Best Moment: Bad Religion True North

What do you say about a band's sixteenth record? Of the Brett-Gurewitz-is-back-in-the-band era, True North is basically on par with the so-so Dissent of Man and New Maps of Hell. It lags far behind the excellent The Process of Belief (an album that is as good as anything in Bad Religion's entire catalog). In other words, it's good but not great.

Here's my favorite track from the record, a tune that has the urgency and simplicity of early Bad Religion.

Nothing to Dismay

The Atom Age: Dirty, Dirty Rock 'n Roll

Burt's Tiki Lounge is dark, dingy and loud. It's pretty much the perfect venue for The Atom Age, the East Bay, California five-piece that likes to keep its rock 'n roll a little dirty.

"Getting the audience horny is definitely an important part of the type of music we play," says guitarist/singer Ryan Perras. The Atom Age, however, is not what you'd call a gentle lover.

The band's garage rock sound is more an audio attack than a romantic swoon. And though the band features the tenor saxophone, there are no slow jams or sexy solos.

"We are really into rock 'n roll from the '50s and early '60s," Perras says. "Having tenor sax was considered pretty much essential back then--it was often more prominent than guitar. It's definitely a homage to that time."

The saxophone is a crucial part of the band's frenetic sound, that gives traditional rock 'n' roll an affectionate punch in the throat. "[The sax] adds dynamics and depth to the sound, as well as a being cooler-sounding alternative to guitar for lead parts," Perras explains. "A screamin' saxophone is just a part of wild rock 'n' roll, and I can't even imagine the band without it."

The band's new record, "The Hottest Thing That's Cool," just hit shelves this week. Perras says the album is purposefully a little rougher around the edges than their debut release, 2011's "Kill Surf City."

"On [our first] album, we hit The Atom Age sound on the head a few times but there's almost a lot of power-pop sounding stuff which, while still good, was not really what we had in mind," he says.

"We spent a lot of time touring on that record and really finding what direction we wanted the sound to go in, and we ended up having a very clear picture of what we wanted. For the new album, we worked really hard to make sure every single song was how we envisioned it. I think we can say that every song has The Atom Age sound."

That sound is raspy, raunchy and unrelenting. The band's live performances also follow suit, whipping the crowd into a healthy circle pit. "Screaming 'C'mon Motherfuckers' 500 times only gets ya so far," Perras says. "Just because you take your band seriously doesn't mean you have to be hardcore artists with the weight of the world on your shoulders. It's really criminal to forget about the most important part of rock 'n roll: FUN."

And the band certainly hasn't forgotten about rock 'n' roll's best friend: sex. "I would like to think [our show] is a high energy experience that leaves you sweaty and feeling horny" Perras says, before adding, "but strangely satisfied at the same time."

Check out an Atom Age playlist here.

A Few Thoughts on Life From Joe Queer

Long-time punkers The Queers will stopping in Salt Lake on December 3. In advance of the show, Joe Queer and I swapped some emails this morning.

The last time I saw you guys play, I was impressed by how many old school fans keep coming out to the shows. How do you keep things new and interesting for fans who have seen you play a dozen times?

We usually change the set up and throw in different songs each night. Also we only play about 40 minutes so no one gets bored.

What is it about punk rock that keeps it going from generation to generation?

 
I think the energy attracts a lot of people. Punk was about being able to see thru the bullshit of day to day life and that appeals to a lot of people as well. Plus it's so irreverent and fun.

What is about punk rock that first attracted you to it? What do you still love about it?

Like I said, the energy is something I love. It gives me a reason to get outta bed in the morning. Always excited to see what's around the bend in the river each day.

What was the experience like re-releasing the early material? Did you like revisiting those old records? Do you feel like they sound better now?

It was kind of fun to listen to them again. I don't listen to our albums except when doing a new album.

Over the years, have you ever regretted any of the band's political incorrectness (e.g., the name of the band, "Love Songs for the Retarded," etc.)

 
No. I hate political punk bands. It's just a shtick for them. I don't think any of them even believe the bull---- they spew. Kids listen to it to feel like they know more than the next guy and they're enlightened more than the average shmuck on the street. The last place I'd go is a punk show to learn and listen about politics.

What's next on the horizon for the band? Any new music on the way?

