The Blind Shake - Breakfast Of Failures LP - White Vinyl

Goner (2014)

Every time I write something about The Blind Shake I always make mention of how I think it's a little weird that I like them as much as I do.  The recording and vocals tend to be blown out and in the red all the time.  The songs aren't obviously catchy.  But for some reason this band just gets me every single time.

Breakfast Of Failures is their latest and it's full of the same sort of chaotic fuzzy blasts of rock and roll.  The guitar sound that this band manages to get is just ridiculous.  It's just so huge, noisy and powerful.  I would say this album is a bit darker than their last, Key To A False Door, but it's every bit as good.  This is a band that can pair driving rhythms and howling vocals better than pretty much anyone else and I;m just drawn in by the energy and enthusiasm they manage to capture in their recordings.

Also of note, just yesterday it was officially announced that The Blind Shake and John Reis are going to release a surf record together early next year.  They also posted a small handful of tour dates.  You can bet I bought my tickets to that immediately.

Oh, some housekeeping notes.  With Thanksgiving looming, I'm going to be taking next week off from writing up reviews.  I'll be back with some new records on Monday, December 1st.  We'll then begin that December march into the top records of 2014.  This year is flying by.

The Blind Shake - "Parachute":

https://soundcloud.com/gonerrecords/the-blind-shake-parachute-breakfast-of-failures-goner

The Blind Shake - "Old Lake":

https://soundcloud.com/gonerrecords/blind-shake-old-lake-goner-records 

Your Pest Band - Other Bore 7"

Episode (2014)

You could make an argument that Your Pest Band is the hardest working band in punk rock.  I feel like every other month, I look up and they have a new single or a new album.  Not that I'm complaining as they hit it out of the park nearly every time.

In fact, this 7" is one of my favorite things they have ever done.  A-Side "Other Bore" is built off of a lead guitar line that takes me back to 60's girl group rock.  Now, the vocals change up that feeling very quick, but it's a great song.  Somewhat slower than a lot of what Your Pest Band typically puts out, but extremely poppy.  I hope to hear more from them in this vein.

B-side "Dice" is just a hit song.  Fast, driving with big hooks.  It's classic, straightforward Your Pest Band mod/punk.  I can't really say enough good things about it, it is one of the best things they've put out.  Plus the video they have up for it just makes them look like the coolest bunch of dudes you've ever seen.  Great stuff.

Your Pest Band - "Dice":

https://www.youtube.com/watch?v=5bJM8oLL81M

Unwound - Kandy Korn Rituals 7"

This week's Unwound Wednesday is the Kandy Korn Rituals 7".  While I can say for sure that I do not like candy corn, my thoughts on this 7" are a little bit mixed.  The first two songs, "Kandy Korn Rituals" and "Against" are really loud and screamy.

While I give Unwound more slack than I would most bands about that sort of thing, these particular songs end up seeming kind of one dimensional.  What I always liked about Unwound was their ability to sharply cut from slow and brooding to loud and full of rage at the drop of a hat.  Both of these are pretty much non stop chaos aside from some feedback between the two songs.

The third song, "Hating In D" is much more in line with the Unwound that really gets me.  The chorus is an explosion of energy, but the verse is much more laid back and is driven by the bass guitar.  The problem with this song is that it was recorded live, so you lose some fidelity there.  The more I'm revisiting these old 7"s the more obvious it is how much Unwound evolved over the course of their time together.  But as my goal is to have a complete 7" collection of theirs, I'm going to end up with some crazy loud early singles, that's for sure.

Unwound - Kandy Korn Rituals 7":

https://www.youtube.com/watch?v=MWVRwU7UfKI

Koji Kondo - Super Mario Bros. Soundtrack 7" - Orange Vinyl (/500)

Do Jo Music (2014, Reissue)

Let's be clear about this.  Buying this 7" was a real waste of money if you're looking at it from a music perspective.  I'll be the first to admit it, and it's kind of silly that I bought a record I'm almost never going to listen to.  But the other side of the coin is that it's a pretty neat little thing just to own.  I collect records. I loved Super Mario Bros. as a kid.  This 7" is just a combination of the 2 things and I thought it would be neat to own.

