Put on The Flesh and shed your dogmatic skin. The birth of the pragmatic antichrist has come. It is soulful and seductive; a charming antithesis of today’s rock. These newborn Brooklynites, The Flesh, take the enigmas of spiritual redemption and bump it into organic overdrive. Their recently released self-titled disc is everything rock is lacking. The Flesh have laid the path, and prophesized, to take the world with their punk goes R&B beats and devilish beauty.
The disc combines 2003’s Death Connection EP and 2004’s Sweet Defeat EP as well as adding six new chapters in the book of The Flesh. The full length intends to entice us with the “fuck the world” attitude that the four-piece is known for while accurately describing the world, in “Foes,” as belonging to them for the fucking.
The Flesh is what is lacking on the skinless body of the indie rock movement in the US today. This neo-new wave rock tends to be energetic and alluring, although not necessarily of a high difficulty level in regards to music quality, but habitually lacking in depth lyrically, examples of this being The Kinison’s What Are You Listening To? and Ima Robot’s Public Access EP. The Flesh not only adds jazzy R&B to the wave but also compile an intricate and despondent idea of religious redemption. The Flesh took note on the funky sounds of Cursive and the electronic sound of Head Automatica to fuse a new sound. The Flesh are dreamily original and cover the basic muscle and bones of rock with a sultry, pale white finishing.
“Love Your Fate” is baptizing, initiating a physical connection with the listener. Everything that is traditional is wiped away and the world is “born anew” with the upbeat yet melodramatic opening. The idea that The Flesh play upbeat but sincere music may seem like an anomaly but be assured that at the initial strum of the guitar string the lie becomes an enchanting reality. The vocals of Nathan Halpem are belligerent and solo until the fourth track, “Sweet Defeat,” when keyboardist Gabriella Zappia affirms not only her already potent classical piano training but also her softly strong vocal stylings. She is present on a few tracks in the disc and adds her own flavor to the religious experience as a whole. The band is rounded out with Jason Binnick grooving the base riffs and Gregory Rogove on the drums. The Flesh end on the “Death Ship sailing out,” ending the circular turmoil present on all previous tracks concerning the nature of humanity and redemption in the end of a life.
With the rise in popularity of dance punk or post punk or whatever it is labeled, or whatever else I have called it throughout this one article alone, The Flesh, unlike many previous religious leaders, are not too far ahead of their time. Like spiritual philosophers in the music world with a great potential for influence, they are refreshing and will be a welcomed change into the current scene. Maybe The Flesh’s debut full length should be called spiritual punk but in any case, the holy awakening has occurred and the messiah is in The Flesh.
(Gern Blandsten Records)
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
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.
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.