BROADCASTER – Joyride

Broadcaster’s digital EP Joyride is two decades too late. If you had the ability to throw a copy of this EP in a time machine and send it to some college radio station in the 1990s it would fit right into the rotation of other ’90s alt-rock acts. But this three-piece act from Long Island got their start just last year, playing mostly ’90s cover songs. Their sound is quite nostalgic for someone like myself who grew up listening to acts like Nada Surf, Pixies, and Dinosaur Jr. Even with that throwback sound, the four tracks on Joyride are quite refreshing. Musically, they have that ’90s sound pegged down perfectly. You can listen to each of these songs and see what bands really inspired Broadcaster’s sound. For example, “Atlantic Sea” has a definite Oasis sound — both in musical and vocal structure. Those stuck 15 years in the past will appreciate their sound, but those also in the now should also be highly impressed with the music these guys are pumping out.


(self-released, no address provided)

JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE – Enhanced Methods Of Questioning

Holding back no punches against the status quo (as usual), Jello Biafra is back with the second release from Jello Biafra and The Guantanamo School Of Medicine. This five-song EP comes only a few years after the release of their first full-length release, The Audacity Of Hype.


Taking aim at issues including religion (“Invasion of the Mind Snatchers”), bio weapons (“The Cells That Will Not Die”), and the effects of Post Traumatic Stress Disorder on war veterans (“Victory Stinks”), the formula of Biafra’s iconic and infamous vocals along with the relentless punk rock onslaught of sound projected by the band provides for an rousing listen. The bass work of former Faith No More member Billy Gould drives a majority of the songs, along with the scathing lyrical content. Biafra really shines in the opening track “Dot Com Monte Carlo,” where he airs out his disgust with  his adopted hometown of San Francisco, California: “Where’s the gangs in the mission when you need em?/How ’bout some yuppie drive-bys for a change?” quips Biafra. As usual, the release comes with a Biafra-created poster-sized liner notes collage that one could look over for hours in amusement.

(Alternative Tentacles Records, PO Box 419092, San Francisco, CA 94141)

LOVE OF EVERYTHING – Sooner I Wish

Bobby Burg is the brainchild behind Love Of Everything and in this nine-minute-long EP titled Sooner I Wish, Burg teams up with drummer Matt Holland (Air Waves, Vacation) for these four new tracks.


The songs reflect Burg’s recent divorce from his wife, but listening to the upbeat and bouncy vocals, you’d never know it. The lyrics are quite scathing, though, in content. Clearly, the material here is very personal — unfortunately there’s nothing overly intricate or really interesting about the music itself on this EP. The album was recorded live with a loop pedal and no overdubs besides Burg’s vocals, leaving little room for complexity and improvisational.

In the few times I’ve listened to this album, there’s a glaringly obvious feel that the effort was thrown together in a rush (maybe that was done on purpose?). The bass guitar on the opening track “Three Way Answers” really distorts the sound of the song, causing me to check my bass levels on my stereo on the first listen. I will admit that the catchy feel of the songs started to become infectious by the third or fourth listen, but not enough to change my opinions on this album.

Sooner I Wish is undoubtedly a work of personal reflection about the heartbreaks of a marriage gone wrong. While the lyrics tell of that pain, the music does not. It’s too catchy and, dare I say, “indie.” Or maybe I just can’t dig this kind of music.

(Polyvinyl Records, 206 N. Randolph Street, Suite M100, Champaign, IL 61820)

BRIDGE AND TUNNEL – Rebuilding Year

Melodic yet chaotic — Bridge and Tunnel balance the musical scales with their latest release Rebuilding Year. This collection of 10 songs run the gamut of musical expressions from one end of the spectrum to the other.


The album starts with steady paced and straight forward cut “Synchronized Swimming.” The melodic side of Bridge and Tunnel’s sound really comes out in this opening track, with its pedal and reverb effected guitars and spacy vocals. The opening track is followed up by “Harder Pill To Swallow,” another melodic track with a bit of a harder edge to the vocals. By the third cut, “Outgrowing Pains,” you’re bombarded by a faster paced track with the harshest vocals so far on the album.

Interestingly, there are breaks in this track that bring back that more mellow sound. This pretty much sums up Rebuilding Year’s feel, a delicate balance between melodic indie rock sounds and a hard edge screamo vibe. One of the more memorable cuts from this album has to be “Hands,” with guitarist and vocalist Rachel Rubino highlighting her softer and more melodic vocal range. This album really mixes it up –not predictable whatsoever. Great mix of various styles of music, all mixed and balanced nicely to end up with a really impressive effort.

(No Idea Records, PO Box 14636, Gainesville, FL 32604)

SEAWEED – Service Deck/The Weight

We’re taking this back to the 1990s with this one, ladies and gentlemen. You might have caught their video for the song “Kid Candy” on “Beavis and Butt-Head.” Maybe you’ve heard their cover of Fleetwood Mac’s “Go Your Own Way” in the Kevin Smith film Clerks. Tacoma, Washington’s Seaweed were quite active in the ’90s and fell off into obscurity — that is, until now. This two-song seven inch features the reformed band, including original vocalist Aaron Stauffer and guitarists Clint Werner and Wade Neal. Both songs pick up where the band left off with their mix of punk rock and grunge. “Service Deck” is full of catchy guitar licks and a addictive driving beat, while “The Weight” spotlights the drumming of Jesse Fox. Newer (and younger) fans, along with longtime fans should enjoy this small sample of the newly reformed Seaweed.


(No Idea Records, PO Box 14636, Gainesville, FL 32604)

SCREAM – Complete Control Sessions

When I was filling my diapers back in 1981, the Stahl brothers were forming one of the foundational hardcore punk bands to come out of the northern Virginia/Washington, DC area. Their debut album, Still Screaming, became the first full-length albums released on Ian MacKaye‘s Dischord Records. It was later in the decade that a 17-year old drummer by the name of Dave Grohl lied his way into vacant drumming spot in the band (he said he was 20) and would go on to play drums on the band’s last two albums in the late ’80s and early ’90s.

Now, 18 years after their last album, Fumble, Scream’s original lineup have reunited and released the EP Complete Control Sessions. While Mr. Foo Fighter himself Dave Grohl is not featured on this album, he did offer up his recording studio for the album’s creation.

The seven-song EP continues the band’s artistic progression, from their hardcore beginnings, to the post-hardcore sounds of their last album. “Stopwatch” opens the album with a catchy feel and strong back-beat and leads into another straightforward cut featuring group vocals called “Get Free.”

“Jammin at 606” (“606″ referring to the name of Grohl’s recording studio) is a straight throw-back to the roots of this band. It’s fast, loud, and raw. “The Year Bald Headed Singers Were In,” oddly enough, has a Nomeansno feel (as Nomeansno’s Rob Wright is known to dawn a bald head here and there), although I’m pretty sure Rob didn’t inspire the lyrics to the song.

For only reuniting a few years ago, they sound quite tight, and Peter Stahl’s voice is still in good shape. Not bad for taking an 18-year break.

(Side One Dummy Records, 1944 N. Cahuenga Blvd., Los Angeles, CA 90068)