There are many bands named Ghoulies, or something like it, but let it be known that we’re talking about the Australian outfit that can deliver an hour’s worth of mosh-pit worthy punk sprinkled with spastic organ warbles in just about ten minutes.
There is a lot of smart indie guitar pop out there these days, and this effort showcases this band’s ability to easily traverse that range, from anthemic hook-laden singalongs to richly harmonized earworms, with many unexpected stops in between.
Canadian indie guitar geniuses Born Ruffians have released two great albums in less than a year, and easily earned the distinction of being the first artist to twice be featured on a Mixtape.
The ska orchestra is a rare beast, astounding to behold. Absorbing and expressing a manic energy worthy of ska, big bands, and thrash metal, the TSPO enters its fourth decade still on the redline and with no signs of slowing down.
You can love something so completely and sincerely that it becomes hard to tell whether you are mocking it. This is what Rosenstock does with third wave ska, with no detail, trope, or subgenre too small to escape notice and inclusion.
Caterer was the unmistakable voice behind the Smoking Popes, and his post-Popes career has taken many interesting turns, something reflected in this collection of croony standards and revisited songs from his previous band.
Imagine a heavy punk-core assault, one with a bad attitude, weird experimental asides, an unhinged vocalist, and a rhythm section suitable for pulverizing concrete. How do you take it to the next level? Add a saxophone.
I DON’T REALLY UNDERSTAND WHY BANDS MAKE ALLCAPS PART OF THEIR BRANDING AND MOSTLY FIND IT ANNOYING, BUT I CAN MAKE AN EXCEPTION FOR THIS PHILADELPHIA OUTFIT AND THIS ALBUM THAT SOUNDS LIKE A DREAM RADIO WITH A FAULTY FREQUENCY LOCK.
The band is back after an extended hiatus, picking up where they left off, with low-key catchy tunes making up an album that slowly develops into an outstanding collection of propulsive melodies and infectious hooks.
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