popwreckoning

The oh so love-able band Lovedrug is self releasing a new album, Wild Blood, this upcoming March. In light of the upcoming release, the band put out a two-single split in September which you can get on iTunes. Lead vocals, Michael Shepard also has a love for film and with his film background, he wrote and directed their video for “Dinosaur” off the split.

Videos:
Pink Champagne 
Dinosaur

Lovedrug | website

On November 18, 2011, Columbia, Mo’s favorite pop-rock outfit will be releasing their second EP Callin’ it Quits, supported by a cd release show at the Sideshow in Columbia.

Since 2009, The Victory Lap have been invading college campuses around the Midwest, beginning with Maryville, Mo. The boys met at the University of Northwest Missouri with mutual soft spots for pop-punk and the midwestern nightlife.  After the release of their debut EP in 2010, Don’t Let the Pop Stop achieved sales of over 2,000 copies and landed the group over ten supporting gigs with major label acts such as Forever the Sickest Kids, Secondhand Serenade, Badfish, and Tech N9ne.

In 2011, TVL made the crucial decision to relocate to Columbia, Missouri where they now reside and continue to churn out catchy and vigorous pop hits in the vein of New Found Glory and Pierce the Veil.

On July 31, 2011, TVL released their first single, “Count It,” off their forthcoming EP.

View “Count It” here. 

In October 2011, TVL unleashed their cover of LFO’s “Every Other Time” as well as a teaser track featuring 30-second clips of each song off Callin’ it Quits, produced by Kevin Gates at Engaged Audio (The Ready Set, Never Shout Never, etc.). Incorporating elements of jazz, classic rock, and their coined Top 40 charisma, Callin’ it Quitsis an honest representation of the band’s growth over the year and a half they have been writing together, not t0 mention a legitimate proposal to their loyal fans.

Up to this day, TVL has been entirely self-sustained with the support of their listeners all around the country. Mark Anderson, vocalist, stated in a recent conversation, “We superseded the music industry and went completely DIY,” which means the boys have not only organized and funded their own tours and albums throughout their career thus far, but they intend to keep it that way. o mention a legitimate proposal to their loyal fans.

Since their founding, TVL have appeared in Alternative Press, Smartpunk.com, PETA2.org, Absolutepunk.net, and have been featured at the PETA2 tent on the 2011 Vans Warped Tour.

Check out The Victory Lap’s Official Page for more info on new music, tour dates, videos, photos and more!

The Victory Lap is:
Mark Anderson- vocals
Matt Leimkuehler- bass
Austin Williams- guitar
Jimmy Rector- drums

Written by Stephanie Castor

Make Do and Mend have announced they are releasing an all acoustic EP. Part and Parcel will be released on Paper + Plastick Records on November 22. You can stream “Unknowingly Strong” on their artist profile through absolutepunk.net here. Part and Parcel can be ordered on the MDAM webstore or a special from Paper + Plastick that includes moving clock parts.

They play The Fest in Gainesville then hit the road for most of November supporting Senses Fail and again in December supporting Thursday. Check out all of their tour dates below.

www.makedoandmend.me
www.myspace.com/makedoandmend
www.paperandplastick.com
www.panicrecords.net
10/29 – Gainesville, FL @ The FEST

w/ Senses Fail
11/4 – Detroit, MI @ St. Andrews Hall
11/5 – Chicago, IL @ The Bottom Lounge
11/6 – Lincoln, NE @ Bourbon Theatre
11/8 – Denver, CO @ Marquis Theatre
11/9 – Salt Lake City, UT @ In The Venue
11/11 – Seattle, WA @ Studio Seven
11/12 – Portland, OR @ Hawthorne Theater
11/14 – Pomona, CA @ The Glass House
11/15 – San Diego, CA @ House of Blues
11/16 – Mesa, AZ @ The Nile
11/18 – Austin, TX @ Emo’s East
11/19 – Houston, TX @ Fitzgerald’s
11/21 – Nashville, TN @ Exit/In
11/22 – Covington, KY @ Mad Hatter Club

w/ Thursday
12/26 – Sayreville, NJ @ Starland Ballroom
12/27 – Washington, DC @ 9:30 Club
12/28 – New Haven, CT @ Toad’s Place
12/29 – Boston, MA @ Royale Nightclub
12/30 – Philadelphia, PA @ Theatre of Living Arts

My Chemical Romance tip-toed around it in their album The Black Parade, but minus a few antics from Gerard Way there are very few if any bands that write music better suited for that of a cabaret than a bar. That is until you hear the recent album from Randall Shreve and The Sideshow. Appropriately titled The Jester, this album is full of top hat tipping, line dance kicking, attitude-filled tunes.

