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Sims

Sims
Bad Time Zoo
Doomtree Records

Having released his debut album Lights Out Paris in 2005, it took a good while for Sims to bring out the follow-up but it was most definitely worth the wait. Bad Time Zoo is 14 track record full of cutting lyrics which range from the apathy of modern society to the simple fact that the MC loves his girlfried all layered over supremely powerful production from Lava Banger creator Lazerbeak.

Opening up as he means to go on, the Minneapolis rapper claiming that we “dropped the borders but we kept them walls” and being “so close I could almost see your breath / but so far I can’t hear your words” before lamenting the so-called “time of plenty” whilst all the while feeling like something is missing.

It’s a theme that runs through the album but never once falls into the preaching category, which is a testament to the ability of Sims’ lyrics, who despite all the problems we face implores us to “drop that cynicism” on Weight. Listening to these beats, that task doesn’t seem quite so difficult.

Relying more on his own talent than bringing in scores of guests, Sims does relent on Too Much by having P.O.S. giving his take on a near-disasterous road accident. Far from taking away from Sims, it simply goes to show how talent the Doomtree camp are as both mould their flows over the beat in their own inimitable style.

It’s impossible to pick a stand-out track on the record, such is the quality of the output – every time the play button is pressed, a new favourite presents itself. Suffice to say it’s worth multiple plays, so that every layer of the rap patchwork can get its time to shine, something it does brighter than ever.

The production is similarly tight all the way through the album from the horn led melody of Burn It Down to the dub-influenced, piano sampling LMG, the heavy drums of The Veldt and In My Sleep to the scratched vocal samples in Radio Opaque. Lazerbeak has one-upped himself once again, providing the perfect backdrop for his crew mate. The beats fit the rapper and the rapper’s flow fits the production, it’s rare that this happens over such a consistent period of time, yet that’s what you get on Bad Time Zoo.

Whether you’re into rap bangers or introspective backpack tunes, you need to check out this album. Doomtree just get better and better and with this latest release, Sims announces himself as a bonafide king. Absolutely brilliant.

See for yourself by listening [and then supporting great independent music by buying] here.

Abjekt.

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Radio Birdman

Live In Texas
(Crying Sun)

This could well prove to be the last will and testament of Australia’s proto-punk pioneers Radio Birdman, who are permanently grounded following their 2007 tour. They’ve called it quits previously, in not so dissimilar circumstances, way back in ’78. So, never say never (again), but best not hold your breath.

Dedicated followers of the band will eagerly add this live disc to their collections alongside “Eureka Birdman” – that captured the band in all their primal glory, way back in ’77 at the Eureka Hotel, Geelong – and “Ritualism”, with the original band reunited in ‘96 and cranking out the hits to a studio audience.

Fast forward to 2007, and core members Rob Younger (vocals) and guitarists Deniz Tek and Chris Masuak are joined by rock steady bassist Jim Dickson and drummer Russell Hopkinson, but sadly for this tour keyboardist Pip Hoyle was not on-board due to family commitments. Pip’s hammering of the keys is a key ‘Birdman ingredient, and though clearly missed, his absence is made up for by Deniz and Chris stepping up to the mark with a voluminous dual guitar attack. Sonic! This is definitely a warts ‘n all recording, and is suitably raw to boot, which in itself is great RocknRoll defined. The material is a mix of old/classics, new (as was – from the “Zeno Beach” album) and covers, with their take on The Kinks “Till The End Of The Day” really hitting a high point. I thought The Who’s “Circles” meandered a bit, although it probably offered up Rob the chance for a breather!

‘Live in Texas’ is definitely a requisite fans purchase, whilst those fresh-eared and curious are recommended to track down a copy of ‘Birdman’s seminal debut “Radio’s Appear” – one of the greatest albums ever made in my humble opinion. Yeah Hup!

Pete Craven

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The Get Up Kids

The Get Up Kids
There Are Rules
Quality Hill Records

The Get Up Kids are legends. That’s what puts them in somewhat of a difficult position now they’re back on the scene and creating new music. The fans of the band the first time around are very much stuck in the albums released way back when. So any reaction to the band’s new material is going to be somewhat coloured by this bias toward their past releases. The best thing to do with the band’s new album – There Are Rules – is to forget they existed back then. Listen with fresh ears and make your mind up about it on the music’s merits alone.

It’s a different sound for the band but one that is equally honest and certainly true to where The Get Up Kids are right now. There are echoes of On A Wire and Guilt Show present as dark undertones abound from opener Tithe, with its reverberating bassline and scuzzy guitars as Matt Pryor’s vocal tops off the texture with a yearning insistence alongside its characteristic lilting melodiousness.

