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The Frequency – The Frequency

The Frequency is what would happen if Dio were to, in spectacular fashion, meld with both Duran Duran and Boy George in a giant mess of hair, makeup and the uncontrollable urge to dance.

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The hip shot of Trans Am member Sebastian Thomson is like many of the side projects artists are so keen to pursue. It’s never enough for their egos to maintain shared artistic boundaries, and it seems each and every one has a project of their own they wish to unleash. Thomson is no different; The Frequency is his little doodle and while it bears little resemblance to most of the Trans Am discography (although vaguely similar to the recent Liberation), it merrily eludes some of the more painful norms of side projects: The Frequency is completely devoid of apparent self-moping and strictly avoids any ideas of art. Heck, it’s even fun!

Please take note, the following description may horrify but it really isn’t as bad as it seems. The Frequency is what would happen if Dio were to, in spectacular fashion, meld with both Duran Duran and Boy George in a giant mess of hair, makeup and the uncontrollable urge to dance. There are plenty of synthesizer harmonies, fist clenching heavy rock riffs (the song “Forgot” has Mr. Ronnie James written all over it) and brightly lit disco/dance thumps. Yes indeed, The Frequency is everyone’s throwback nightmare come true, and like everything else that seems to be retro, it is inescapably en vogue.

There are moments of sheer campy fun; “Own Me” would suit any nighttime montage of mascara and ugly clothes, while “Erasing Myself” is the album’s self-serving 80s movie anthem. “Chicas” is an epileptically-charged electronic bombardment and “Music for Entertainment” is pumped for primo dance floor workouts; complete with the kitschiest chorus line since the piano man sang, “We didn’t start the fire / It was always burning / Since the world’s been turning.” And if you’re wondering, Thomson so robotically croons “Music! / As entertainment / Music! / As government.” Yet it is not entirely clear whether or not this album should be taken all too seriously. Thomson and the rest of The Frequency have got their 80s routine down perfectly and maybe if it is heard with the sort of tongue-in-cheek façade the decade is famous for, it really strips away the uncomfortable visions of short shorts and neon green. However, once you start taking this stuff seriously, it all becomes garishly obtuse. 

Perhaps his work in Trans Am is at times far too slanted, The Frequency are anything but difficult and upon first listen, immediately clear on intentions. Thomson is unabashed about his musical influences and this is his likely tribute to some of those who have shaped his work. Or perhaps he just loves the 80s a little too much, but at least the results aren’t as unsettling as Wham! parading around in sportswear.

(Noreaster Failed Industries)

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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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