6.23.2017

FORUS






























"lights"
Year:  2014
Country:  France
City:  Bayonne
Label:  Effervescence
Format:  CD, LP
Tracks:  10
Time:  26 min.
Genre:  rock
Style:        Punk         Prog Rock
















here we go with another band which sound or remind as some kind of "prog punk". In this case is a french band recalling in the 90s melodic hardcore or pop punk bands, which also add to their receipt a particular riff guitars, keyboards, bass and rhythmic section (drums) closer to prog rock, progressive metal or complicated and virtuous musicians as RKL or (less): Dream Theater, Liquid Tension Experiment or perhaps symphonic rock bands, in the sense of Forus also write complicated compositions. They are not so great musicians like prog rock celebrities of course, but they can to remind those kind of sounds and music, and this fact become Forus in a very original band and a true hidden gemm too.
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"we"
Year:  2011
Country:  France
Label:  Effervescence
Format:  CD, LP
Tracks:  10
Time:  22 min.
Genre:  rock
Style:        Punk         Prog Rock





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6.20.2017

THE METHADONES





































"not economically viable"
Year:  2004
Country:  US
City:  Chicago
Label:  Thick
Format:  CD, LP
Tracks:  12
Time:  39 min.
Genre:  rock
Style:        Pop Punk



















The third full-length from The Methadones and second from the solidified lineup of Dan Vapid (Screeching Weasel / Riverdales / Sludgeworth), Mike Byrne (ex-Vindictives), Pete Mittler, and Mike Soucy finds the band taking a somewhat different route than the band's past endeavors. "not economically viable", an album loosely based on the movie Falling Down (in which a disgruntled office worker takes revenge on those causing his disposition), takes cues from both classic punk (yes, they still channel the Ramones a good deal) and the mature side of 90s pop, both likely due to Vapid's past projects, and is a little more guitar-driven this time around, with scattered solos thrown about, and devoid of any post-20th century influence whatsoever. Hower, despite the album being overall a strongly solid, forty-minute chunk of pop-punk, there's some noticable filler in the early-to-mid setting, . Nearly every track on the disc is catchy, even if the record ends up suffering from "every-song-sounds-the-same" syndrome as a result. "bored of television," "mess we made" and "million miles" are three of the best examples showing off the band's inherent ability to hook you like sidestage cane antics, but to be honest, it's tough to say how much lasting value the record as a whole has. The first couple spins I found myself relatively enjoying the album, if not drifting off around the aforementioned filler parts. Flash foward several listens later, I still drift off towards the same parts, and the ones I enjoy just seem less overwhelming than they were at first. The themes the album claims to have loosely attached itself too are even then a bit abstract to be noticeable - except for "Suddenly Cool," with its comments towards "climbing the social ladder" - and don't do much, if anything at all, to reward close attention to such. "not economically viable" is a brilliant album and perhaps the band's best effort (*Review by Brian Shultz).
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THE BROKEDOWNS
































"life is a breeze"
Year:  2014
Country:  US
City:  Chicago
Label:  Red Scare
Format:  CD, LP
Tracks:  16
Time:  36 min.
Lyrical themes:  politics, parody
Genre:  rock
Style:        Punk  Rock


















"To describe The Brokedowns as just another Midwestern pop-punk band would be to sell the Elgin, Illinois four-piece extremely short. Yes, they are from the Midwest, and yes, there are more than enough hooks and sing-along choruses to check all of the pop punk boxes, but there's so much more too, from impassioned shouts to clever, pointed lyrics, and it's all deftly assembled on Life Is A Breeze. The record shows a band that, after a period of evolution, has figured out a sound all its own, and is now making the most of it. If you are familiar with the band's past output, then you are already aware that after starting out with a heavier sound on early records, The Brokedowns infused much more melody, to great effect, on their previous full-length, 2010s Species Bender, and on a number of subsequent split 7-inches. On Life Is A Breeze, the band sticks with that sound and seems quite comfortable doing so. The record kicks off with Joliet, the Maui of the Midwest, which serves as a sort of a tourism jingle for the band's home region. It lays an effective foundation before the record launches into a series of standout tracks. The Gospel of Mustafa, Life Is A Breeze, "murder junkie/CPA" "everything is immoral" are all as good, if not better, than anything on "species bender", and "murder junkie / CPA" specifically hearkens back to that record with its similarity to "loyal looper" (theme from renegade), which is no bad thing. Unfortunately, there's little time to come up for air, as the next handful of tracks, starting with Born on the Bayou Too, are just as strong. In fact, the quality stays high all the way through to the closer, "a child's guide to Black Metal". As a whole, Life Is A Breeze is an extremely satisfying follow-up to Species Bender, taking everything that was great about that record and building on it. The one shame is that, coming so late in the year, Life Is A Breeze is likely to miss out on a spot on many year-end lists. It's certainly an honor lost, though I'm not so sure The Brokedowns care about that sort of thing (*Review writen by Adam Eisenberg)
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THE SISTERS OF MERCY

