The Get Up Kids are playing with different sound qualities and textures constantly on this record. Automatic has an off-kilter, roving bassline interspersed with synth chords and The Widow Paris has a haunting, irregular keyboard line juxtaposed against a repetitive bass riff. The prominence of bass is a theme throughout this album with the guitars almost taking a backseat in many of the songs as bass and keys hold their own and Pryor’s vocal rounds it all off. An interesting direction and one which may throw existing fans of the band off-guard but ultimately this is an album well worth your time and a fantastic body of music in its own right.

Winegums.

Untitled from PAT VAMOS on Vimeo.

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The Warriors

The Warriors
See How You Are
Victory Records

The Warriors are one of those unsung-heroes-of-the-hardcore-scene type of bands. This latest album will be released to little/no fanfare, yet it is undoubtedly top notch heavy music. 2007’s Genuine Sense of Outrage was full of crunching riffs and guttural vocals married together with a certain groove that was unmistakably The Warriors.

First impressions of this latest album are that it’s not quite so obviously beefy in sound. There’s a bit more variety here and an intriguing approach to guitar riffs that’s less straight-up to the band’s previous work. The jagged guitar work often takes unexpected turns whereas the band may have taken a more predictable route in the past.

The Warriors are definitely one of those bands who straddle the two genres of Metal and Hardcore. But referring to them as ‘Metalcore’ just seems wrong, seeing as the term has been sullied by so many poor quality efforts from bands who warp both genres and water them down with no regard for their potential power. The Warriors seem to get it just about right with the pummeling hardcore drumbeats and gruff vocals coupled with some pure metal goodness in the guitar inventions. Another genre that springs to mind when listening to See How You Are but also seems somewhat wrong to apply here is nu-metal. Don’t let that put you off. It’s just a tinge in the band’s sound that is perceptible every now and again but actually makes for an interesting facet amongst the technical guitar riffs and raging vocals.

The production on this record is infinitely more raw than it was on Genuine Sense of Outrage giving the impression that the band are really getting back to their roots and are intent on kicking out rough and ready anthems rather than polishing every element of production.

Winegums.

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OFF! – First Four EP’s

off_sleeveVICE Records

OFF! are led by Keith Morris, original vocalist of Black Flag, and since he quit that gig in ’79, fronting the Circle Jerks. Whilst many of Keith’s contemporaries are happy to just rehash the hits, or offer a decaffeinated version of their former selves, OFF! are a damn near return to the pissed off and adrenalized Hardcore fury that came busting out of Hermosa Beach like a bottle rocket. Dammit they sound GREAT! The band also numbers bassist (and latter day producer) Steven McDonald, of those original South-Bay teen punk brats Red Kross, guitarist Dimitri Coats (Burning Brides) and Mario Rubalcaba (Rocket From The Crypt/Hot Snakes) beating the skins.

Following up a debut seven inch, Vice Records have now released this swanky 4 x 7″s collection, with sixteen fast ‘n furious songs (the title being a play on Black Flag’s ‘First 4 Years’ album) and, in a further hark back to their roots, all the artwork is by Raymond Pettibon whose striking images adorned ‘Flag’s record sleeves. And of course Raymond is the brother of the bands founder founder/guitarist Greg Ginn. Keep up at the back!
Keith doesn’t have a University Education, a professional career… or trust funds to prop him up, but his trademark snotty fuck-you vocals have somehow kept this Southern Californian Punk drop-out alive thru the years, and only the most cynical of listeners will fail to appreciate these ripping jams, ‘cos the music is absolutely smoking, timeless Hardcore shred from the source… tune in, turn on, get OFF!

Pete Craven

Enjoy this video of OFF! playing live on a mini ramp in the US.

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Frontier(s)

Frontier(s)
There Will Be No Miracles Here
No Sleep Records

Chris Higdon, who used to front emo pioneers Elliott, is now the voice of Frontier(s), a band with few songs to their name as yet but a band who definitely deserve your time. Those who are familiar with Elliott’s yearning vocals and walls of guitar-driven sound will have some idea of what to expect from Frontier(s)who basically pick up where the band left off. There was definitely an Elliott-shaped whole in the music scene today and Frontier(s) are more than qualified to fill it.

This band’s soaring melodies and inimitable ability to encompass darkness and light with a searing guitar riff followed by an expanse of solid sound makes for an addictive sound quality which makes it hard to take debut LP ‘There Will Be No Miracles’ off the stereo. The record has an almost introverted feel, despite its melodic scope and weighty soundscapes. Its post-rock type of expansiveness sends shivers down your spine and there’s something ever so slightly more sophisticated about Frontier(s)’ approach to crafting music in comparison to Elliott. This certainly has something to do with advances in production since Elliott’s day but there is also a more worldly-wise feeling about Higdon’s lyrical and musical approach. It has been seven years after all!

