Category Archives: Albums

Jacob T Skeen — Death, Thou Shalt Die

Jacob T Skeen

Death Thou Shall Die

Self-Released

Release:  April 6, 2020

From beneath the murky smog enveloping the now empty streets of Salt Lake City comes the haunting sounds of Jacob T Skeen.  As a one man band, Jacob T Skeen blends swampy blues induced garage rock with heaviness of metal into distorted doom-like concoction of psychedelia. Listening to his new record Death, Thou Shalt Die is akin to hearing music transmitted from the airwaves of the damned. It’s an intoxicating sensation, as though one is hearing the long lost preaching of the lord of the underworld them-self.

Listeners of this record ought to be warned that it is not uncommon to feel a staggering malevolence, as though the cold hand of death has drifted over your heart and into your soul.  The first track, “Elizabeth Felt Payne” captures this essence by luring the unwary listening into the depths of the demented. It’s defined by the wailing razor sharp riffs and Skeen’s booming vocals. This is distorted doom blues at its finest.

The second track, “When They Lay Me Down,” follows along with the previous song’s musical style.  This song carries a sound that lures the eager listener into voodoo-like trance. This is due to Skeen’s hypnotic vocals and freight train heavy beat. Not only that, but there is something delightfully primitive about this track that captures the raw energy of delightfully sinful garage rock.  This is the track that was meant to invite the dead back from the grave. 

 The third track, “Working Ministry Blues, is by contrast slower in tempo and much heavier in tone. This is the kind of tune that ought to envelop the mind and cause it to drift away with certain madness. With “Working Ministry Blues,” Skeen shows that he can capture the one’s wayward mind under his signature rock n’ roll spell. This is helped along with the introduction of an organ to give this track a being in a Sunday service-like feel. 

“Mourn with those that Mourn” carries on with the same kind of heaviness as “Working Ministry Blues.” Produced with a brain bashing beat, this song boasts definable dread. It’s the perfect music for recently dead. This is music to feel the dread and empty totality of death with.

 “Desolate Home” has some of the similarities of the former tracks. However, this song produces an infectious instrumental swagger. Vocally, Skeen sings as through he is drowning with the devils juice in his lungs. The effect is disturbing. So, naturally it’s perfect for the demented bluesy garage rock that Skeen is known for.

Other tracks like “Storehouse of Souls” are upbeat and rock n’ rolling. This is the music to stomp your feet and jump around to. Stylistically, it’s in line with Bloodshot Bill’s contemporary brand of rockabilly raucous.

The track that stands out on this album is “Ecclesiasticus 21:10.” This song retains Skeen’s demonic vocals. The difference though, is the very metal influenced instrumentals.  Cue some Black Sabbath with some swampland-like sound and you’ve got “Ecclesiasticus 21:10.”

Waste no time on this record. Be sure to pick up Death Thou, Shalt Die wherever available . This is an album of fine gothic scripture and sermon-esque reverence. This new record betrays a psychedelic sound unlike anything else currently reverberating in the city of salt. This kind of rock n’ roll testament is exercised similarly by the likes of Reverend Beat-Man, Bloodshot Bill, and even Daddy Longlegs.  Fans of these artists will find Death, Thou Shalt Die is the much needed deliverance molding apocalyptic notions with an appealingly wicked nature.  Now, go forth and dig this tunes.

Faz Waltz — Grown Up Guy / C’mon Liar 7″

Faz Waltz

Grown Up Guy

Spaghetty Town Records

Street: February 24, 2020

Faz Waltz blast back through the airwaves with their new Grown Up Guy / C’mon Liar single.  If you like power-pop driven glam with rebel flare, then this single is for you.  Fans of Faz Waltz will be thrilled to find that this record continues to show off their killer 1970’s inspired glam rock style—particularly in the vein of Queen, T-Rex and Ziggy Stardust-era sounds.  Grown Up Guy also boldly celebrates their familiar themes of rock n’ roll is here whether you like it or not. This, like former releases, is done with boasting bovver rock roots with a defiant proto-punk attitude.

