Another year, another list of records I listened to and enjoyed. I'll start with
the usual disclaimer, that this is simply a list of things I listened to and enjoyed
in 2015. It's in no way objective, and the rankings are how I feel now, but not
necessarily how I'll feel a week, a month or a year from now. Also keep in mind that I
haven't had a chance to listen to everything that came out this year. For example, I
hear Tenement's double LP is wonderful, but I just haven't gotten around to it yet.
The fact that it doesn't appear on this list is something you should hold against me,
not against Tenement.
You see, much of the time formerly dedicated to listening to
records is now dedicated to child care. In fact, in the last year I've spent more time
watching the various Shrek films than I have listening to new albums. There's "Shrek,"
"Shrek 2," "Shrek The Third" and "Shrek Ever After." More recently, we've also spent a
lot of time with the seasonally relevant TV spinoff, "Shrek The Halls." I hate Shrek.
I've always hated Shrek, since long before I was subjected to him over and over again.
That said, having watched hundreds of hours of Shrek this year, I've realized
something. I don't hate Shrek because he's crude and represents the decline of
children's entertainment. I hate Shrek because he reminds me of myself. He's an
unassuming, unremarkable ogre who wants little more than peace, quiet and solitude.
Yet he always ends up stumbling into some adventure that takes him far from home,
always promising that the solitude he so desires awaits at the end, yet never quite
delivering. You see, ladies, gentlemen and non-binaries, Shrek is us. We are
Shrek.
Long Things
I'm still holding my breath for Choking Victim's triumphant return. Unfortunately,
I'm starting to turn quite blue, so maybe I should just get over it and appreciate
Leftover Crack a little bit more. The band's first record in a long, long time is a
pretty solid return, and it's always nice to hear high profile bands focus more on
politics and less on partying.
I've always respected Sleater-Kinney's contributions, though I've never been a big
fan of the band. I hadn't even listened to this record until Punknewser Mark Little
twisted my arm behind my back and refused to let go until I gave it a spin. I'm glad I
did, and while I still won't listen to this regularly, the level of polish and
competence is clear, and it's nice to see the women of Sleater-Kinney returning to
show the kids how it's done.
PIL Official
I'll forgive you if you didn't pick up
This Is PIL a few years back because
you assumed it was a passionless cash grab, but by now you're probably aware that it
was anything but, and you have no excuse for not checking out PIL's latest release. It
picks up where the last one left off and proves that guys pushing 60 can still churn
out some surprisingly strong post-rock.
I wasn't quite as high on this record as others, but I'm a big fan of this band's
earlier work, and the album has certainly grown on me. Straight ahead melodic punk
with a subtle dash of goth angst that differentiates it from the rest of the pack. If
you enjoyed this record I highly recommend you start working back through Nervosas'
catalog.
Remember when there were countless pop-punk bands with names like The Something-
tons, and they all played the same kind of sophmoric but lovable music? Those days may
be gone, but Miami's Pool Party is still carrying the torch, and they balance their
worship of the classics with their own sun-baked personality. In a lot of ways,
they're like the poor man's Mean Jeans with a pinch of The Queers from back before
they started to suck.
This record is just plain fun. It's the kind of thing I'd spin while sitting on the
beach or riding down the highway with the top down, if I ever did either of those
things. Like a lot of the projects Jack Dalrymple is involved in, it's hard to find
too many flaws with ToyGuitar's debut LP.
We've always known Marissa Paternoster could shred, but unlike previous Screaming
Females LPs,
Rose Mountain is about a lot more than just killer riffs. The
songwriting is more mature and ambitious, and while the riffage is toned down a tad,
it's in service of a more cohesive sound in which the whole band stands out.
The Mountains Goats have always written great songs, but they've never really been
my thing. When I heard their new record was about a topic near and dear to my heart,
the gritty old days of territorial pro wrestling, I decided I'd give it a shot. I came
away with two observations: 1. The Mountain Goats are still not really my thing. 2.
This record is fantastic.
I don't understand why this band isn't much, much bigger. On their second LP, Wet
Nurse churns out another batch of catchy and compact pop-punk songs that are smart
rather than silly. Even better, they're fun to sing along to, but you'll never be able
to match the sublime vocal harmonies that are peppered throughout this LP.
