These two have always made for a dynamic pairing, a yin and yang of raw backwoods holler and big-city sophistication that together make for some of the most genuine American folk music to come out of your newfangled contraption.
For a quarter century, Dirk Dresselhaus has been putting out sparse, intelligent electronic compositions that even at their calmest crackle with some subtle form of nervous energy.
Wales has always had an abnormally high number of interesting bands per capita, and listening to these early ‘80s reissues it’s obvious that Datblygu, whose unique style can range all over the musical map while remaining recognizable, is why.
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.
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.
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