This single single starts off strong. The A-side’s “Grown Up Guy” is song about empowerment in an ever increasingly hostile world where the right to exist is challenged by society and government alike. This a killer rock n’ roll track. This blends punk and contemporary glam rock, but with a nostalgic and punchy feel.  It’s the kind of music that makes you feel good, but is ultimately a song meant for the rebel at heart.   

The B-side’s “C’Mon Liar” is a real banger. This track is about being aware of who are your real friends and who the fakes are hanging around. “C’mon Liar” is antagonistic rock n’ roll with a catchy chorus that is easy to bounce about to. It falls stylistically in line with junkshop legends like The Jook and Hello. This songs theme unapologetically pulls no punches and also finds itself with a definable early 1970’s proto-punky attitude, but with certain pop sensibilities.  No doubt  it’s the kind of music that glam punk is all about.

With over ten years of material and performances behind them, Faz Waltz iconolcast rock n’ roll anthems remain relevant and have yet to disappoint. If this single is any indication of what their next album Rebel Kicks is going to be like, then it looks like it’ll be worth picking up.

This record is a must have for fans of Faz Waltz and more importantly of glam rock. Those not yet familiar with this groups discography can definitely start here, but should then dig into their previously released albums. Like this single, there are many gems to check out.

However, the first thing to do is to get this record and play it for your mates.  This is the good stuff, and as history has shown with Faz Waltz, you won’t be led astray.

Fast Eddy — Toofer One 7″

Fast Eddy

Toofer One

Spaghetty Town Records

Released 09/12/2019

Hailing from Denver, Colorado, Fast Eddy’s take on rock n’ roll with something meant for the fast and furious. They are comprised of members of Denver’s notable acts, such as Dirty Few and Itchy O. Their release of the Toofer One EP is a special treat that touches on a nostalgic sense of style. It’s the kind of stuff that harkens on sounds emanating from a 1970’s power pop driven classic rock n’ roll sound.

Fast Eddy’s Toofer One EP starts out strong with “Hurricane Alley.” This number emphasizes a nod toward 70’s classic rock through its rolling mid-tempo beat. Overall, it’s a slick and groovy number. It’s short and sweet, but entertaining.

The second track, “Milwaukee” starts off with a jumping beat and carries on with a bit more vocal depth. It’s a kind of nostalgic song with a strong build up to a chorus that is easy to follow. Under the right influence, listening and singing along to “Milwaukee” should inspire one to get out their zippo, light one up and exhibit some kumbaya feels.

The B-side of the Toofer One EP boasts the real charm.  The track is called “Lost.” It’s the track that shows how fast Fast Eddy can really go. Starting off, “Lost” shocks and awes it’s listeners with razor sharp riffs.  With “Lost,” Fast Eddy wastes little time in enveloping those who spin this record in a frantic notions of blitz-fast rock n’ roll. It’s probably meant to be played loud enough to invoke public citation warnings from the local goon squad. 

Fast Eddy’s Toofer One EP is solid for those who want sounds evolving past the simplicity of wild rock n’ roll. This record was produced by Dan Dixton and Tuk Smith (Biters) in Atlanta, Georgia.  Out of the three tracks, the B-Side’s fast and raucous “Lost” is my favorite. That being said, this is the kind of record that may grow on you after a few listens. When playing Fast Eddy for your mates, start with “Lost.” You might blow away expectations and then lull friends or foes to the infectious songs on this records A-side.

Suicide Generation — Prisoner of Love 7″

Suicide Generation

Prisoner of Love

Dirty Water Records/ Spaghetty Town Records

Released: 10/11/2019

To those not already familiar with Suicide Generation, there should be warning label on their records. These cats come out of the back alleys of London and in their wake is sonic whirlwind of chaos and destruction. They produce a sound that demands a nod to Detroit’s own The Stooges, but with a sonic flair that is ultimately their own. The results are arguably brain-splitting. Not surprisingly then that their new single Prisoner Of Love follows directly in line with this notion.

