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Ke$ha – Cannibal EP

Ke$ha returns with a 9 track EP entitled Cannibal, and the title is directly proportional to the lyrical content: fierce.



What is a Ke$ha? A creation that baffles with its glitter-spangled fangs laden with synthesised chart topping symphonies? Or simply another addition to the ever growing stack of disposable entities of the 21st century? Judging by her sophomore effort, Ke$ha’s definition is still hazy. 

Less than a year after releasing her first album (Animal), Ke$ha returns with a 9 track EP entitled Cannibal, and the title is directly proportional to the lyrical content: fierce. Ke$ha rips into anyone standing in her way, and her target is mainly the entire male species:

Use your finger to stir my tea / And for dessert I’ll suck your teeth”

“Sleazy” also sees Ke$ha enter newfound territory, showcasing her rapping abilities. Although fairly simplistic, she pulls it off quite believably: “I’m not gonna sit here while you circle, jerk it and work it/Imma take it back to where my man and my girls is”

Regarding lyrical content, for the most part it is pretty samey. “Grow A Pear” and “C U Next Tuesday” are laden with innuendos, and personally my least favourite on the EP. One of the stand outs however, is “We R Who We R” (annoyingly stylized), and one of the songs you can’t help but love no matter how juvenile it seems. One thing to say about Ke$ha is that she will stand up for the outsider, after largely being one herself. Other stand outs include the strong ballad “The Harold Song” wherein we learn that Ke$ha can actually belt out a decent few notes. “Blow” (which is surprisingly not a shocking innuendo) creates the idea of not only being a ring leader, but shows we mightn’t have seen the whole Ke$ha just yet, as the song leads the way into a sinister pitfall:

“Follow my lead / Now you’re one of us / You’re coming with me”

Although not a perfect record, it has a fair few memorable moments, and furthermore defines the Ke$ha we think we know. Whether or not we’ve gained a full picture of who she is as an artist though is questionable. However, with the prospect of seeing multiple genres coming through with each album, I would be happy to continue to be baffled by the glitter tinged embodiment that goes by the name of Ke$ha.

(RCA Records)


Crossed Keys – Saviors

Saviors shows the work of well-seasoned musicians finding new energy in old sounds



Crossed Keys Saviors

Philadelphia’s Crossed Keys are an interesting intersection between melodic hardcore and punk, taking an earnest approach to the sound that made its way from the underground in the late 90s and early 2000s. This relatively new outfit is the result of Kid Dynamite and Samiam in a blender- in the best way possible. The Kid Dynamite influence may be a given since Crossed Eyes features KD’s drummer Dave Wagenschutz, but the band’s pedigree also includes members of bands like Zolof the Rock & Roll Destroyer and The Curse, all backing the melancholic vocal work of frontman Joshua Alvarez (Halo of Snakes). So while Crossed Keys are somewhat new, its members have been cutting their teeth within their respective circles for years, and their new EP Saviors shows the work of well-seasoned musicians finding new energy in old sounds.

Saviors is backboned by the furious urgency and energy that Kid Dynamite showed through their history, but while Jason Shevchuk’s vocals were beautifully abrasive, Alvarez takes a more restrained, wistful approach to singing. Songs like the opening “Times of Grace” are musically up-tempo percussions and razor-sharp guitars, but are buoyed by Alvarez’s more melodic vocals. His vocals rest at a good place between Samiam’s Jason Beebout and that NYHC tone exhibited by bands like Token Entry and Grey Area. In songs like “R.J.A” and the closing title track, Crossed Keys find more success with their brand of blistering speed meets harmony- slowing down only for the kind of melancholic punk that made Samiam a noted name. While much of Saviors is built on pace, it wasn’t always this way for the band. In fact, their 2017 EP, I’m Just Happy That You’re Here, leans closer to Samiam than it does to Kid Dynamite (the song “Jeff Pelly vs. The Empire” is particularly fantastic), so there’s been an uptick of urgency with Saviors.

For fans of any of the aforementioned bands here, there is plenty to like with Crossed Keys and plenty to like in Saviors. It’s succinct, to the point, but filled with ample reflection and exploration that gives the EP depth and resonance. Any band that has found influence from Kid Dynamite is most certainly OK by us (this site is named after a KD song after all), but Crossed Keys does more than just tip their cap. This one’s a really good one, and worth your time.

(Hellminded Records)

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Every last time: Revisiting Gameface’s “How Far Is Goodbye?”

A glorious sound of a time gone by



Southern California’s Gameface were always a band that seemed perfect just below the cusp. Their brand of pop-tinged punk was somewhere in between the melancholy driven emo of the early 1990s to what would become of radio-friendly punk bands evolving from the Jimmy Eat Worlds of the… world.

I loved this band. It was songs like “My Star” and “When You’ve Had Enough” that captured my attention. They didn’t fit in with the punk explosion of the mid-90s and had more melodic chops than those that remained in the underground with bands like Quicksand and Texas is the Reason (the latter being the most musically similar).

To this day, I count their track “How Far Is Goodbye?” as one I can listen to on any given day and still feel the same way about it as I did years ago. It’s a glorious sound of a time gone by, and Jeff Caudill, who has been the backbone of their songwriting since the beginning, has still got the chops his ilk can only dream of. There’s a tinge of melancholy that conjures up a certain sadness, a scene in a movie where the protagonist is making their exit into the distance as the scene closes. Something about the song, the sentiment, and the lyrics that always reminds of driving away while looking at the rear view mirror.

Five years ago Gameface released a new album, Now Is What Matters, an album that perfectly encapsulated their ability to write with emotion, melody, and magnetism that only a select few seem to possess. I interviewed frontman Jeff Caudill before the album came out to chat about the band, an interview I think still holds up. Caudill has been busy since then with a lot of solo material, while the band themselves have been releasing music sporadically (mostly singles) since 2014.

While their catalog is deep, there’s one song I keep coming back to, and that’s “How Far Is Goodbye?”. Originally released on the split 10″ vinyl with Errortype: 11 in 2000, the song received an update in 2018, which you can hear below.

Gameface photo from Gameface facebook page.

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