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All Eyes West – Like Lightning

A bolt of feverish riffs, angular rhythms, and melodies that cut as much as they soar



All Eyes West

Chicago alternative rock three-piece All Eyes West may not be the biggest names in guitar-heavy rock music, but three albums in and they’ve proven to be one of the genre’s most consistent, and best kept secrets. Their latest album Like Lightning is every bit a bolt of feverish riffs, angular rhythms, and melodies that cut as much as they soar. It’s true that while their self-titled 2011 debut showcased a band finding their feet, they really found this thick, guitar-heavy Jawbox sound with their 2015 album Doomer. To no surprise, Doomer was produced by J. Robbins and while he is not at the helm for this release, it’s good to know they’ve maintained that wall of riffs that hit you hard from the opening cut “As I Bleed”.

The opening cut is a strong one, but it’s no downward trajectory after that. Tracks like “Simple You” and the bass-heavy “Interference” maintain the band’s focus on organic instruments. Their sound cuts its way through alternative rock’s more recognized structures before hitting the more angular post-hardcore/rock sounds that made headway in the 1990s because of bands like Drive Like Jehu, Husker Du, and of course, Jawbox. “Interference” in particular is a grand song- frenzied, urgent, yet melodic and calculated- the kind of songs that Dave Grohl once wrote- most evidently in the Foos best outing- their debut. Aurally it sounds raw and analog, like what records used to sound like when it was just musicians, their instruments, and a studio (whether it was actually recorded like that is beside the point because it SOUNDS like that). “Too Alive” is a blast; unrelenting and unforgiving with its choral refrain of “tell me how to feel” backed by this distorted grace.

There are elements of Superdrag through Like Lightning too- and not “Sucked Out” Superdrag, but their less radio-friendly material they showcased in In the Valley of the Dying Stars. Songs like the slower burning “Dream of a Nightmare” and the terrific, breezier “Chasing Light”, show the album’s depth. It’s this consistency that should really appeal to those looking for an undeniably good rock record. It may not have the dizzying heights you may find in a song like (Hum’s) “Stars”, but there are no real low points to Like Lightning either. It’s loud, it’s thick, and sounds like how any good record should.

(Jump Start Records)


The Ritualists – Painted People

The Ritualists play some determined, strong-willed music




After listening to Painted People by The Ritualists, I was very surprised to learn that this is their debut album. This band shows a maturity in their music that I would not expect from a first album and provides inspirational sounding tracks with ‘reach for the stars’ type of guitar riffs. I hear a modern version of U2 in The Ritualists, along with an influence of Radiohead. Their songs are full, wholehearted post-punk hooks with a lead singer that has a sizeable range.

“Rattles” opens the album, and it’s the type of song that shows their audience that they are here to stay. It has a great build-up of excitement and intensity. The band explains that this song is “A combination of dark, deep-pocketed verses juxtaposed with big, flashy choruses is a key element to tracks”.

Ice Flower” and “Worthiest One” welcomes an electronic wave to the album and showcases just how impressive lead singer Christian Dryden’s range is. His ability to hit those high notes with such conviction puts my falsetto abilities to shame. “Worthiest One” brings this sort of nostalgic feeling- it’s a rock ballad with a floaty guitar riff.

“She’s The Sun” is a great follow-on from “Worthiest One” as it transfers the mood upwards and directs the music into more of a hypnotic vision, which conveys “the band’s inner Sixties Love Child”. “I’m With The Painted People” has a really relatable background to the song. Dryden felt a larger than life inspiration from people like David Bowie and Simon Le Bon, these artists felt like soulmates, which can be lonely at times. It wasn’t until he ventured out into the clubs of the lower east side of New York which helped him feel comfortable to express his creative vision freely. The song is all about finding like-minded people.

There are hooks galore and catchy choruses in pretty much every song. “With this record, I’ve specifically tried to be anthemic,” admits Dryden. “I’ve always loved going to shows, where immediately after the performance, and even on the ensuing days after, you just can’t help but remember and sing the songs you’ve just heard. It’s almost like a higher form of communication.” The Ritualists play some determined, strong-willed music and Painted People shows hints of variations with different genres explored throughout. They sound motivated and in return have produced motivating music for their listeners.

(Out Of Line Music)

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The Decline – Flash Gordon Ramsay Street

What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk



The Decline

It’s possible that since punk broke through to the mainstream in the mid to late ’90s, listeners outside of Australia think Frenzal Rhomb are the only band to have come from the lucky country. It’s true that during the rise of that Epitaph and Fat Wreck sound, Frenzal Rhomb became the namesake of the genre from Australia. However, Australian punks know that their history stretches long before the release of Survival of the Fattest. From the legendary sounds of The Saints to the rock n’ roll infused punk of Radio Birdman, Australia’s punk rock history is not only rich but very much precedes the genre’s mainstream explosion.

Frenzal Rhomb were another chapter in punk down under and for many, they opened a lot of doors. If not at the very least, proved that there were fertile grounds for new bands to emerge across the vast land. Western Australia’s The Decline formed in 2005 and quickly showed their talent for writing up-tempo melodicore that shred as much as it soared. From their 2010 debut, I’m Not Gonna Lie To You, it was clear that the band were equal parts snotty, urgent, funny, and melodic. Like the Frenzal Rhomb formula, they’ve got all of it in spades with a mean streak of Australianness that is both endearing and extremely relatable. Their latest album is no different.

From the title alone you can tell you’re in for a shedload of fun, and while it’s easy to think that Flash Gordon Ramsay Street is just goofy humor, it’s actually got a lot of pointed commentary too. From the animal-supportin’, veggie-lovin’, attack on meatlovers and meatheads (“Brovine”), to the real-estate market questioning “Smashed Avo”, there’s plenty of current talking points that The Decline run through. Sure, you also get vegan buffalo wing recipes (surprisingly, not the song titled “Bullet With Buffalo Wings”) and a love for The Legend of Zelda, but who says you can’t sing about Marxist theories while talking about your love for Nintendo?

What The Decline get absolutely spot-on is their clinical, unrelenting brand of skate punk; taking plenty of cues from the best of the NOFX / No Fun At All up-tempo, hardcore-derived brand of punk. The hooks on Flash Gordon Ramsey Street are as infectious as horny teens on spring break, highlighted by the endless harmonies on songs like the terrific “It Was Always You” and the call and response male-female vocal attack of “Verge Collection”. Brevity is also key, as the majority of the songs here never overstay their welcome with the longest clocking in at just 3:15 (the wistful closing of “Josh”).

Flash Gordon Ramsey Street is concise, to-the-point, and a furious medley of skate punk urgency that is relevant to young adult life as punks in Australia. Great production values to boot mean you can’t go wrong here.

(Pee Records / Thousand Islands Records / Disconnect Disconnect Records / Bearded Punk Records)

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