The title track “Prisoner Of Love” holds back nothing.Upon listening to this track, one can almost feel the unbridled nature of Suicide Generation blasting through their speakers. It’s a vicious assault of ear-piercing garage punk. If one has been lucky enough to survive one of their shows, then hear this shredding mess ought to bring back fond memories of a live performance.  So, beware.

On the B-side of this EP are two tracks boasting of primitive rock n’ roll. The first track “Shitty In The City” harkens toward the raw style of 1970’s punk. It’s kind of along the likes of The Stukas or Johnny and the Self Abusers.  If it wasn’t a contemporary song, it’d be surprising that “Shitty In The City” wouldn’t be found on a Killed By Death Compilation.

The other track “Rotten Mind” follows in the somewhere in between “Prisoner Of Love”  and “Shitty In The City.” It’s a rapid fire punk number that holds no prisoners and is over almost as soon as it begins. Under the right elicit conditions, this track ought to inspire thrashing out of control.  For the uninitiated and delicate “Rotten Mind” is an essential concoction of primal punk rock.

Suicide Generation’s Prisoner Of Love single shows remarkable promise.  It’s a record that demonstrates their ability to be tight while still remaining as unbridled and savage as ever. Barring the ability to seem them live, having the volume peaking in the red will give listeners a glance into what it’s like to witness the ferocity of Suicide Generation’s live act—as well as some hearing loss. For that simple reason, check out Prisoner Of Love. It’s not to be overlooked, especially by any self-styled rock n’ roll degenerate.

Fore more, check out their Bandcamp!

Daddy Long Legs–Lowdown Ways

Daddy Long Legs

Lowdown Ways

Released: May 10,2019

Yep Roc Records

Daddy Long Legs are a band worth catching live. If not able to see perform, then getting their record is the next best thing. Their new album, Lowdown Ways is not to be missed. It ain’t no cheap burger joint rock n’ roll diddy. Rather, it’s a record that captures Daddy Long Legs superior ability to meld wild pub rock with Delta-styled blues that invigorates the soul with sinful thoughts of whiskey and wine.

Overall this record demonstrates certain level of wild brilliance and charm.  Daddy Long Legs boasts powerful pub rock n’ roll by invoking nods to the greats like Eddy and The Hot Rods, but really channel the living spirit of Dr. Feelgood during the Wilko Johnson years. This is evident by vocalist Brian Hurd’s rough, whiskey soaked voice and mannerisms that bring forth a fondness for the late rock n’ roll gentleman Lee Brillaux.

Low Down Ways starts off strong with “Theme From Daddy Long Legs.” It’s a harmonica bluesy number with a kind of southern gospel feel to it. As if praising the long lost gods of rock n’ roll, Hurd delivers a fiery sermon for his listeners.

The second number “Pink Lemonade.” This  is the tune that ought to be the  staring single of this album. It’s got a heavy fuzz feel with a kind of primitive garage sound. It kind of reminds me of being in the vein of Dr. Feelgood’s “Sneakin’ Suspicion,” but more rough and swampy.  

The track like “Glad Rag Ball” gives off an old timey party feel. This is the song to play loud while induced by a little inhibition, all the while jumping about.  It’s got jumping pub rock riffs, wailing harmonica and a stomping beat. ”Glad Rag Ball” is perfect for starting any party.

A similar notion can be said for “Mornin’ Noon and Nite” and “Bad Neighborhood.” Hurd’s wailing gritty vocals along with it’s punchy beat define these songs.  His passionate style breaks through the shackles of the mundane and deliver something uniquely raw.

Lowdown Ways is a perfect album to play alongside the greats of pub rock. It’s raucous rock n’ roll played out with suburb simplicity.  Daddy Long Legs really own a skill reserved reminiscent of the likes of Reverend Beat-Man, The Pretty Things, Jacob T. Skeen and of course the previously mentioned Dr. Feelgood.