"first and last and always"
Year:  1985
Country:  UK
City:  Leeds
Label:  none
Format:  CD, LP
Tracks:  14
Time:  40 min.
Genre:  rock
Style:        Goth Rock




















One of british's leading goth bands of the 80s, The Sisters of Mercy play a slow, gloomy, ponderous hybrid of post-punk and psychedelia, often incorporating dance beats; the one constant in the band's career has been deep-voiced singer Andrew Eldritch. (There is some disagreement as to whether the group took its name from an order of Catholic nuns or from the Leonard Cohen song of the same name.) Eldritch originally formed the band in 1980 with guitarist Gary Marx and recorded its first single with a drum machine dubbed Doktor Avalanche. Guitarist Ben Gunn and bassist Craig Adams were added to make live gigs feasible, and the Sisters built a reputation through several singles and EPs. Gunn left the band in 1983 and was replaced by Wayne Hussey. The Sisters of Mercy recorded their first full-length album, First and Last and Always, in 1985, but two years later, internal dissent had split them apart; Marx left to form Ghost Dance, and Adams and Hussey departed shortly thereafter. A legal dispute ensued over the rights to the name Sisters of Mercy; Adams and Hussey attempted to use the name Sisterhood, but Eldritch released an EP under the name to prevent its usage, and the two finally settled on the Mission. Eldritch chiefly utilized a corps of temporary sidemen from this point on (although former Gun Club bassist Patricia Morrison was an official member of the group for a short time) and rebounded with his two biggest-selling American LPs, Floodland and Vision Thing. Despite ceasing studio recordings, Eldritch kept the band active as a performing entity through the first decade of the 2000s and beyond. ~ Steve Huey
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6.15.2017

THE REZILLOS

































"can't stand the Rezilloz"
Year:  1978
Country:  UK
City:  Edinburgh
Label:  Warner Bros
Format:  CD , LP
Tracks:  13
Time:  30 min.
Genre:  rock
Style:         Punk  Rock




















The Rezillos are a punk/new wave band formed in Edinburgh, Scotland, in 1976. Although emerging at the same time as other bands in the punk rock movement, the Rezillos did not share the nihilism or social commentary of their contemporaries, but instead took a more light-hearted approach to their songs, preferring to describe themselves at the time as "a New Wave beat group". Their songs are heavily influenced by 1950s rock and roll, 1960s English beat music and garage rock, early 1970s glam rock, and recurring lyrical themes of science fiction and B movies, influences that mirrored those of US bands the Cramps, the B-52s, and X who were starting out at the same time. The Rezillos' biggest hit in their home country was the UK Top 20 single "Top of the Pops" in 1978, but they are best known outside the UK for their cover version of "Somebody's Gonna Get Their Head Kicked In Tonight", which featured on the soundtrack to Jackass: The Movie in 2002. Since the Rezillos recorded it, the song has been covered by other punk bands, including Youth Brigade and Murphy's Law.
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"attack!"
Year:  1982
Country:  UK
Label:  none
Format:  CD, LP
Tracks:  12
Time:  33 min.
Genre:  rock
Style:        New Wave





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"zero"
Year:  2015
Country:  UK
Label:  Metropolis
Format:  CD , LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Alternative Rock





















Alternative rock seem the most suitable label to describe the newest The Rezillos album, which despite its similarities to punk rock and new wave, is at the same time strongly influenced by celebrity alternative rock, grunge or even hard rock bands. So is this a bad or disappointed album? not at all. Despite its long periode of inactivity the band has again recorded a very good album with intelligent lyrics and apparently good attitude, cause they have not signed with a major but an small record label called "Metropolis". The reasons are still unknown because "Metropolis Records" use to work with bands and artists closer to: post-punk, gothic rock, death-rock, synthpop, etc. "Alternative rock" recommended for those who like that kind of music from late 80s and early 90s.
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6.12.2017

THE ALARM

































"declaration"
Year:  1984
Country:  UK
City:  Rhyl
Label:  none
Format:  CD, LP
Tracks:  12
Time:  42
Lyrical themes:  social issues, politics
Genre:  rock
Style:        Pop Punk






















With idealistic spirit, a powerhouse live show and bigger than big hair, The Alarm were part of an early 80s new wave bands (The Call, Big Country and the Waterboys among them) who dealt in soaring anthems inspired by the righteous idealism of punk. Clearly influenced by the impassioned political fervor of The Clash, Stiff Little Fingers or The Ruts, The Alarm also worked in a mostly acoustic, anti-folk, folk-punk vein that provided a counterpoint to their hard-driving guitar rockers. Their stage look was unquestionably a product of the 80s, with enormous spiked-up hair accompanying a cowboy / old-time cavalry wardrobe. Yet the numerous comparisons to U2 in the press were not unfounded; despite a more conservative sonic palette, The Alarm had much the same earnest intensity, the same messianic ambitions, even the same vague spirituality. Likewise, The Alarm seemed to covet a mainstream breakthrough in the vein of The Joshua Tree's conquest of the pop charts, and polished up their sound accordingly, with mixed creative results. The artwork, cover and back you can see here, was made in the 2014 re-issue but the original from 1984 you can see it HERE .
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