Winegums

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Architects

The Here And Now
Century Media

Architects are one of those bands who appear to have had an astronomic increase in popularity over the past few months when, in fact, they’ve been plugging away , building their way up through the UK underground for a good few years. The fact that magazines such as Rock Sound and Metal Hammer are now featuring them on their covers shows just how far they have come, mind. And their latest album ‘The Here And Now’ is a demonstration of the band’s potential and scope to really hit the mainstream (as far as metal can).

Spikey edges with technical riffs and raw vocals still remain in some tracks but Architects have embraced the more melodic side of their music with open arms. Anthemic singalongs, balladesque clean vocals, toning down of riffs’ sharp edges – this is a band who are definitely making a stab at the mainstream and they may well lose some of their original fans because of this. But the fact remains that this is a great album which actually benefits from the injection of variety that comes from the inclusion of less-jagged elements which are expertly juxtaposed against the metal grit which is definitely still present.

It’s on songs like ‘Year In, Year Out/Up and Away’ (which features guest vocals from Dillinger’s Greg Puciato) that Architects’ roots in more frenetic and full-on metal stylings really shine through and it’s because they’ve stayed true to this side of their sound, at least to some extent, that the band can get away with their new-found leanings to those more radio-friendly of songs. And it seems to be getting them more and more attention as the band have seen latest single ‘ Day In, Day Out’ played by the likes of the really quite mainstream Zane Lowe and Fearne Cotton on daytime and early evening Radio 1.

Winegums

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The Game

The Game
Purp & Patron Mixtape
Free Download

The Game dropped one of the best mixtapes in a quite a while when he released Brake Lights last year and somehow, over the course of nearly 30 tracks here, he seems to have outdone himself again. As everyone waits for this new album R.E.D., the LA rapper chucked out Purp & Patron and served another reminder of why he should be considered amongst the current greats.

Going in hard from the very start, an early appearance from Weezy on Soo Woo features some nice brass samples after typical Pharrell production on the Snoop-guested In My 64. The standout track comes in the form of Taylor Gang with Wiz Khalifa this time on team-up duties over one of the best beats I’ve heard in a long, long time, by Che Vicious. Further guest spots include Rick Ross, Jim Jones, Clinton Sparks and even Big Daddy Kane, Doug E Fresh and KRS-One as The Game brings in as many of his mates as he can.

One criticism that’s always levelled at The Game is that he doesn’t really have his own style, he tends to mould himself around the guest rapper that he’s alongside, but this is what makes the new mixtape such a fun ride. He shows a playful side that we’ve never seen before on Children’s Story in a huge homage to Slick Rick and Biz Markie beat, a dimension which is as endearing as it is smile-creating.

Other standout moments include the Biggie-sampling Living Better Now, the DJ Skee mix of Black & Yellow, which has Game joining Snoop and the original MC of the tune Wiz Khalifa for Purp & Yellow, RZA’s guitar-led Heart Breaker and the Travis Barker, Lil Wayne, Swizz Beatz and Rick Ross mammoth Can A Drummer Get Some.

Whilst this is a long old ride, almost two hours worth of hip hop, it whizzes past and showcases Game’s ear for a beat and now undoubted vocal prowess. If this is anything to go by, R.E.D. is going to be one hell of an album.

Abjekt.

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Social Distortion

Social Distortion
Hard Times and Nursey Rhymes
Epitaph

Social Distortion are so popular amongst our writers that the following two reviews for their latest album were sent in. Each one had its own take on it so it would be terribly rude of us not to run both. Read two opinions below, firstly from punk aficionado Pete Craven and then a slightly extended review from the human encyclopedia of music, Alex Gosman. – Ed.

I hadn’t pre-heard any of the material from Social Distortion’s latest album, so went into it cold, straight off the bat.

An instrumental (‘Road Zombie’) opens up proceedings, and sounds great. Hallmark Social D, and the very idea of an instrumental itself is one little utilised on the long-playing format, but when done right can be used to great effect. We then slip in to the hard stuff with ‘California (Hustle and Flow)’ and it’s immediately apparent that the mood is set with an optimistic and cool confident swagger, more in line with their two early nineties albums ‘Social Distortion’ and ‘Somewhere Between Heaven and Hell’. As we push on through the 11 tracks, there’s little, if any, of the distemper that fuelled the much loved ‘White Light, White Heat, White Trash’. The Dillinger-esque homage ‘Machine Gun Blues’ is the punkest number in the pack. Take heed; if you still hang on to the lude boy sounds of old (circa; 1945) then you’d best bust out your dusty copy of ‘Mommy’s Little Monsters’ and keep your head buried in the sand, Social D in 2011 are a zillion miles from The Playpen.