One can easily feel nostalgic with the contents of their record collection.  It’s important to note that Lowdown Ways though isn’t just some throwaway wannabe retro record. This is rock n’ roll that carries forth a definitive legacy that not only excites but also mystifies it’s listener with sounds that nostalgic but fresh for this day and age.

If you’ve managed to see Daddy Long Legs live, then you’ve been blessed by the living breathing preachers of music with roots immersed in excellence. If you’ve got their record, then you are lucky enough to have the next best thing. Be sure to play loud and without caution.

Los Pepes – Postive Negative

Los Pepes

Positive Negative

Spaghetty Town Records

Released: 03/26/2019

Los Pepes boast an impressive lineup. They are Ben Primier (Vocals, Guitar), Gui Rujao (guitar, vocals), Seisuke Nakagawa (Bass, Vocals), Kris Kowalski (Drums) with Adam Smith of Newtown Neurotics (performing live Bass.) Their new album “Positive Negative” is a brilliant record. It’s grooves are filled with sonic splitting power pop infused with rapid punk rock.

This record celebrates the natural union between the invigorating sounds of sounds of punk and speedy power pop. Los Pepes style reflects a familiar fury that is akin to bands like The Briefs or Sharp Objects.   It also invokes nostalgia for high voltage punk for lovers of The Boys, Motorhead or even Miscalculations.

 Positive Negative lives up to the legend of Los Pepes rambunctious nature. This record is filled with hit after hit. Positive Negative is music that captivates with an awe inspiring delivery. When the needle drops on the this record, the result is to immediately succumb to sudden spasmastic shakes and shivers.

 Such spasms result to jumping about as if being electrified back into the land of the living— like a rabid pogoing madman.  No doubt this is a certain result if the right amount of electrified intensity is induced due to high velocity punk rock ,and a maybe few ales. 

This is evident in the first track “Still Belong To Me.” It’s fast and wild and professes a desperate need to kick in the T.V in kind of sound. “Still Belong To Me” wastes no time in simple pleasantries. Rather it’s a tune that blasts the listen clear into the next week. It’s solid opening track.

Personally, my favorite track on Positive Negative is “We Need It.” This is the kind of tune that starts with a strong build up and wallops off with a packing punch. Think of it as cousin to Sharp Objects “Misspent Youth,” but less snotty and a bit tighter. Other tracks in this vein are “Think Back” and “Your Justice.”  Some other honorable mentions for immediate consideration include “Let Me Tell You Something” and “Frustration.”

 Not acquiring this album would not only be a mistake, but a betrayal of crucial judgment.  This record ought to be put on your turntable and blasted from start to finish with the help of some liquid courage inducing vibrancy.  If not for you, then do it for the neighbor’s sake.  To do anything less may deprive those in close proximity of a vital headache, or inspiration. After all, we need something wild and electric like Los Pepes “Positive Negative” for our bleeding ears and soul.  

Jordan Jones – “Self-Titled”

Jordan Jones

“Self-Titled”

Spaghetty Town Records

Released 08/02/2019

Jordan Jone’s debut release is a power pop masterpiece.  Within this records grooves are sounds begging, if not demanding to be heard. It’s the kind of music that flawlessly delivers a certain calm and charming sound sound that blends a kind of nostalgic sense for early 2000’s style of power pop rock n’ roll. This is due to Jones’ unique style that invokes The Booze twisting with the power pop delivery of the Biters, but channeling the romanticism of The Speedways

This invocation of power pop is clearly demonstrated in the opening track “Wrote You A Song For Me.” It’s a harmonious track that blends notions of hopeless romantic notions of youthful yearnings. It’s the tune that perfectly welcomes in the the records listener and keep them hooked.

Digging deeper into this record Jones reveals music that meant to tug at one’s heart strings.  This is the case with tracks like “My Somebody,” or the mellow “How to Be” and “Be My Baby.” These are familiar themes that largely characterize this album. That being said, Jones’ isn’t redundant in his delivery, and manages to leave a sound that lingers on.

