Say what you will about the old “don’t judge a book by its cover” metaphor, but it’s got some credence in the music world too. The Sands’ Hotel & Casino is a case in point. The black vinyl sleeve may have suggested something darker, but the simplicity and attention to precision that marks the cover is befitting of the record inside. The DIY stamp (again, metaphorical) is also quite clear. Like it or not, that first impression matters when you get an unsolicited record in the mail.The Sands call Bloomington, IN home and play a loud version of classic power pop. The songs are traditional structure with a lot of backing vocals that accessorize without turning to gang sing-alongs or whoa-ohs, instead just picking up a note here and there to spice up the song where the energy can use a little extra something—and that isn’t very frequent. The band’s identity comes in their ability to fill those energetic lulls in the familiar song structures with a snazzy or rollicking guitar lick, a big distorted bass, or some punchy drum fills. While the genre is power pop, they turn it up to 11 frequently. There are times I find myself … Read more
Total Funeral is the entire anthology-to-date of Electric Funeral, the one-man Swedish raw punk hobbyhorse manned by Jocke D-Takt. And … Read more
Though the band is not doing anything that the typical punk rock fan wouldn’t have heard dozens of times before, … Read more
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It was just a couple of years back when Corrections House were putting out their debut album, Last City Zero. Comprised of veterans in extreme and experimental music, including Scott Kelly, Bruce Lamont, Sanford Parker and Mike IX Williams, the band ventures forth into the realm of electro-industrial, encompassing elements of metal and noise in the way to reaching their dystopian vision. The concepts of Corrections House originate from Parker's loops and beat generation, with Kelly and Lamont adding on the heavy riffs and sax and Williams topping it all off with his sickening concepts. In terms of comparison with their debut album, Know How To Carry A Whip comes across as a more complete record, more well-rounded and cohesive. The structures are more dense, the underlying themes come across … Read more
Coming to prominence in 2011 on the strength of the almost unanimously praised debut LP Meet Me at Muster Station, PS I Love You (made up of guitarist/vocalist Paul Saulnier and drummer Benjamin Nelson) popped up at precisely the right time to take advantage of a music community all too willing to embrace an unconventional indie rock duo. Though the … Read more
At one point during Kids Like You & Me, the documentary chronicling Atlanta "flower-punks" the Black Lips' 2012 tour through the Middle East, drummer Joe Bradley remarks that it would be easy for the band to go out and book a tour in North America or even Europe really since the band already has a developed audience there. However, for … Read more
Low Forms self-titled 7” is a six minute blast of power-pop defined by clean guitars, rhythmic chops, and traditional format rock ’n’ roll. While it’s not reinventing anything, it’s a solid homage to a timeless style with a nice build-up from opening verse to close, milking the verse-chorus-verse structure to increase urgency as the song progresses without succumbing to dumbed … Read more
This black metal act from Louisiana continues to spread destruction and devastation. Barghest released their debut album back in 2011, unleashing an echoing shout of misanthropy and obliteration. After their self-titled album, the band put out a split EP with fellow black metal act, False, which also marked their first work for Gilead Media. So now the band carries on … Read more
White Reaper is a cool-named trio who are rubber-burning their way out of the Louisville, KY DIY scene. There’s a dude named Tony Esposito who sings and plays the guitar, and twin brothers Nick and Sam Wilkerson who play drums and bass respectively. Their self-titled debut EP will appeal to fans of Wavves, Japandroids, and Jay Reatard. Hate to drop … Read more
This drug influenced, euro-electronic laser beam, drum and bass can be very, VERY repetitive, Anxiety inducing, tough to listen to, and at times I felt like it was going to trigger a panic attack or an audible seizure.An ‘80s pop-locking, track suit wearing dance crew wouldn't touch this album that brings no emotion or anything of value to the table. … Read more
Despite a confrontational name, Versus You are every bit positive punx with songs praising friendship, relationships, and the like. It’s not that they play bubbly music countered with cynical lyrics, but they place peppy rock that’s further emphasized by sunny reflections over a gritty pop punk sound. The band is also pretty guilty of abusing the RIYL tag on a … Read more
Versus You's album Moving On is short and sweet, but not with out its flaws. It's heartbreak music at its semi finest and the simple yet meaningful lyrics and fun brand of melodic, emotional pop punk establishes itself well with the opening track “When It All Goes Down.” Don't be fooled by the opening track, there's a lot this album … Read more
Hotel Books' I'm Almost Happy Here But I Never Feel At Home is well-versed prose that at times can be a bit repetitive. Each verse has elements that are thought provoking and heartfelt which helps carry the album to make up for the repetition. The tone sets in almost immediately with the opening song, “Lose One Friend,” and quickly gets … Read more
Daniel Pujol is prolific and ever changing. The leader of Pujol continues to release records at a rapid pace, successfully switching up his backing sounds in the process. While early material was a lot more garage in style, the overall tone on Kludge is quirky and rock-based, but it ranges from sauntering slower material (“Spooky Scary”) to minimalist electropop (“Small … Read more
Moloch returns a second time for 2013 while Meth Drinker join them this time. Moloch remain relatively the same in that what they do is play a deep dark style of doom that embraces the blacker elements of the genre. New Zealand's Meth Drinker return the favor by playing something that can at one point resemble trudging doom and at … Read more
This is a record resembling Clash Of The Titans. Both Canada's Ensorcelor and England's Moloch have been lurching in the darkest reaches of the metal underground for a few years. While some bands err to the side or fluid hooks in their riffs and others slink towards creating the most noise possible, somewhere in between lie these two.On one side … Read more
Combining throbbing electronic music with scratchy and crackly noise elements, Providence, Rhode Island’s Container has been getting more and more notice in recent years. Perhaps one reason for this is the fact that musician/producer Ren Schofield (who essentially is Container) has continued to improve, pumping out almost industrial-oriented tracks using conventional techno beats even as many electronic artists have been … Read more
I became familiar with Ensemble Economique back in 2010 when they released their album Psychical, with Bryan Pyle (formerly of Starving Weirdos) combining world music with a very intriguing soundtrack type of feeling. Even though the original incarnation of the band with their fascinating influences was monumental, Ensemble Economique has crossed into darker territories. Pyle has reduced this act to … Read more
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