I tried to pass on it.  When it originally went on sale I hemmed and hawed over the $16 price tag for a 7" and while I was hawing, the record just sold out.  I thought that was it, I just missed out.  No big deal.  But then it got restocked and I just couldn't resist.  I don't know what makes me buy things like this sometimes.  It's a character flaw I guess, but I can tell you that I am glad I got it because the packaging is pretty cool if nothing else.

The sleeve folds out into a little six panel poster with one side being a big illustration and the other side has screen shots from the actual video game.  There's also this sheet of paper with pictures of all the characters that seem to be meant to be cut out for reasons I can't fathom.  It would make more sense as a sticker sheet.

Music wise, the A-side is simply the music from the video game.  Well, it's the music from the above world boards from the video game.  There's no underworld music here, I would have liked that.  But a nice touch is that towards the end of the 'song' it shifts into the 'time running out' sped up music and ultimately concludes with the noise of your time running out.  Kind of cool.

The B-side says it contains on orchestral version of the song.  But it's really just the normal video game music with some odd sound effects and musical accents over some of the parts.  I would have preferred just more video game music honestly.  Maybe a split 7" with the Legend Of Zelda Theme? Regardless, I'm happy I bought it.  It's a cool thing to have, but as far as being a record that I'd listen to, I can't imagine it will really come out for any reason other than just to show it to someone who happens to be at my house and really likes Super Mario.

Koji Kondo - Super Mario Bros Soundtrack - Original Version:

https://www.youtube.com/watch?v=B7rbjsnvMas

Koji Kondo - Super Mario Bros Soundtrack - Orchestral Version:

https://www.youtube.com/watch?v=tKe_CJ2XSMQ

Cloud Nothings - Now I'm Blind 7" - Clear Vinyl

Polyvinyl (2014)

As most are aware, I love a good singles club.  I sign up for them all the time and I'm reasonably sure I still have a subscription to the Art Of The Underground series that just stopped putting out records for some reason.  Anyway, Polyvinyl's 4-Track Singles Series isn't one I subscribed to, but it's a pretty neat idea.  They have a 4-Track recorder.  They then take that same 4-Track recorder and mail it around to a bunch of bands who then record some new songs on it.  A neat concept, buy they didn't really sign up enough bands I like to make me want to subscribe.

There were two bands that contributed that I did want to track down though, Mikal Cronin and Cloud Nothings.  I managed to score the Cloud Nothings 7" for $16.  A bit pricey for a 7", but worlds cheaper than subscribing to a series I really had little interest in.  The two songs contributed are interesting listens, but cannot hold a candle to the greatness that is their last album.

The A-Side "Now I'm Blind" is a loud and explosive song. Cloud Nothings didn't cop out and contribute a few acoustic songs.  They went full band and really tested the limits of this little 4-Track.  It's blown out, fast and you can barely make out the echoey vocals floating in the background.  I would actually be interested in hearing a version of this song that wasn't quite so lo-fi.  There's just something about it that I'd like to hear more of.

B-side "Living World" isn't really my thing.  It's more of a slower, noisy offering.  I wouldn't exactly call it a noise collage or anything, but it's certainly not a pop song.  It's dark and somewhat meandering.  Again, interesting, but not the sort of thing I'm going to be rushing back to the turntable to play again and again.  

I am glad I was able to get this record without having to commit to eleven other 7"s.  As Cloud Nothings' album Here and Nowhere Else is battling for my number one album of the year, I absolutely want to grab everything that they're currently releasing.  And as I had mentioned earlier, if anyone has a lead on the Mikal Cronin 7" from this set at a good price, please let me know.

Low Culture / Needles//Pins - Split 7" - Clear Vinyl (/200)

Dirtnap (2014)

I just love Low Culture and Needles//Pins.  I've been writing nice things about both bands for a while, but I feel like they've never really gotten their due.  Low Culture, I think, tends to get lumped in with and then somewhat overshadowed by other Marked Men spin-offs.  Needles//Pins also end up being grouped in with a lot of the current exceptional Canadian garage-y/pop bands of the moment and I've always felt they weren't being given their due.  This 7" lets both bands shine and if there is any justice in the world, both will be recognized for the phenomenal bands that they are.