I’ve closely followed this bands musical progression over the years, and the progressive direction of this (their 7th) album makes a lot of sense, as they slow burn thru a collection of songs that utilise classic Americana Rock ‘n’ Roll, set to Mike’s mournful tones, lamenting love, loss, redemption… and hope. Indeed, the album closes with Mike declaring he’s “still alive” and will be “here until the bitter end” and thus closes another chapter of this fabled Punk Survivors tale.

Pete Craven

Social Distortion – Hard Times And Nursery Rhymes by Epitaph Records

In keeping with ‘I liked their old stuff better’ mentality, there are folks out there who will tell you that Social Distortion’s 1983 debut ‘Mommy’s Little Monster’ is their finest work. Granted, ‘The Creeps’, ‘Another State Of Mind’ and the title track deservedly remain in Social D’s setlists to this day, but in terms of sound, it didn’t really help the band stand out amongst the other leading lights of late 70s/early 80’s Californian punk rock. It was on their 1990 self-titled effort that singer/songwriter/guitarist Mike Ness melded punk rock with his love of American roots music to create the signature Social D sound. If you’ve never heard ‘Story Of My Life’, ‘Ball And Chain’ or even the band’s barnstorming cover of ‘Ring Of Fire’, then you’ve got some catching up to do.

‘Hard Times & Nursery Rhymes’ is the band’s seventh album in 30-plus years, and even though Ness has long been happily settled down with his wife and kids, the old dog still has a few surprises up his sleeve. Having previously covered ‘Under My Thumb’ and ‘Backstreet Girl’, he lets his Rolling Stones influences loose on ‘California (Hustle And Flow)’ and ‘Can’t Take It With You’, both replete with soulful female backing vocals and 70’s swagger.

Quite a departure from those early days, then, but the Social Distortion of old hasn’t left the building just yet; with ‘Gimme The Sweet And Lowdown’ and ‘Machine Gun Blues’ providing the requisite high-octane guitar thrills. And it is testament to the band’s skill that their cover of Hank Williams’ ‘Alone and Forsaken’ sounds no less dark or foreboding than the original, despite its inclusion on a largely upbeat-sounding album.

It isn’t completely flawless; the overly-long ‘Bakersfield’ (complete with corny spoken-word interlude) could have done with some pruning, and the polished production does take the edge off some of the harder, faster songs. It’s a record that arguably shares as much musical territory with Ness’ country/blues-influenced solo album ‘Cheating At Solitaire’ as with previous Social D releases, and it probably won’t strike a chord with the aforementioned ‘Mommy’s Little Monster’ purists.

Overall, though, it’s a fine effort from a band who still have plenty of stories to tell, an ear for a great tune and little concern for passing musical trends. Welcome back, guys; it’s been a while.

Alex Gosman

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Erreon Lee

Erreon Lee
The Day The Game Elevated 2
Free Download

Erreon Lee won’t be a name known to most people reading this. This isn’t being said on any pretentious, we-were-here-first level, it’s just a matter of fact. The young Texan recently got signed by Wiz Khalifa to his Taylor Gang imprint and as a result a score of people have been turned onto the MC. Whether he’s known or not however, this mixtape is a great way to get into him.

A free download over at his site, the 22 track mixtape has its ups and down though the former thankfully vastly outnumber the latter. From the opening track Ignorant Shit, Lee shows his prowess over a laid back, slightly disco-infused beat before slamming down on Tear The Ground which features a deep Southern chain-gang sample on which he boldly states “I don’t need a hook on this beeeeeeeeetch”.

The standout track, Go To Hell, comes fairly only on too, with booming drums marching and skiffling hi-hats slinking along the beat as Erreon declares war on haters. Sure the subject matter might not be the most original, but the ease with which his delivery lays out the vocals is something not many rappers are able to master. The chipmunked vocal which provides the understated backbone of the track before coming to the fore in the chorus is a guaranteed winner.

There are some off moments – no-one wants to hear a remix of Bed Rock and Say Somethin’ is another Drake-a-like track skipper. But when the sunshine-in-a-bottle production of The Wrap Up and the Lady Gaga sampling [yep, you read that right and it’s GREAT] Make Her Say follow the duff tracks, it’s easy to forgive and forget.

Having Khalifa appear on a couple of tracks certainly doesn’t help either with his weed-smoking hombre killing things in his own inimitable way on Boarding Pass Remix and Superstar. Erreon Lee doesn’t come acorss over-awed or overshadowed though, which is arguably the best compliment one could give him. Similar to Wiz, this might not grab you instantly, but after a few listens you’ll be on side, no doubt about it.

Check the video for Go To Hell below and make sure to grab the mixtape, it is free after all!

Abjekt.