My personal favorite track is “Rumours Girls.” It’s a tune that starts out with a punch and doesn’t quite get bogged down about being a hopeless romantic. Instead it takes a shot at rock ‘ n roll scenesters  emphasis on blind nostalgic romanticism for the culture of the 1970’s. This is pointed out when Jones sings about the folly of needing to look a certain way to fit in.

While the song   pokes at the material imagery, there is some betraying a sense of self-deprecation when Jones sings of his own appreciation for the retro style. Overall, it shows Jone’s ability to move beyond the trappings of romantic power pop with the touchings of social awareness.

This all being said, Jordan Jones is record is certainly near the top of the list of vital contemporary artists to be heard.  For me this record blends the subdued groovyness that gives power pop it’s rock n’ roll zesty flavor. It is a sounds boasting brilliance with a composition meant to be nothing less that welcoming to the ears.  

Furthermore, It would be amiss not to suggest that Jones debut album is among those who help inspire a much needed revival for power pop for this day and age. Other contemporaries in that realm are Fashionism’sSmash Singles LP” and The Speedways “Another Regular Summer.” To be sure though, Jordan Jones has something more attune to 70’s power pop rock n’ roll than it’s angsty punker sounding cousins.

That doesn’t mean it’s any less worth hearing, though. So, be sure to go out to your local record shop and pick this up. Jordan Jones is a diamond in the rough and truly deserves to be heard.

The Jackets: Queen of the Pill


The Jackets
Queen of the Pill
Voodoo Rhythm Records
June 14, 2019

At long last The Jackets have released their fourth album, Queen of the Pill. It’s a brilliant record that shows off the logical evolution of the sound that made Way Out and Shadow of Sound great.

Queen of the Pill boasts the raw snarl of the fuzzed out garage-punk found in Way Out and combines it with Shadow of Sound’s refined freakbeat influenced garage-psych style. However, what sets Queen of the Pill apart from the previous records is The Stooges-esque proto-punk attitude twisting with elements of King Khan & The BBQ Show’s style, which should come as no surprise since King Khan was involved in this record’s production.

Check Out the full album review published by Heatwave Magazine!!

The Woolly Bushmen- In Shambles

The Woolly Bushmen
In Shambles
Pig Baby Records
Street: 05.10.2019

The Woolly Bushmen’s sophomore album is a worthy successor to their first record Ardinu. Not only that, but this album could very much stand on it’s own.  In Shambles carries on with The Woolly Bushmen’s signature blues-meets-garage style, but with the distinctive fiery sermonizing  sounds of passion driven rock n’ roll.  It’s varying styles not only entice, but instill a kind of wanderlust for vintage rock n’ roll with a indie influenced bluesy twist.

For this reason, this record  can only be heard properly in a vinyl format. This is because as the needle drops into it’s grooves a certain holy light is brought to life as orchestral sounds emanate through one’s speakers.  The first track “What Your Doing To Me” grabs a hold of it’s listener and installs a sense of wild romantic abandonment. This notion is alive and well in the tracks “Paid,” and “Goin Out West.” All of which boast ‘50’s rock n’ roll simplicity with blues-driven grit. With this one could think of a  mix of the energy found in The Black Lips infused within the spirit of Little Richard and Willie “Mae” Thornton.

“Let It Be Known” blasts  radical fuzz-doused sounds invoking a nod toward Reverend Beatman. It’s a song that immediately holds one’s attention. The theme is calling out someone in a social setting and if I were on the receiving end, the hairs on my neck be at attention. This track is easily my favorite for it’s 1960’s fuzz-garage overtones and wild nature. Plus, it’s got elements of teenage-punk angst, but with a certain modern flair.

Other tracks that share these sensibilities include “Dense” and “I Pushed You.” They are bouncy tunes to bop to.  The main difference is with “Dense” which has a discernable orchestral flair thanks to the church-like organ. “Dense” is their magnum opus. It’s a track celebrating the vocal depth of Sheldon Herschfeld and tight composition of the band as a whole.