Low Culture provide 2 fast paced, energetic and extremely catchy songs.  Both are as good if not better than anything on their 2013 album Screens (Go get that now if you don't already have it).  "Reservations" builds off of a deceptively simple guitar rift for the verse and then just explodes into the chorus.  It also has a really cool instrumental breakdown popped in the middle.  "Don't Tell Me" is a bit more straightforward pop, but every bit as great with those "ooh ooh" backing vocals that get me every time.

Needles//Pins are definitely a little scuzzier and less refined than some bands, but in that scuzz the band is writing such incredible pop songs it blows my mind.  The lead guitar riff that starts off "Hateful" (and then kind of acts as the chorus for the rest of the song) is so great.  It's a hit single in every sense of the term. "Bored" sounds like it would have easily fit in on their last album Shamebirds.  Classic Needles//Pins with scratchy vocals, fuzzy guitars and a killer hook.

Hopefully this 7" will really show people the greatness of these two.  Not only should you pick up the 7", it's a crime to not have both of these bands' recent full lengths in your collection.  I suggest you correct that oversight as soon as possible.

Low Culture / Needles//Pins - Split 7":

http://dirtnaprecords.bandcamp.com/album/low-culture-needles-pins-split-7

Unwound - Corpse Pose 7"

Kill Rock Stars (1996)

Unwound Wednesday! By the time 1996's Corpse Pose 7" came out, I wasn't listening to as much Unwound as I had the past couple of years.  I was actually starting to burn out on a lot of that Pacific Northwest scene and had had my fill of bands like godheadSilo and Karp.  I was moving on to focus on poppier bands at the time, but in doing so, I really missed out on some killer Unwound songs.

"Corpse Pose" is just quintessential, brooding Unwound.  The steady bass line and drumming provided a really strong canvas for Jostin Trosper's guitar antics.  The verse is a bit more upbeat than the chorus, but the way the song just kind of freezes for the repetition of the phrase "corpse pose" in the chorus is some pretty masterful songwriting.  It's deceptively simple, but extremely effective.

B-Side "Everything Is Weird" is equally great.  It's a bit more fast paced and punk driven, but it maintains the more mature elements that Unwound had been bringing into their records.  Just like "Corpse Pose," the bass lines just holds the whole song together and really stand out as being something special.  Granted, I had been listening to these two songs a bit more regularly due to their inclusion on the most recent third Unwound box set that came out, but it's still pretty great to add the original 7" to the collection.

Unwound - "Corpse Pose" (This is the album version, not the single version, the mixing is a little different):

https://www.youtube.com/watch?v=NdeKqqw40nE

Unwound - "Everything Is Weird":

https://www.youtube.com/watch?v=T-Uz_PTxNcA

The No Marks / Not For... - Split CD

Fixing-A-Hole (2014)

Though I do not really buy too many CDs these days, I always give a pass to anything released in Japan, where CD is still king.  This CD wasn't something that I thought I urgently needed to add to my pile of records, but I do want to have a complete No Marks collection.  Maybe not every variant, but certainly every release.

For the No Marks part of this split, it's the 4 songs that were already released on vinyl through 2 split 7"s.  The songs are every bit as fantastic as they were when I originally wrote about them, but as a quick refresher, they're absolutely stellar melodic punk rock.  File them under 90's influenced UK pop punk.  They're truly one of my favorite bands at the moment.

Not For... did provide something new on this CD and their three songs are played in the key of Snuffy Smiles.  Being from Japan surely has something to do with it, but these guys would fit right in on a Snuffy Smiles 7".  They're big on anthemic choruses with gruff vocals and they particularly remind me of a mix between The Urchin and Cradle To Grave.  Chances are, if you like any of the Japanese pop punk that I write about on this website, there's a pretty good likelihood that Not For... will be right up your alley.

The Moderns - When She Gets Back 7"

UT Records (2014)

So I can't pretend to know a lot about the history of this 7", but in a nutshell this was recorded some 35 years ago and best I can tell was never released.  UT records has corrected that tragedy and thank goodness they did, as losing these songs forever would have been a real shame.

70s - 80s power pop can be a dicey thing for me sometimes.  While I virtually always like it, I'm not often completely blown away by anything.  Then, I watch other people, whose musical taste I really respect, go crazy for something and I'm left feeling like I just don't get it.  Well, this is not a problem for me with The Moderns. I definitely get this. I'm especially glad that UT records sent this to me to review.  I honestly don't know if I would have ever known how much I'd like it if left to my own devices.