Take the first track “Alcohol”, from the first few moments you’re taken to a place with felt covered walls and dim lights. The tempo sashays back and forth between school band and a slow swing. Vocals are precise and distinct; Randall wants to make sure you hear each word.

Folk music makes a little appearance in the song “Strange”. A slow banjo pluck and a few bass brass notes bring the song in. The tempo is a touch slow and a little difficult to really get into until about a 1:30 in. This is when the other instruments take stage and bring everything to a rock level – full of angst and thrashing drums. The song jumps back and forth between these two planets of sound, which in the end works in their favor by keeping the audience intrigued.

In the song “Kiss My Ass” Shreve and the guys take that slow sway and mix it with a 60s barber shop piano melody. The vocals are so pleasant and expertly harmonized that you almost miss the random naughty words thrown in every once in a while. There’s also a sense of comradery among the members near the close of the song, you’d imagine arms over arms and smiles all across as they sang and swayed in unison.

Near album end you’ll find “Your Mother’s Fault” and a sound on a slightly different level than the rest of the album. The tempo is still about the same and fairly slow, but this time it’s riddled with electric guitar solos. This new “solo” element also shows up with the vocals at one point and together create some great drama throughout the 4 ½ minutes.

There really isn’t another band that I can compare to Randall Shreve and this is something that makes them a band to know. Their live set is just as fun as you’d imagine, but until you’re able to catch one, you’ve got The Jester to entertain.

Track Listing:

1. Alcohol
2. Pier 14
3. Strange
4. Pale Blue
5. Blood
6. Tango #69
7. Stoned
8. The Ghost
9. Haunt Me
10. Kiss My Ass
11. Your Mother’s Fault
12. The Clown
13. Where’s It Hurt?

Live Music is the newest release from Rough Trade Records and The Strange Boys. Now, the title is “Live” as in “give” or “with” not “strive” or “drive.” This IS NOT a live record at all. True, the title may cause some confusion, but The Strange Boys music shows that they are not confused at all.

The Austin, TX band fronted by Ryan Sambol have been playing since the early 2000’s when they formed from junior high jam sessions. This is the bands third full-length record and the first that will be released exclusively on the prestigious UK label Rough Trade.

Live Music sits comfortably in one sound, one style, one genre for the approximate 45 minutes that it plays out. What is that genre? Good question. The record definitely exists in a retro vibe but still has a very modern attitude. Dancey, rock ‘n’ roll, soulful, folky: these are the first words that come to mind. As far as a genre, well, we haven’t figured out a word for it yet. Whatever you want to call it, The Strange Boys are completely comfortable making that kind of music.

If you like Dr. Dog’s tendency to go retro, then this is the album you have been waiting for. The Strange Boys have found a way to take their style and recordings completely back to the 60’s, while somehow still keeping the music relevant to modern ears.

Sambol’s charming, whimpering voice creates a happy, lazy atmosphere. Especially on a track like “Mama Shelter” his vocal stretches and reaches for high notes like a lazy cat waking up from a nap stretching out it’s legs.

The Strange Boys also use the album to show off the large array of instruments that they can play. The typical acoustic, electric, bass, and drums are offered up in most songs. Then they add in little touches of upright piano, harmonica, and banjo. In the song “Right Before” an organ is also featured. All of these instruments, and especially the way they are expertly played and recorded, add to the classic 60’s and 70’s sound that is achieved on the record.

Not a soul who claims to like any kind of rock music could seem to find anything unpleasant about “Live Music.” The only problem is, just being pleasant sometimes isn’t enough to be remembered. By listening to one or two songs of this album you basically get the idea. Nothing new can be learned about the band or what they do by listening to all 14 songs.

I find it troubling as a listener that I still can’t figure out how something with such an interesting and developed style could end up coming across as boring when put in the context of an entire album. Each song is very likable on it’s own, but as an album they all just blur together.

In the end, Live Music is still missing that one single. That standout song that defines the record and the band. Unfortunately, this could be the thing that holds the album back from being heard by the vast majority of music fans.

With that being said, The Strange Boys’ “Live Music” is still worth a good listen or two. If a person can get past the second half of a record that drags then there is no doubt they would love the album. And for the rest of us, there are at least a few great songs to keep in the ol’ iTunes.

Songs to listen to:

Track 1- Me and You
This song starts the record out strong with a cool 70’s Kinks kind of vibe. The closest track that could be considered as a single.

