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Pedro the Lion – Achilles Heel

Achilles Heel had the potential for being something great, possibly one of the best albums of the year. But it’s nowhere near that possibility.

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The words “Achilles’ Heel” denote a sense of weakness. Rarely are those words used for purposes of praise or of great achievement. It’s always about something that’s a setback. A stutter. A hesitation. A limitation. Even with that title emblazoned in my mind, I still had high expectations of what was to come.

From “Bands with Managers” it was obvious that this is a complete 180 from where Pedro the Lion was on It’s Hard to Find a Friend. Maturity, growth, and a label change can do that to a band. It wasn’t just that though. It continued on in a light heartedness until the song “Discretion” rolled along. So it was obvious from the outset that one of the weaknesses of this album was a plot. There wasn’t a story line that has been a mainstay of the past Pedro the Lion albums. In fact, the only real thing that could be seen as a possible conflict is the subtle sexist under text that plagues this album. I’m not a feminist, but give me a break. There has to be something better brewing in Bazan’s mind then music made for degrading women.

There were a couple of catchy tracks few and far between. The music wasn’t interesting. I’m still searching for the meaning of this album (if it did have a point, it was deeply overshadowed). Well, point being, it was boring. Listening to the same whining over and over again is just annoying. Nothing was new or inventive on Achilles Heel.

For a number of artists, this could be an accomplishment. But for Pedro the Lion, I expected a hell of a lot more. All that’s left is a guessing game. Are they saving up great material for a new album? Is this something that could be the norm for Pedro the Lion from now on? Should we even bother waiting around?

If there wasn’t a space-time continuum, someone could go back in time and prevent this album from being released. It really could save a lot of people from the pain of these frivolous sound waves. Let’s just cut to the chase; Achilles Heel had the potential for being something great, possibly one of the best albums of the year. But it’s nowhere near that possibility. Cross your fingers and toes in hope that by the next album, Pedro the Lion will have it together.

(Jade Tree Records)

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Crossed Keys – Saviors

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

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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

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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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