La Vida Es Un Mus Discos
The words "creativity" and "hardcore" don't always go together, and that's
unfortunate. La Misma, though, are an exception to that rule, taking an innovative
approach to their brand of hardcore punk, especially when it comes to the guitar work.
While the fact that the lyrics are in Portuguese may be a turn off to some, the band
was kind enough to include an English lyrics sheet in the sleeve, so there's really no
excuse to avoid this.
Negativity Records
There are a lot of albums that rip, but this one RIPS. Brutal hardcore with riffs
that have been stuck in my head for months and breakdowns that might actually convince
me to enter a circle pit. There are plenty of hardcore bands out there, but few are as
competent as Night Witch. Bonus points for smart, in-your-face lyrics that don't shy
away from addressing tough topics both outside and inside the punk scene.
Dirt Cult Records
The first time I heard this record, I thought "this band must be from Portland,"
and I was right. They play that brand of dark, melancholy punk that other bands from
the Pacific Northwest, like Red Dons and Criminal Code are famous for, and they do it
really, really well. This one flew under my radar for a while, but I'm glad I took the
time to give it a listen, as it's what I'm listening to most right about now.
Certainly one of the most polarizing records of the year, Ceremony went full Joy
Division on The L-Shaped Man, accelerating the progression from their previous
full-length, Zoo. It's slow, plodding and painful, but isn't that exactly what
a break-up record should be?
This record is so cool. It's like a classic UK punk band went looking for a singer
and pulled someone out of a SoCal skate punk band circa the early '80s. If The Damned
and JFA met in a bar, had a few drinks and then went back to The Damned's place for
some consensual action, Flowers of Evil is what would be born nine months later.
Sacred Bones
I've described this record to people as punk rock in slow motion, and while I think
tha's apt, I'm not sure it fully does the record justice. In fact, I'm not sure any
description could do a record like this justice. Musically, the tempos are slow and
the tunes are pretty straightforward, but Moses Brown's pained, detached vocals add an
artsy, post-punk vibe that sets Institute apart from their contemporaries.
Lauren Denitzio's songwriting has always been personal, and here it all comes
together with an excellent group of musicians, resulting in package that's strong from
top to bottom and covers a range of emotions in the process. "Yes All Cops" might be
the political anthem of the year, too.
Taken By Surprise/Deranged
It took a couple of listens for this album to grow on me, but grow it has. It's
always impressive when a band that generally puts out shorter releases can crank out a
full-length that captures the same momentum over a longer running time. Red Dons have
done just that, and I'm already looking forward to what comes next.
Biting, in-your-face lyrics set to a heavy punk rock soundtrack, War on Women's
first full-length captures the band at their confrontational best. I don't know which
band member came up with the idea of setting YouTube comments to music, but well done,
War on Women, well done.
Night Birds made the jump to Fat for their third LP, but they haven't exactly gone
all Hollywood on us. Mutiny at Muscle Beach offers the same searing hardcore
punk we're used to from the band, and if anything, they actually kick the intensity up
a notch.
There were a few records that rocked my socks off this year, but none were as
important as Downtown Boys' debut LP. Just when you thought punk had nothing left to
say, along comes a bilingual blast that's equal parts "make you think" and "make you
dance."
Short Things
Discos MMM
Fun, classic-sounding punk rock from the LA area that you can't help but sing along
to, regardless of whether you can understand the lyrics. Gruff but catchy, and
definitely highly recommended.
I love this band, and I'm so happy they're putting out music again. This 7- inch
isn't necessarily their very best output, but it's all relative. I'm looking quite
forward to the LP that should hopefully be coming soon.
18.
Mommy:
Mommy
Toxic State
Certainly one the most interesting releases that came to my attention late in the
year, Mommy's eponymous 7-inch is an art-heavy hardcore release with lyrics that are
focused on a life spent dealing with the mental health system. The music buzzes and
drives, the vocals are anguished and the clips during and in between songs, not a
technique I always enjoy, just work.
17.
Skinny Genes:
Ugh
A second appearance from Ace, formerly of The Steinways and House Boat. Skinny
Genes is his solo project, and if you're a fan of his contributions to the
aforementioned bands, there's no reason you won't love this. I am a fan of his
contributions to the aforementioned bands and I love this.
Self-Released
The new project from Meghan O'Neill, formerly of Punch, takes a different direction
than her previous project. It's still heavy, but some of Punch's brutal edge is
replaced by a more thoughtful approach to the music and a slightly toned down vocal
delivery. Super Unision is a good example of what happens when hardcore kids grow
up.