Track 4- Punk’s Pajamas
A very catchy rock ‘n’ roll number that will pick up the spirits on a rainy day.

Track 5- You and Me
A breath of fresh air. It’s always nice to take a break for a love song in an album like this.

Track 12- Hidden Meanings, Soul Graffiti
One of the few tracks that breaks the mold just a bit near the end of the album. Unique driving chorus that builds and builds.

Review written by Mat Shoare

Hurry Up, We’re Dreaming is the sixth album from M83, AKA France’s Anthony Gonzalez.  The album is sprawling and ambitious, full of huge electronic hooks and filtered vocals. It’s brilliant, and occasionally bizarre dance music. Nearly every track sounds like it could be a pop hit.

The album begins with a five minute intro that begins with ambient synths, and whispered vocals. The song continues with Gonzalez reciting the phrase “carry on.” The song gets very big, very quickly. Zola Jesus joins in a kind of duet, and the sound of hope floats in. The song introduces us to the sound of the record, which is ‘80’s synth pop filtered into ‘70’s arena rock bombast, and Brian Eno ambience.

The next track, “Midnight City,” begins an instant hooks, which leads into a big ass beat. The hook continues through until the end. The song eventually fades out with the sound of saxophones. It’s interesting, this is obvious pop music, but it’s almost impossible to sing along to. This is music made for either car stereos, or to be heard through headphones. It’s rare that music can be heard so well as both.

Of course, not everything here is a pop song. “Raconte-Moi Une Histoire” is a spoken word piece. It’s basically the sound of a child actively endorsing the licking of psychedelic frogs. No, seriously. It’s funny once or twice, but it gets grating after a while. It interrupts the flow of a record that often works great as background  noise.

The only other real flaw is the length. At 72 minutes, spread over two discs, it’s a chore to listen to in one sitting. It’s a great record, but a bit extravagant. Still, as the outro fades out you won’t be disappointed. The anthemic songs will hook you into the dreams of the brilliant songwriter who made the record, and you’ll be coming back for more.

Tracklisting
CD1
Intro (featuring Zola Jesus)
Midnight City
Reunion
Where the Boats Go
Wait
Raconte-Moi Une Histoire
Train to Pluton
Claudia Lewis
This Bright Flash
When Will You Come Home?
Soon, My Friend

CD2
My Tears Are Becoming a Sea
New Map
OK Pal
Another Wave From You
Splendor
Year One, One UFO
Fountains
Steve McQueen
Echoes of Mine
Klaus I Love You
Outro

It’s been ages since a new Wilco album has been an event, but The Whole Love is the album we’ve been waiting for since A Ghost is Born.  It’s exciting, refreshing, and a reminder of what this band does best. It’s bookended by two incredible songs, and between those is enough to spend the next few months digesting.

The first song, “Art of Almost” is a string drenched upbeat pop song. It bops along for six minutes before descending into a panic of noise and guitar solos. It’s the perfect beginning to a fantastic record.

At the end of the record is “One Sunday Morning, a mostly acoustic thing that feels short even at twelve minutes. In the song Jeff Tweedy sings about an overly religious father in a manner that is gripping, and a little terrifying. You can feel the truth leaking out of Tweedy’s voice, even while the song is quiet enough that it might be easily missed. It’s a brilliant prayer of a song that reminds us of why exactly we love this band.

In between those two songs we have the most experimental Wilco record in years.  It could be a result of this being the first record on the band’s own label, but that doesn’t really matter.  Songs like “Dawned On Me” and “Rising Red Lung” are incredibly captivating and the record as a whole is highly recommended.

Mutemath has always struck me as overwhelmingly talented for how underwhelmingly popular they are.  They had that awesome backwards music video for “Typical” on MTV quite a few years ago; what happened after that? They seemed to fall off the map completely. Of course that’s according to the average music listener, and I would not consider myself to be the latter. The minute I saw that video I was hooked, and the minute I saw them perform at St. Louis’ Pointfest in September 2007 I was floored. I’ve kept tabs on them ever since and am always speechless after their shows.

Yeah, bands can sound great on their recorded albums, but when a band is better in a live setting… that’s how you know they’re truly talented. And can we talk about drummer Darren King, who quite literally Duct -tapes protective headphones on his ears before he begins a set? And quite literally crowdsurfs on his floor tom? And quite literally destroys his kit at the end of every set the band plays? But I digress. What I’m really trying to say is this: Mutemath is awesome and you should definitely buy this album and a ticket to a show the next time they’re in a city near you.