We're out all winter pretty much on tour. Recording a new album next spring. After that my plans are unclear-I may tour the Congo.Thanks!!!

Polar Bear Club: More Bark than Bite

On record, he’s gruff. His raspy growl is filled with aggression and anger. But on the telephone, Polar Bear Club frontman Jimmy Stadt is soft-spoken, polite, and thoughtful.

In a few hours, Stadt and his band will be taking the stage at the Oakland Metro Operahouse, but right now he’s stuck in San Francisco traffic. Stadt has been criss-crossing the country for so long, traveling to and from venues has become second nature.

“The first tour I ever went on was when I was 17. We toured the U.S. for a month and then we did it again the next summer,” Stadt says. “I don’t know if I can remember pre-band life.”

“I like the day-to-day [part of touring]--seeing new people in new places, but so much of my time is spent in and around where the club just happens to be. There is still so much that I haven’t seen, even though I may have been to the same city 10 or 12 times.”

Polar Bear Club has been touring basically nonstop for the four past years, both as a headlining act and as support for like-minded groups such as The Gaslight Anthem. The band did, however, break long enough to record their highly-anticipated (and brilliantly executed) new album, “Clash Battle Guilt Pride.”

Though there was plenty of hype surrounding the new record, Stadt says the pressure didn’t get to the band. “There’s always this hype or buzz--whatever that is--that’s always in the back of your mind. But it doesn’t affect our songwriting. We’ve always made music that meets our expectations and excites us,” he says.

“With this record, I don’t think the thought was even in the back of our minds. We truly had such a great time making this record and I’m really proud of it. I can truly say that I wouldn’t even care if no one likes it, because no one can take the experience away. On our previous records, I don’t know if I could say that with the same certainty.”

Stadt says the band felt more confident in the studio this time around. “We used to go in the studio and there was tension and we couldn’t lift the weight of it in some moments. Now we just go in and follow our gut and it’s nice and it’s easy and it’s fun."

Just as Polar Bear Club has grown more comfortable in the studio, Stadt has grown more comfortable as the voice of the band--even if what he has to say might scare him a bit.

“I’m at a point as a lyricist where if something scares me, I know I need to keep it. If I’ve written a line that I’m afraid of revealing, I know that’s a keeper. There’s so much bullsh-- that goes into a normal, modern day--so many compromises and white lies and the grind. When I’m sitting down and writing words, that’s the one time where there’s nothing of the grind that’s affecting me. It’s just all true self, or at least the search for the true self.”

“I’m learning that that fear is good,” he adds. “If there’s a line that scares me to the point where I wonder if I should even say it, I know that someone out there is going to need and it connect with it. And maybe the fact that I had the courage to say it and to work through it will help them with an issue. I’m not so scared of it anymore.”

As Stadt is studying his own heart, he’s also learning from the bands he looks up to. Though filling the opening slot on a tour is not the most glamorous gig, Stadt says there was plenty to learn from the headliners.

“I remember one thing being such a revelation for me,” he says. “We were on tour with the Gaslight Anthem, [during] our first big support tour. I remember watching the singer and seeing him smile onstage, and I realized I had never thought about that. I wonder if I ever smile on stage? I don’t think I do. That’s sort of important. Wow, I don’t need to be so angry on stage. It’s probably alienating to people. I’m having fun up here, I should be showing that to people. It’s little things like that you pick up from other bands.”

Sounds like a nice guy just got nicer.

Album Reviews: Elway, Rural Alberta Advantage, One AM Radio

I get choked up just thinking about this clip.

Elway
Delusions

I’ll admit it. The only reason I checked out this Colorado band was because they’re named after my favorite Denver Broncos quarterback. The fact that the band delivers a solid debut album is just an added bonus. The strength of “Delusions” rests in its looseness. Elway churns out barroom punk rock in the vein of Hot Water Music or early Alkaline Trio, propelled by gruff vocals and catchy hooks. Though the record walks a path littered with broken hearts, the gang-vocal “whoa-oh-ohs” give an undeniable hope that everything is going to be okay. “Delusions” may not be wildly inventive, but still makes a great first impression.

