (Burger Records/Lollipop Records) is the soundtrack for a feel good time, I just happen to like this song the most.

Juniper Rising – Bandcamp | Facebook | Soundcloud | Burger Records | Lollipop Records

.

.

Bad News Boys

“Alone Again”

Bad News Boys-Optimized

.

.

So it is set in stone; King Khan & BBQ Show have FINALLY put out a new album together. I’d say after five long years we might be collectively ready to appreciate how privileged we are having those two working together. Not to downplay all that Shrines mess but it doesn’t hold a candle to what happens when Mark Sultan is in on the process.

There’s been much grumbling from the Johnny Rockers about the name change, all Johnny Rockers do is grumble so who cares. I have always hated the BBQ Show title, it has been long overdue for the guy to get some legitimate recognition outside of Burgermania, plus taking some of the focus from the King Khan aspect of the duo makes this seem like a much more selfless process where both parts get equal credit for once. Not that more than five people in the world exist who care about that. Sultan deserves the same longetivity in music as the likes of Thurston Moore and Anton Newcombe; he’s done as much, if not more, than both those dudes to fend off the stagnation of creatively driven Rock N Roll and outside of those who have spent a quarter of their life playing in bands his name is barely but a whisper, it is appalling.

.

With the intros out of the way, Bad News Boys (In the Red Records) is one perfect mixtape of every defining tangent to each dudes career going to show once more why they rule more than ninety-nine point nine percent of the musicians throughout history. I’m not even a huge King Khan fan this side of The Spaceshits and it would be completely unintelligent to not see that. The record is so incredible in fact that after listening through it twice online I made myself the promise not to buy it physically until this post was done. I’ve nearly deleted half of the remaining songs as this twenty bucks burning a hole in my pocket screams for exchange. If you haven’t listened to it yet, oh man, life is about to get real good for you.

Opinions could, and typically will, vary so before my excitement creates some buildup of expectations, if you thought Invisible Girl (In The Red 2009) was their best record together then this one falls short of that sweaty mark, if What’s For Dinner? (In The Red 2006) restores your faith in Rock N Roll then we’ll definitely be high-fiving each other over it in conversation real soon.

Although I haven’t seen any SXSW dates with them on it, every single bill I see with “TBA” or “Secret Guest” on the lineup, with childlike excitement, I pretend these dudes are the band filling the slot. This could be the most disappointing SXSW ever.

Update: After hitting five record shops in town I can comfortably say that not one has got it in stock, all pre-ordered it, just hasn’t arrived yet. Ya may want to follow the online route of obtaining it this time around.

.

Bad New Boys – Facebook | In The Red

.

.

Sick Hyenas

“Wicked Sin”

Sick Hyenas-Optimized

.

.

Have you clicked play on this song yet? Do it again. If you are half as obsessed with either Mystic Braves or The Wolf  as I, then Sick Hyenas and their ability to ride the fringes of psyche without falling into all th… ya know what, fuck it with the genres and comparisons. These dudes kill. They’re out of Hamburg, wherever that is. This S/T album (Moody Monkey Records/Dumpster Tapes) came out nearly a year ago.

I’d like to pretend I’m cool enough not to be a relative newcomer to this band, although my infatuation is ideal, we’ve only been courting for a short time. Does it make me less of a person having two songs up today having sat on the shelf for nearly a year? I sure hope so. Anyone who didn’t have this in their ten best albums to come out last year obviously hasn’t heard it yet either.

Instant favs! If you’re paying attention Sick Hyenas… You are needed in Austin, I’ve got room in my living room for ya.

The dudes have a 7″ they’re handing out on tour (which has no set date stateside as of yet), the rest of the details are vague about it but I believe we’ll be able to order it on March 14th, here’s the B-side:

.

.

Sick Hyenas – Bandcamp | Facebook | Twitter | Instagram | Tumblr | Moody Monkey Records

.

.

Two Gallants

“We Are Undone”

Two Gallants-Optimized

.

.

We Are Undone” circles uncomfortably close to those years of too many feelings and shitty emo music I disgustingly remember with disdain (“I hate myself for loving you“).