“Weeping Eyes” is quite the departure from the previous tracks. It’s a low tempo ballad and it shows some range for the Woolly Bushmen. Another similar tune is “Fire Tonight.” This one is a R&B ballad with definable depth.  It’s a track that highlights the story of a homeless man and his struggles to survive.  This track particularly shows off The Woolly Bushmen’s ability to create provocative mood that backs up Herschfeld impressive vocals.

In Shambles was recorded in Los Angles by Josiah Mazzaschi and in Orlando, Florida at Complete Shambles Recording Laboratory with Simon Palombi.  Overall, this record emphasizes The Woolly Bushmen’s ability to blend different styles and genres with a unique brilliance.

Those who dug their first record will find familiarity with this album. In Shambles has a ballads, fuzz garage and of course rock n’ roll.  In Shambles also shows of the emotive range of Herschfeld, which combined with the tightness of the band, hits close to perfection.  This is a record for lovers of  infectious vintage sounds and for those looking for something delightfully new. The Woolly Bushmen knock it out of the park again. Congrats lads. Now go buy this record.

Pale Lips— After Dark

Pale Lips have finally released their sophomore album After Dark. This is a record boasting the infectious nature of power pop while sprinkling heavy doses of bubble gum sensibilities. Those not familiar with Pale Lips will find a kind of familiarity in their style with their previous work. They brilliantly capture the vibrant, playful essence that defined The Baby Shakes, but with the rock n’ roll, switchblade sister elements that invigorated Nikki and The Corvettes or even The Donnas— just not with the same spit and vinegar.  They also evoke a sugar and spice that invokes a slight nod toward Peach Kelly Pop.

After Dark is an overall a fun listen that is akin to a sugar rush emboldened by cotton candy dreams and poppy overtones. It’s a record that suggests that Pale Lips are an act to catch live. They are no doubt playful and tight. This is best characterized by the opening track “Some Sort Of Rock n’Roll” It’s a solid banger that combines rock n’ roll themes with power poppy blends of punky defiance .

The next track “I’m A Witch” is a personal favorite because it shows off the magic Pale Lips are capable of. This track is catchy and fun, but with noticeable spunk.  It’s a kind of tune that makes one bop up and down, and hooks on with the introduction of a cackling scream and pounding drums.   Not to mention, this track has some riffs that over an obvious nod to The Sonics classic “The Witch.”

“You’re A Doll” blends Pale Lips pop-tastic nature in with themes that seek to subvert. This tune is one to fall in love with while bopping about. It’s a track that has the familiar sugary elements but with lyrical content that makes a jab at the wankery of narcissistic consumerism.  Above all though, it’s fun and bouncy tune.

“The Old Ghost Don’t Lie” shows a bit of the depth that Pale Lips are capable of. It’s a smooth tune that invokes the doo wop sound of La Luz, but with a killer power poppy drive. Plus, it’s got some soul and feeling in it that isn’t reliant on a upbeat catch.

“Cosmic Love” another that holds this characteristics. While it’s a another song about love, it’s soothing sound doesn’t pound away needlessly. Instead it’s a tune that shows off how Pale Lips are with a sound bordering on something to make one sway instead of bash about in fits. Rather, it’s the track for the hopeless romantic of the tender heart of a rock n’ roll soul.

On the B-Side “The Kids” places on the emphasis on idea of youthful fun and lustful abandonment. The same notion can be found in “Johnny” or Doo-Wop Showaddywaddy.” Overall the After Dark presents it’s listeners with infectious tunes that embody the playful essence of the rock n’ roll ethos in a fully snarky matter that is worthy of Switchblade Sisters styleism mixed in with something delightfully cheeky.  For best effect, place this this record on the turntable during a soda pop sugar rush. As you bounce from wall to wall in giddy excitement, you’ll be glad you did.