On this 7" are 3 songs worth of upbeat, clean guitar driven pop songs.  There's a slight amount of echo on the vocals (as bands were wont to do back then), but other than that the production is very strong and all 3 songs are quite catchy.  These songs remind me a lot of Gentleman Jesse (for a modern reference) meets The Vacant Lot (for a dumb, not so modern reference that's probably not all that helpful to a lot of people).  Regardless, all 3 songs are top notch and if power pop is your bag, this 7" should be that bag.

The Moderns - When She Gets Back 7":

http://utrecords.bandcamp.com/album/when-she-gets-back

Dan Sartain - Romance In Stereo LP - Pink Vinyl

Shed House (2014, Reissue)

Romance In Stereo is one of the 'lost' Dan Sartain albums.  Though a lot of the tracks later appeared on the Sartain Family Legacy CD, even that is getting harder and harder to find these days.  Aside from its original and extremely limited 1st and only pressing on CD, Romance In Stereo has mostly just existed as a record that people heard about but few actually had.  I was a lucky one and managed to snag a copy of the CD on eBay a few years back, but I had always wished it had come out on vinyl.

It seems that wishes do come true and finally this lost gem is back and on vinyl.  Some of my favorite Dan Sartain songs are on here such as "Boy She Knew, " "Walk Among The Cobras Pt. 2," and "Carry Weight."  Dan's crooning on top of the lo-fi and sparse instrumentation captures a certain kind of magic. Although I think my favorite Dan Sartain record will probably always be Join Dan Sartain; Romance In Stereo and Dan's other early self released album Crimson Guard will always hold a special spot for me.

When I was originally looking into buying this record from the record label that released it, Shed House, I got really pissed off.  I was going to write this whole big article about record labels screwing over record collectors and what BS it was.  I've calmed down a lot over the past few weeks and the label did actually lower their album prices at their website, so I guess he's trying.  But I wanted to bring up a few things that I think are wrong.

1. There was a pink splatter variant of this record limited to 25 copies.  The only way that you can purchase it from the label is by buying a pack of 4 copies of this album. The pack contains one copy on pink splatter, one copy on solid pink, one copy on black and a copy of the test pressing.  The cost of this package is $200.  I think it is completely and utterly absurd that you are forced to drop $50 per record if you want to get all of the variants.

And $50 per record is being generous since 2 of the 4 versions in the pack could be bought for way less than $50 bucks each, you end up paying a simply gigantic amount for the splatter variant and for the test pressing.  That is, of course, assuming that you have any interest in test pressings.

There have been labels in the past that have offered the opportunity to buy several variants of a single release in a bundle, sometimes even offering exclusive versions in that pack (Tiny Engines and their recent Beach Slang 7" comes to mind).  However, these labels typically offer a discount to the buyer for purchasing multiple copies of the same record, they don't jack up the price.  Isn't the fact that you're willing to buy several copies of the same album enough? Why try to get more out of your most hardcore buyer?

I realize no one is forcing anyone to buy this pack, and as you can tell, I didn't buy it.  But, I think it's pretty lame that I have to give up on my Dan Sartain variant collection because the guy at the label wants to charge high end eBay prices for his own records.

2. The standard version of this record is on pink vinyl limited to 250 copies.  The label was selling it for $20 plus shipping (which for reasons I don't fully understand they will only ship priority mail so that's another $9.50 in shipping costs).  While I think that's a little steep, it's not out of this world and I wouldn't call it unfair pricing for a small label in today's world.  I am not picking up the pitchfork over that.  But the next limited version is on black vinyl and that is limited to 50 copies.  When this was put on sale, the cost was $25 for this version.  Why is it $5 more than the pink vinyl version? Because it's more limited.

I contacted the guy at the label to ask why on earth a black vinyl version would cost $5 more than a colored vinyl version and he gave some vague answer about circumstances dictating it being necessary and concluded "With only 50 copies made, it's not a bad price.  I would pay it and I don't expect others to pay prices I wouldn't pay." Black vinyl traditionally costs less than colored vinyl to produce, so the only thing I can come up with is that Shed House records is trying to get more money out of record collectors by creating an intentionally limited and higher priced version of this version.  I just think that's nuts.