Mutemath seem to produce music at a slow and steady pace, with Mutemath coming out in 2006, Armistice in 2009, and finally Odd Soul in 2011. There are a couple EPs thrown into the mix, but for the most part the band takes their time. And with good reason, too. There is so much depth to every song they produce. With vocals, guitars, bass and drums, and handfuls of synthy beats and ethereal sounds, the attention to detail is warranted. Odd Soul, in typical Mutemath fashion, starts with heavy distortion, thick bass drum beats and Paul Meany’s screaming, soulful voice. I can imagine The Black Keys being a muse for this album; the bluesy vocals and dark, sexy bass lines are enough to make anyone shake their hips.

“Prytania” is an upbeat rocker repeating the words “loaded gun” and “Blood Pressure” repeats its title to the sounds of slide guitar. Next is “Heads Up.” Are you seeing the pattern here? Mutemath has something to prove with this album and they’re using strong words to do it. “All Or Nothing” showcases a softer side, with the talent of Meany’s haunting falsetto. With less distortion on his voice than usual, this song is a little bit sparse and shows the audience a stripped down, personal side. “Sunray,” an instrumental interlude, breaks the album in two, with the first half being a little more organic and the second more spacey and traditional to the band’s typical sound. “Quarantine” rages on for seven minutes before the album comes to a close at a lengthy fifty minutes with “In No Time.” Just as “Odd Soul” is the perfect opener, “In No Time” is the perfect closer. I’m a firm believer in listening to albums from start to finish, and start to finish only. Odd Soul is an excellent example of why – it fits so brilliantly together. Buy it, listen to it, soak it up, dance around and rock it hard.

http://mutemath.com/ - Be sure to check out the music video for “Blood Pressure.”

In March, we put together a mixtape of Kansas City artists and gave them out at SXSW. Well, now everyone can have this wonderful composition of songs to themselves. For FREE! Yup, free. Completely and utterly free. Just head over to popwreckoning.bandcamp.com and download.

This was made possible by the awesome Element Recording Studios for partnering with us and by N8 for the artwork.

If you must have a hard copy, email casey@popwreckoning.com and we’ll send you one. Also, for free. A little gift for our amazing readers.

Thrice has always been a band full of surprises, with each album sounding radically different from the one before it. Just when you think you have their sound pinned down and figured out, they find a way to go above and beyond your expectations. While their bold shifts in style may have alienated a handful of fans, if you’ve stuck around over the last decade it’s something to marvel at. Their early work is more punk while Vheissu takes an experimental turn. And then there’s The Alchemy Index, a rather lofty project that in my opinion is a true showcase of the band’s talent and one of my favorites. Beggars just didn’t do it for me and seemed rather forgettable, so I was really excited to see what the band would come up with next.

Major/Minor not only met my expectations but exceeded them. It feels like a natural follow up of all their releases to date and they may have finally settled into a comfortable sound. “Settling” and “comfortable” can be negative descriptors when it comes to bands and new albums, but that couldn’t be farther from the truth in this case. This album is cohesive and strong and is an excellent culmination of all their albums thus far. Thrice has found a sound they like and are going steam ahead with it. Better get on the train before you’re left behind.

“Yellow Belly” is a heavy, grungy opener and I can’t get enough of it. What a great way to start an album. Tell me your head isn’t bobbing and I’ll have to call you a liar. Lead singer Dustin Kensrue’s gritty vocals command attention and right off the bat it’s intensity from here on out. The grunge theme manifests itself throughout the album, particularly on “Blinded” and “Cataracts.” We get a taste of their softer side in the first half of “Call it in the Air” which is reminscent of their experiments with Air and Water of The Alchemy Index and it finishes strong and dark with nods to Fire. “Anthology” by far is the real gem of this album. It’s completely different from what we’ve heard from Thrice before as it has clear emo guitars and a post-rock feel. “Disarmed” closes the album nicely on a calmer note with choir-like vocals and melancholy guitars fading into silence. Clocking in at forty-eight minutes with most songs in the five to six minute range, it sounds like a dense piece of work, but it flies by once you put those headphones on.

Thrice seems to have found their sound and I dig it. With a soft spot in my heart for The Alchemy Index and a nostalgic spot for Artist in the Ambulance, I can definitely find room for Major/Minor‘s stellar achievements in sound.

Track list:

1. Yellow Belly
2. Promises
3. Blinded
4. Cataracts
5. Call It In The Air
6. Treading Paper
7. Blur
8. Words In The Water
9. Listen Through Me
10. Anthology
11. Disarmed

www.thrice.net