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New Roman Times – International Affairs

Orlando, Florida isn’t exactly known for an explosive indie rock scene, but New Roman Times is determined to make its mark regardless.



Orlando, Florida isn’t exactly known for an explosive indie rock scene, but New Roman Times is determined to make its mark regardless. With pulsating, danceable beats and slightly crunchy, head-bobbing melodies, the five-piece sounds like a mix of Death Cab for Cutie (who they supported on tour at one point) and Pinback with a biting edginess and maybe a dash of electronica.

Dan Owens fronts the band with longtime collaborator/wife Josie Fluri. Owens has a pleasing, albeit quavery voice, sounding vaguely similar to the recently disbanded Mcluskey (whose 2004 release The Difference Between Me and You is That You Are on Fire wins the award for best album title of 2004). But, the real treat is the back-and-forth vocals between Fluri and Owens. (Also, if you’re a fan of Brian Jonestown Massacre, check out Fluri’s guest vocals on “If Love is the Drug Than I Want to O.D.”). On “A Scene from the Disco Era,” pounding drum beats and floating, layered guitars interlock with Fluri’s ethereal, intimate voice as she responds to Owens’s dance floor requests: “Hold me in your arms / (so we can be free) / but there’s a chance I’ll take that it could be you / (your ways mean so decided).” Pixies and Sonic Youth references are sometimes made too freely when referring to male/female vocal combinations, but New Roman Times deserves the comparison.

After a thorough listening of International Affairs, the previous history of the band makes sense. Owens has a breakdancing past and keyboardist Melissa Parker DJs in her spare time, both of which explain the blend of dance beats with indie rock. Most of the tracks have a healthy mix of programmed beats and natural drum sounds. In a couple spots, though, the songs suffer from a bit too much effect, such as on “Consequences,” in which Fluri’s vocals are barely recognizable because of the heavy effect on her voice. “The Patient” could also use some more melody development and a little less programmed noise. The best songs on the disc emphasize guitars and vocals textured with subtle electronic flavors, not the other way around.

Some of the songs border on impossible to understand, but are just poetic enough to work with the music. On “Absolute Beginners,” Owens and Fluri muse: “Insects in a room / cry out for nothing else / I’ll be there, don’t you worry, I’ll come quick, I’ll be there in a hurry / Insects in a room/ cry out for nothing else / I’ll be there soon, don’t you worry, I’ll come quick to help you.” I have no idea what that means. But, it sure does sound good with the throbbing drumbeat and in-your-face guitars.

International Affairs is the first release from Social Recordings, a brand new label and offshoot of Orlando concert venue The Social (which Fluri manages). With a national distribution deal, big things could be on the way for New Roman Times and Social Recordings.

(8th Dimension Entertainment)


Pretty Vicious – Beauty of Youth

Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype



Pretty Vicious

The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.

Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.

There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.

You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.

It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.

(Big Machine / John Varvatos Records)

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Sum 41 – Order In Decline

Long gone are the days of All Killer, No Filler



Canadian pop-punkers Sum 41 have been remarkably consistent over the course of their last few albums. And while we have never stopped calling Sum 41 a pop-punk band, their last few albums have been less about being fun and bouncy, opting instead for a far more serious flavor of rock music. Long gone are the days of All Killer, No Filler, replaced instead with songs that do their best to mimic Muse’s big stadium anthem feel while not forgetting their penchant for metal licks and hefty solos. Truth is, it’s quite a shame because when Sum 41 were more about being fun and silly, their songs had this incredible likeability to them. Forget All Killer, No Filler, they were at their most fun with their often silly 2000 debut Half Hour of Power.

So what to expect with Order In Decline, their 7th full length? Well, if you like easy-to-digest pop-punk anthems, you best look elsewhere as much of the album spends way too much time taking itself too seriously. Not that the results are bad; songs like “A Death in The Family” and “Out For Blood” do the faux-hardcore/melodic punk thing really well. The chugga chugga riffs, toe-tapping melodies, and Deryck Whibley’s snotty vocals continue the band’s well-refined sound. Opener “Turning Away” doesn’t shy from being a little metal, a little rock, a little punk, and sets the high energy tone for the album. The return of Dave Brownsound for 2016’s 13 Voices has solidified the album’s two-pronged guitar attack, and Order In Decline’s production helps on that front- it’s a loud album, it just doesn’t seem to say a whole lot at times. “45 (A Matter of Time)” is the band’s anti-Trump song, and while it tries to provoke, sounds loud, its cheesy protests of “You’re something to few / But nothing to me / Someone so twisted and sick as can be / It wasn’t the plan / We gave it a shot / You’ve proven a real man is something you’re not” won’t exactly inspire a raging fire within the listener. I suppose if you’re turning to Sum 41 to change the course of the future, we’re all in trouble.

Sum 41 love their ballads too- and Order In Decline’s lighter in the air moment (phones in the air for you kids) is the piano-strewn ballad “Never There”. It’s OK, but doesn’t quite reach the heights of effective balladry they showed with “With Me”. The album’s best moment is the blitzing “The People Vs…” which trades the stadium rock for more melodic hardcore/thrash that a little akin to some of the goofy stuff they did on Half Hour. The meaty riffs, a great solo and the soaring chorus pumps much needed old Sum into Order In Decline, and it’s only a shame there isn’t more of it on the record.

As the album closes with the radio-ready “Catching Fire”, listeners are left with one of these two thoughts. For those who enjoy Sum 41 when they’re trying to be the best big band they can be, there is plenty to like on Order in Decline. They’ve found a consistent, polished, and well-produced sound they first hinted on with 2002’s Does This Look Infected?. For those who found their juvenile, snotty attitude on Half Hour of Power and All Killer to be the quality they most enjoyed will respond to Order in Decline with indifference. At least I don’t hate it.

(Hopeless Records)

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