There are plenty of labels that charge a buck or two more for the more limited colored vinyl version of their releases.  Fat Wreck Chords, Dirtnap and Goner all do this.  I have never once complained about this practice and regularly (and happily) pay the extra money to own the more limited version of the record.  I am totally fine with this because colored vinyl costs more to make and it's only one or two dollars.  But to gouge someone for five extra dollars simply so they can have the privilege of buying a rare version of your record (which isn't even the rarest version) just doesn't sit well with me.  Now in fairness, since these records went on sale, the label has dropped the price of both versions and the pink vinyl is now $15 while the black vinyl is $20.  I assume because they weren't selling at their original prices.  But he's still going after that extra five bucks.  It just makes me crazy.

I spoke with my wallet.  I wasn't comfortable with the record collecting/punk rock ethics of the label.  So I was thrilled when Dan Sartain himself started selling some copies of the pink vinyl version of Romance In Stereo on his Bandcamp page.  I happily paid the $20 for the pink vinyl version to Dan (only $5 for him to ship it) and I feel great knowing the money has gone right to the artist.

I'm honestly not trying top start shit.  I, more than a lot of people, know the costs of running a label.  That's why PopKid records has been dormant for the past 10 years.  It's an expensive hobby and I applaud anyone who is out there trying to get music they love out to people.  I am also ecstatic that someone put out Romance In Stereo out on vinyl.  But all of the weird pricing and overcharging for variants leaves a really bad taste in my mouth.

At the end of the day I'm mostly just complaining because I can't afford to buy them.  I want them, I can't have them and I'm annoyed.  I don't mind missing out on a rare record because I wasn't paying attention or didn't get my order in quick enough.  That's the law of the jungle.  If I then have to over pay on eBay to get the record in my collection, so be it.  At least other collectors are setting the price.  I just don't see how a small indie label can arbitrarily decide how much their 'rare' record is worth.  I would never do that with my record label.  But that's just me.

This wound up being way longer than I meant it to be.  Apologies to Dan if this bothers him.  Apologies to Shed House records if this causes anyone to not buy the now very fairly priced $15 normal version of this record.  I'm happy the record is in my collection, and it really should be in everyone else's too.

Dan Sartain - Romance In Stereo:
http://joindansartain.bandcamp.com/album/romance-in-stereo

Weezer - Everything Will Be Alright In The End LP

Republic (2014)

I have to admit, never in a million years did I ever think I would end up buying or reviewing a new Weezer album on this website.  Sure I have written about fancy versions of their first two albums, they are two of my all time favorites, but I have flat out hated everything they have released since then.  I'm not even one of those Green Album apologists.  Just because it's a little better than the others doesn't mean that it isn't awful.  And it is truly, truly awful. Go listen to "Hash Pipe." I dare you.

Time and time again a new Weezer album has come out and someone said "Oh, it's their best since Pinkerton."  I'd give it a listen online and come to the same conclusion.  Weezer and Jimmy Eat world must be in some sort of contest to see who can write the most awful and embarrassing record.  Weezer typically was the winner.

When Everything Will Be Alright In The End was ramping up to be released, I heard the same scuttlebutt I always hear, it's the best since Pinkerton.  As usual, I fell for it and gave it a listen online.  You know what?  This record is legitimately the best thing Weezer has done since Pinkerton.  Not only that, I actually like it.  Quite a bit - to the point where I spent money on buying a copy on vinyl.  Who would have thought?

Now, if you're of the mindset, you can absolutely pick this record apart and find several annoying things.  All of the 2nd track "Back To The Shack" is terrible with really awful lyrics.  There's this weird riff breakdown that pops up on "Cleopatra" where the band inexplicably starts counting by fives ("Five ten fifteen twenty...") that almost kills the whole song.  The whistling on "DaVinci" is kind of annoying and the 3-song "Futurescope Trilogy" that closes out the album is a little self indulgent.  Being that Weezer has been making me so mad for so many years, I could be hyper critical of this record and not allow myself to like it.  But I don't see why I'd do that.