Self-Released
Frau's first 7-inch was a sparse, tense slab of anarcho-punk that I really, really
enjoyed, so much so that it ranked seventh on this very list last year. The band's
follow-up tightens things up and leaves some of the sparseness behind. It's just as
tense, if not more so, but this time around there's a bit more going on than
before.
Canada's contribution to the small handful of worthy bands who are playing hardcore
punk inspired by '80s stalwarts like Agent Orange, No Problem followed up 2014's
Already Dead with this excellent 7-inch slab. If you're into Night Birds,
you're probably already listening to this band. If not, get with the program.
13.
Sheer Mag:
II
Self-Released
Who knew that bands still made rock n' roll just for rock n' roll's sake? Well,
Sheer Mag is that band, and this is rock n' roll at its finest. If there was any
justice, this would qualify as classic rock someday instead of the fucking Eagles.
World Gone Mad
Eerie Philadelphia hardcore that would not sound out of place soundtracking your
next Halloween party. The guitar never stops buzzing, the drums never stop pounding
and the vocals, well, they're all over the place in the best way. I can only imagine
that Blank Spell puts on a hell of a live show, too.
Discos MMM
Rata Negra plays melodic punk with a hint of darkness, and the band is fronted by
Juanita from Juanita y Los Feos. This is perhaps Spain's best recent export other than
that fancy ham that my foodie friends talk about.
Beach Impediment
Ajax's formula hasn't changed much from release to release, but there's something
to be said for consistency. In Ajax's case, that means a regular dose of heavy, meat
and potatoes riffs and vocals that sound more like they're coming from a pack of
wolves than a human being.
After breaking up and subsequently reuniting a few months later, World's Scariest
Police Chases return with another unapologetic slab of un-PC punk rock. This band has
always seemed like they're in the wrong era and would have been huge if they were
around 15 or 20 years ago. That said, I'm happy to have them now.
Bloated Kat
Grath and Ace from The Steinways and House Boat are behind another excellent pop-
punk project. The biggest difference here is the production, which is more lo-fi
garage rock than shiny pop-punk. Otherwise, it's more of the same musically and
lyrically, and that's a good thing.
Dirt Cult Records
Earth Girls' second 7-inch picks up where the first left off, with more impossibly
sugary bubblegum garage rock/pop-punk. Yes, there are a ton of bands trying to perfect
this sound, but it appears this one's already done just that.
Rebellion Records
Crown Court released two 7-inches in 2015, and The English Disease is the
superior of the two. The songs are of the more melodic sort, reminscent of bands like
Cock Sparrer and the early work of the Swingin' Utters. This beats out the band's
earlier release, Ruck N Roll simply by virtue of better production, which
brings the vocals up in the mix, and makes the band sound better for it.
Total Punk
No bullshit punk rock featuring members of Mystic Inane. Patsy certainly isn't as
out there as that band, instead focusing on a more classic sound. I hear a bit of the
much beloved Neighborhood Brats in there, so this is filling much needed hole for
me.
Katorga Works / Quality Control
Pure Disgust is a good reminder that DC hardcore still exists, and is still pretty
damn great. Musically speaking, this 7-inch has a healthy dose of punk melody to it,
and that melody is juxtaposed with smart, angry lyrics of a decidedly sociopolitical
bent. This is must-listen stuff.
La Vida Es Un Mus
So it may surprise you to know there are oi bands out there that aren't just
squeezing into ill-fitting costumes and rehashing tired tropes. Rixe is one of them,
and they're among the very best. These four tracks are tough but melodic, which is
exactly what good oi should be. This is a French band you don't want to fuck with.
Negative Jazz
In only eight minutes, Mystic Inane stumbles through three tracks that run the
gamut from methodical weirdness to straight up aggro punk, all the while sounding like
they could collapse into chaos at any moment. This release sounds like it was
literally made for me, but I don't think they planned it that way.
Self Released
Long before the jerks in Whirr inadvertently brought G.L.O.S.S. to greater
prominence, this release was rocking my stereo. Even though it came out way back in
January, it's been in regular rotation all year long, and that's a rare
accomplishment. The songs obviously rock, but the band's greatest strength is how
obvious it is that they mean what they say. It's always refreshing when a band doesn't
sound like they're just going through the motions.
