Titus Andronicus at the Jackpot

Titus Andronicus

Titus Andronicus


Looking back on Tuesday night’s Titus Andronicus show at the Jackpot, nonthing from the band really stands out. It’s really unfortunate, but when I try and think back to the group’s performance, I only recall quite a few guitars all going at once. If I try and recall a particular song, the only thing that comes to mind is Japandroids’ “The House That Heaven Built.” Continue reading

Barry Brusseau, “The Royal Violent Birds” LP

cover-royal-violent-birdsBarry Brusseau‘s new album, The Royal Violent Birds arrived at Rock Star Journalist headquarters with perfect timing. It’s gorgeous, both to look at and to listen to, and the sounds that come out of the speakers are perfectly suited for these late fall days. It’s perfect hoodie weather in the afternoon, and as the sun goes down and the evening rolls on, the temperature dips, and you want to curl up on the couch with some hot cocoa and music that reflects the season.

According to something posted on Brusseau’s website back in October, he “stayed analog all the way through for a pure vinyl experience,” with The Royal Violent Birds mastered specifically for vinyl. It sounds so warm, so inviting. The first time I dropped the needle on this record, I was amazed at the qualities that came through. You can hear the quaver in Brusseau’s voice, like he’s maybe hidden behind the stereo, singing in the living room, rather than a recorded voice vibrating a speaker cone.
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The Dead Girls at the Jackpot

The Dead Girls

The Dead Girls


Saturday night was the fourth time I’ve been at the Jackpot in about two weeks. It’s been a non-stop parade of rock ‘n’ roll bands taking their stage, and this weekend’s show was no exception. Rather than garage or punk, though, this was a trio of powerfully poppy rock bands, bringing power chords and hooky riffs to the folks who crowded near the stage.
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New Peach Kelli Pop LP on Bachelor

cover-peach-kelli-popIf you’ve not had the opportunity to track down a copy of Peach Kelli Pop‘s debut LP, now might be the time to do so. That self-title release was original put out by a record label out of Ottawa (yes, Canada) called Going GaGa, then repressed by Infinity Cat Records, and I still can’t find a fucking copy to save my life. It’s a popular record amongst people who like their rock ‘n’ roll poppy and lo-fi. “Do the Eggroll” and “Knockout” are simple, fun, dance-party numbers perfect to get people bopping about your living room.
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Dropkick Murphys at the Uptown

Dropkick Murphys

Dropkick Murphys


Every band last night had their vocals completely buried in the mix. Muddy, murky, and incomprehensible was pretty much the game for the entire night. When you’re dealing with the high, clear vocals of someone like openers Teenage Bottlerocket, it’s not so much an issue, but when you’ve got Al Barr’s rough, gruff singing for Dropkick Murphys, it becomes a problem. Barr’s voice is pretty iffy, even under the best of circumstances, but under these conditions, it was a guttural, incomprehensible blur for the first 30 minutes of the band’s set.
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The Pharmacy, “Stoned & Alone” LP

cover-stoned-and-alone-pharmacyEvery so often, an act writes a song so good, they’ll spend the rest of there career being judged by it. Think “Big Country” by Big Country — a song so superlative, so perfect, that nothing else — no matter how good — would ever measure up to it. Such is the case with the Pharmacy, whose “Dig Your Grave” has seen more play in the Nuthouse this year than any other song.

The single on which that song appeared, and from which it drew its name, came out earlier this year, and pretty much secured its position as my favorite thing to come out in 2012, with the EP-ending track, “Burn All Yr Bridges” coming in a close second as my favorite song for the better part of six months.
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The Atom Age at the Jackpot

The Atom Age

The Atom Age


Far be it from me to deal in superlatives, but I think the Atom Age might be one of the finest live bands currently on the road. As I’ve stated before, they work in a territory that’s pretty narrow — as a “rock band with horns,” they’re going to get lumped in with the likes of Rocket From the Crypt pretty often. Still, it’s not like there have been too many acts to have mined that particular vein. You’ve got the Sonics, Rocket From the Crypt, Cougars, and maybe a couple of tracks from the Meices.
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Police Teeth, “Police Teeth” LP

cover-police-teethJust the other day, CKY’s “96 Quite Bitter Beings” popped into my head, appropo of nothing, and I started wondering if there were any songs out there with that over-processed guitar sound that didn’t have irritating vocals and lyrics. Two days later — boom, Police Teeth‘s self-titled LP shows up in my inbox, and the very first track, “Bellingham Media Blackout,” brings that stomping, processed tone, but sans any of the irritating qualities that mar CKY’s tune.

And you know how annoyed I was at Ampersands’ overly-separated, clean tones last week? Police Teeth have clean production, but in the right way. It’s the manner by which you do it, really. Rather than having everything isolated, it’s this rich combination of sonic elements. Every instrument on Police Teeth is distinct, but not isolated.
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Gentleman Jesse & His Men at the Jackpot

Gentleman Jesse

Gentleman Jesse


Every time I see Gentleman Jesse & His Men, it’s a clinic in pure power-pop. The man’s songs are perfect three-minute encapsulations of everything that’s punchy and catchy. I’m pretty sure the charlie horse I’m currently trying to work out of my right calf is the result of tapping my toes for the entirety of the band’s set last night.
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So Cow / Squarehead, “Out of Season” split LP

cover-squarehead-so-cowWhen I went to NYC for CMJ a couple weeks back, I was excited to see a bunch of bands because — well, it’s fucking CMJ. Most of the Lower East Side clubs become beacons for badge-wearing college students and industry flack, all trying to find the hottest, hippest sounds. Personally, I take trips to conferences like CMJ and SXSW as a way to see acts I’m desperately in love with, yet have minimal faith in ever seeing live within a reasonable drive of my home.

One of the bands I went to see was one that had toured through Lawrence last year as opener for Ted Leo: Dublin’s So Cow. I went to see them play as part of a NME showcase in the basement of the Cake Shop. Brian Kelly and his drummer were touring without their bass player, Jonny White, who was not able to make it across the Atlantic due to family issues. They were fantastic, and even without bass (aside from occasional guests), songs like “I Hardly Know You” and “Barry Richardson” were stellar.
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