From start to finish, Everything Will Be Alright In The End is a fun Weezer record. Is it comparable to Pinkerton or Blue? Of course not.  But I think many of the songs are just as good as the B-sides from that golden era.  If this had come out instead of the Green album, I would have been a little let down, but still perfectly happy with a new third Weezer record.  Plain and simple, I just like listening to it.  The songs are good for the most part, I find that the hooks are constantly getting stuck in my head and I feel like I can just ignore the last 15 years of terrible records.  I hope this album does well enough for Weezer to encourage Rivers to keep writing songs like this.  If he keeps writing them, I'll keep buying them.

Weezer - "Ain't Got Nobody":
https://www.youtube.com/watch?v=lbLsgH-yn5c

Weezer - "Eulogy For A Rock Band":
https://www.youtube.com/watch?v=Du8ayiNj42g

Unwound - You Bite My Tongue 7"

Gravity (1993)

More Unwound Wednesday action.  This time in the form of their one sided 1993 single from Gravity (Though this appears to be the 1996 repress with the grey sleeve).  This is only one sided as on the B-side there is an elaborate etching of just a bunch of text.  It's pretty neat actually, but I wouldn't mind that space being taken up by some more songs.

This era of Unwound is pretty good stuff.  It's punky and fast and shouty, but is starting to show signs of the underlying sludge and darkness that would start to creep into their songs over the next few years.  It's the band at the height of their angry and loud phase.

Despite it being one sided, they still manage to cram 3 songs on here: "You Bite My Tongue," Kid Is Gone Chant Of Vengeance," and Understand And Forget."  "You Bite My Tongue" is likely the highlight of this bunch as it's a but more textured and dynamic than the comparative straightforwardness of the other 2.  I'm starting to run out of Unwound 7"s already, I'm going to have to pick a few more up so I can keep Unwound Wednesday going.

Unwound - "You Bite My Tongue":

https://www.youtube.com/watch?v=48-FZ8HbQ4g

The Creeps - Eulogies LP - Grey Vinyl (/200)

It's Alive (2014)

I've been a fan of The Creeps for a few years now.  While some dismiss their dark lyrics as gimmicky, I always found that it was more like the band was picking a specific sandbox to play in.  Regardless, one thing is for sure, these fellows sure know how to write some catchy songs.

The best part about the The Creeps fixation with darkness and depression is that it keeps their pop punk songs from slipping into something goofy.  I can take their music seriously and still appreciate the phenomenal hooks and catchy choruses they're cramming into every song.  Every time I write about The Creeps I always end up comparing them to an old 90's band from England called Reverse. In particular, I still think the singers have similar deliveries, but both bands also know the subtle art of making your song full of energy without having to rely on playing it 1000 miles an hour.

Of all of The Creeps' records I've heard, to me Eulogies is their best.  The band has been around for a while and have been getting better and better with every record.  They're reached the top of their game with this new album and it's been in heavy, heavy rotation for me since it arrived a few weeks ago.

The Creeps - Eulogies:

http://itsaliverecords.bandcamp.com/album/eulogies

Samiam - Soar LP - Purple Vinyl

New Red Archives (1991, 2012 Reissue)

Soar is one of only 2 Samiam records that was missing from my budding collection of their full length albums (the last one left that I don't have is Billy).  So far my favorite of the bunch has been Clumsy, but they've all been pretty good.  The one that I've liked the least was their first self titled one, so I was slightly apprehensive on whether or not I would like Soar, as it is Samiam's sophomore effort.

I had no reason at all to be concerned, the leap in songwriting quality from the self titled debut to Soar is remarkable.  It's so much more melodic and well paced.  To me, Samiam;s debut was just a little too shouty and 'punk rock' for a band that was so obviously striving for a poppier sound.  They shelved all of the over the top angst and crafted an album full of energetic, passionate songs.

There are so many highlights, but for me to shining moments are "Slumbering," "Someone's Got To Lose" and "Sky Flying By." They're just perfectly crafted.  I am extremely excited to pick up Billy next.  After hearing what the band achieved on Soar and knowing what they accomplished on Clumsy; the fact that Billy is the album that got them signed to a major makes me think it's probably pretty great.  I guess we'll see.

Samiam "Sky Flying By":

https://www.youtube.com/watch?v=v0O1gDm0XrE

Samiam - "Slumbering":

https://www.youtube.com/watch?v=bl3EnlosY_E