For fans of: Lawrence Arms, Gaslight Anthem
Rating: 3 of 4
Check out: Passing Days (YouTube)
(And don't forget to watch the magical moment of "The Drive" by John Elway himself, shown above.)

Rural Alberta Advantage
Departing

A good band name should give a hint of what kind of music you play (see Megadeth, Sonic Youth, Geto Boys). True to its name, Rural Alberta Advantage gives off an earthy feel, but not in a Fleet Foxes, we-are-the-forest kind of way. “Departing” sounds more like a Bob Dylan record-- if he were to hole up in a cabin to make a dance record. The album is driven by a palpable tension between the vocals and the music--a singer who sounds like he should be accompanied by a banjo and a jaw harp, but instead fronts a band where the drums jump on the upbeat, xylophones plink joyously, and synthesizers sneak around in the background. It should be a mess, but somehow it makes perfect sense.

For fans of: Fleet Foxes, AA Bondy
Rating: 3 of 4
Check out: Under the Knife (YouTube)

The One AM Radio
Heaven Is Attached by a Slender Thread

Analog synths. Horns. Handclaps. “Heaven Is Attached by a Slender Thread” has all the makings of a typical dance record. But The One AM Radio doesn’t really do typical. Despite the upbeat ingredients, band leader Hrishikesh Hirway drenches the collection in lyrical melancholy. Somehow, the sadness just can’t compete with the persistent bounce. The album’s best track, “Plans,” ricochets off the walls like The Postal Service and “In a City without Seasons” feels like it was and conceived on the beach at sunset. There are brief moments with the music matches the solemnity of the message (see “The Heat”) but for the most part, despite his frowny face, Hirway can’t keep his feet from dancing.

For fans of: Hot Chip, Styrofoam
Rating: 3.5 of 4
Check out: Plans (YouTube)

This Week's Music, Fleet Foxes, The Naked and Famous, Reaganomics

Fleet Foxes
Helplessness Blues

Though he’s only in his 20s, Fleet Foxes singer and leader Robin Pecknold is an old soul. His band’s sound echoes former times, channeling the folk of Simon and Garfunkel and paying homage to the intricate harmonies of the Beach Boys. While the group’s debut LP was an ode to the majesty of the forest and the sun, Pecknold turns inward on “Helplessness Blues.” His wanderings are filled with introspective questions, as he ponders both his youth (“Now I am older than my mother and father/When they had their daughter/Now what does that say about me?”) and his eventual death (“I woke up one morning/All my fingers rotten/I woke up a dying man without a chance”). The music matches the weightiness of the subject matter and every note is perfectly placed—lush harmonies, finger-picked guitar melodies, and Pecknold’s soaring tenor.  Having successfully reached the top of the mountain, it’s hard to see where Fleet Foxes will go from here. 

For fans of: Simon and Garfunkel, Bon Iver

Rating: 3.5 of 4
Check out: Montezuma

The Naked and Famous
Passive Me, Aggressive You

These New Zealand electro-rockers are a sneaky bunch. Their outstanding, ultra-dancey lead single “Punching in a Dream” would lead you to believe that the group is nothing more than a well-polished, hook-heavy pop group. While that would be enough, their debut record offers up even more. Dueling boy-girl vocalists Thom Powers and Alisa Xayalith are equally adept at getting dark and moody (“Frayed,” “The Sun”). And just when you think they might drown in their ‘80s goth-inspired angst, they come back with another dreamy bounce-along (“Young Blood”) that should become the soundtrack for every teenage soap opera. Here’s to a solid debut and plenty of unexpected surprises.

For fans of: the xx, Tegan and Sara

Rating: 3.5 of 4
Check out: Young Blood

Reaganomics
Lower the Bar

Metal-punk trio Ryan's Hope were trying to make a record when they decided to take a break from taking themselves so serious. They kicked the tempo up a few hundred beats per second and unleashed every junior high joke they could remember. The result is “Lower the Bar,” a record that is equal parts NoFX and stand-up comedy. Other than a few outliers, each song track clocks in at under 90 seconds. The band masterfully tackles pressing social such as programming on The WB, Ed Hardy t-shirts, and Robocop. The songs are catchy, slightly stupid, and perfect for the pit.

For fans of: NoFX, Rancid

Rating: 3 of 4
Check out: Don't Worry, We'll Play First