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The New Rags – Take Jennie to Brooklyn EP

The New Rags a band simply too good to be labeled a gimmick.

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Anyone who fashions themselves a fan of independent music lives in the New York City/New Jersey metro area has no doubt heard of WFMU. This freeform radio station, broadcasting out of Jersey City, New Jersey, has become one of the most influential independent stations in the country by not relying on a playlist and putting no restrictions on their DJs. Each listen proves to be an adventure; with obscure New Jersey garage rock from the 80s rubbing up next to and even more obscure jazz piano piece from the 1940s segueing into an obscure Indian techno remix of “She Said She Said.” Most people, after 15 or so musical tangents, will turn the dial and never look back. For the patient though, sometimes, among the piles of stuff you’re not interested in, you will find a little piece of music so odd, yet lovable, it makes the experience worth it. Meet The New Rags- your new favorite ragtime-rock band. Although I have yet to hear the band on WFMU, they would fit perfectly onto the station’s “anything that sounds good” spectrum. Their Rhodes and drums lineup could easily fall into psychedelic territory (see Quasi) or cutesy-pop (Mates of State), but instead, they sound like a guitar band sans guitar; a really good guitar band.

The swagger of “Your Room,” the all-too-brief opening track off their new (and first) EP, Take Jennie to Brooklyn, recalls a slightly jazzy AC/DC of all things. “Surf the Seven Sees” is probably the only true surf-rock song I’ve heard in ages. The album highlight is certainly “It’s Over,” a classic breakup song propelled by mid-tempo bluesy rhythm, and lyrics like, “I’m free from all those stupid names you used to call me.” “Russian March,” is the album’s sole misstep, a track that is little more than song length keyboard solo. All is redeemed by the bouncy “Love of My Life,” the EP’s excellent closer.

The New Rags a band simply too good to be labeled a gimmick. When an album can rock this hard with nary a 6 string in sight, the question needs to be asked- who needs guitar when you’ve got a Rhodes? I’m eagerly waiting the full length.

(Silent Stereo 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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