According to the play count I’m on the fourteenth time of going over this song, I have assumed with every single play it would not make the final cut to share. The guitar riff’s absolute perfection kept me holding on along the way, Adam Haworth Stephens‘ lyrics once again shattered the consistent burning desire I’ve had since day one to not fully enjoy Two Gallants. I don’t know what it is, let me go three months without hearing something they’ve made and I start forgetting just how much I respect them. I’ve never been much of a loyalist but despite all the times I’ve praised these dudes still I always feel I should be negatively critical in a very overt and critical way towards these guys. The duality over time has though worked to strengthen my opinion on just how solid this band is, regardless of whether I want to like them or not that speaks for itself.

Two Gallants have always been a suspect band, similar to Cloud Nothings or Bright Eyes, where the songs are incredible but they manage by not selling out to the modus operandi of ambiguous generically vague lyrics to alienate themselves from ever being socially accepted by the coolest of kids. They remind me why I plan on a potential fight to the death each time I say Conor Oberst is the greatest (I ephasize Great here and not simply best) songwriter in fifty years and of how saying that one likes someone such as Oberst in a public setting immediately devalues one in the eyes of those around them (the Annabelle Chairlegs scoff on steroids).

People hate these bands because they don’t make them feel like their coolest selves, that’s my theory anyways, maybe my tastes just suck, who knows. Heaven forbid someone find out you don’t actually wake up doing key bumps after a night of intense impassionate sex with pornstars. People really hate feeling anything less than cool… and cool is the the shallowest trite empty feeling one can have. It’s fleeting and false, a mere shift in perspective destroys the illusion. Sure the feeling of David Copperfield making the Statue of Liberty disappear is magical to a child’s heart but the smoke and the mirrors are real; Mark Sultan would write about the feeling, King Khan would write about the mirrors, Two Gallants would write about David Copperfield and what drives his wanting to fool everyone into believing he made the statue disappear.  People hate discussing the why, it means they might have to give something up and they don’t want it. There’s a place for everyone. Sure I’m not playing this at Hotel Vegas on a Friday but I’m not playing Leon Russell either. There’s a time and place for every great tangent of art.

It always comes down to their lyrics. When Stephens put out We Live On Cliffs ( Saddle Creek: 2010) I absolutely hated Two Gallants, like most hate it was based in the fact that I knew nothing about them, had nearly zero contact with their material, I knew I didn’t and wouldn’t like them, I can clearly hear the times I said they were mediocre, I have no clue why. Either way, I was writing for Listen Before You Buy (now Unrecorded) at the time and putting out two posts a day for months on end, someone from the site sent over an early release of upcoming Saddle Creek songs and “The Cities That You’ve Burned” was on the mix. Now it’s considerably important to point out that I was on Saddle Creek‘s tits in the early 2000’s (similarly to how I am now for Burger Records) so I’m sure for how much I’d love to jump on a soap box yelling how every song should be judged with a clear conscious without presupposed ideas or expectations, there probably were some early inclinations as I pressed play that it would be at least “good.” Still I remember being floored by it, kicking off this long standing infatuation for the dudes lyrical genius. He’s kind of the Hemingway of indie or more likely a Faulkner had he been around to read Zizek.

All this talk of Saddle Creek, I should really point out that ATO Records is who just put out We Are Undone.

Have you ever heard a song nail better than this one the generation gap between the commercial-capitalistic non-progressivist pro-republican actions of age and the idealistic cosmopolitan wave of thought amongst current counter-culture youth who blindly oppose the current state of existence with untested lofty philosophies? Both sides so stubborn in their stance, their points of attack so flawless. I realize this isn’t a generationally written song, the evil Big Brother image against the meek ineffectual population it controls are the direct interpretation to be taken, actually if you took the father-son relationship in SLC Punk! and made it a song, this would probably be it.

.

The truth is I escaped metal because of its inclusivity,  years of denial made me actually believe that the rest of Rock N Roll was a democracy of sorts where quality bands can show their worth and find acceptance. It is not. Case in point; Tell me the difference between King Tuffs Black Moon Spell (Sub Pop Records: 2014) and Two Gallants’ We Are Undone without pointing out the difference between recording techniques. The later writes far superior lyrics while the former is waaaaaay cooooler, yet the songs are dangerously similar. Yes I hate the clean pro-tools sound as much, if not more, as the next dude but are we ever gonna stop using that as the eye of the needle bands must crouch through? Rock N Roll as we want to imagine it is dead. We’re holding on to antiquated ideas because we understand how to manipulate them, how to use smoke and mirrors to elevate ourselves in the social environment in which we exist. Art is more important than ALL of that bullshit and we couldn’t care less collectively. Fuck inclusivity, fuck judging bands without giving them a valid chance, and fuck every single person who remains close minded to the reality that they may be absolutely wrong about what is good or not. Let’s let dudes who deserve respect, get it.

Upcoming Austin Shows: May 12 – Red 7 w/ Black Range

.

Two Gallants – Facebook | Website | ATO Records

.

.

1886

“The Path Through the Green Forest”

1886-Optimized

.

.

Now we get to the other side of what’s been keeping my soul on the level. One constant I count on when checking out new records is that if the majority of songs clock in on the longer side of five minutes, one of two things will be instantly clear, the songs will be either jammy and completely void of inspiration in the face of technique or it’ll sound like 1886; rad and completely therapeutic. My number six all-time favorite record is Satori (Atlantic Records: 1971) from Flowers Travellin’ Band, now I’m not saying that 1886 deserve to be in aligned with legends like that but if you strip away the Sabbathy aspects of FTB and find that enjoyable “The Path Through the Green Forest” is worth indulging in.

1886 have shaped one of the most well rounded and impressive albums we could hope to hear with Before the Fog Covers the Mount. There’s aspects of everything on the it; Motorhead,The Stooges, mid-70’s Hawkwind, with even some Spooky Two (Island Records 1969) era Spooky Tooth drawn upon. This is also one of the most technically sound records I’ve heard in years so such lofty references aren’t exactly out of place.

These dudes are out of Barcelona. All I’ve been able to track down are the mp3’s, if any information about vinyl comes to me I’ll update this to include the info. I know I can’t be the only one who would like a physical copy of this before they take over the world. I just hope the Steve Vai crowd doesn’t catch wind, I can’t handle another show waiting for a band to play surrounded by dudes in their fifty’s talking about how incredible Clapton and Jimmy Page are. Worst case scenario is in fifteen years 1886 become the new Dream Theater, at least the guys are mind-blowing in comparison.

1886 – Bandcamp | Facebook

.

.

Howling Giant

“Doug”

Howling Giant-Optimized

.

.

Never underestimate the importance of having a song to get ya stoked. Nashville’s Howling Giant in generally give me the good kinda sweats, “Doug” in particular. Taken from experience, this is an ideal song to start your day off with, especially if your coworkers look hungover and have opposite taste in music than you. Fuck em. Their fault for not knowing what rules. The rest of the tracks on this self-recorded EP are just as spot on as well, they just remind me a lot of a sloshy Sweat Lodge so I’d like to share what makes these guys feel the most genuine on this side of the Texas border.

The entire Howling Giant EP is up for name-your-price on Bandcamp. You’ve earned it.

Howling Giant – Bandcamp | Facebook

.

.

Mondo Drag

“Plumajilla”

Mondo Drag-Optimized

.

.

Let’s go out with seven minutes of refined perfection. Tell me something you don’t enjoy about this song so I can do that Robert Downey Jr. eye roll for you.

Unless you are generally a terrible person there is no reason to scoff at this one. This is the kind of music that makes you tighter with your drug dealer. The kind of music that makes you glad your buddies girlfriend went to bed early so you can finally chill out. This is four in the morning with the closest of friends with Where The Buffalo Roam playing in the background with the sound off. I’m pretty sure I’ll die bummed knowing I never created anything close to this but I’ll be content, at least Mondo Drag did which is probably good enough.

Mondo Drag – Bandcamp | Facebook | Twitter | Instagram | Website

.

.

.

.

All songs are for promotional purposes only. If you or an artist you represent would like content removed or you are a band looking to send some noise for consideration contact HCK! via Heycoolkid@yahoo.com.

%d bloggers like this: