Poorly Timed Album Review: Skating Polly – The Make It All Show

Skating Polly - The Make It All Show LP
It turns out working full time while going to grad school, planning/executing a cross country move, and filming a documentary (more on that later) doesn’t leave a ton of time for other things. Who knew? Well, I have finished some of those activities, and can now turn some of my attention back to my website updates, and that means it is time to catch up on 2018 record reviews. First up: Skating Polly’s latest full-length, The Make It All Show. This one was released back in May. I do not think it has gotten nearly the attention it deserves. This is an excellent record, and the best they have released to date.

I think people have long gotten hung up on how young the members of Skating Polly are. Focusing on that automatically caps how good you think the music can be. It becomes, “Wow, that’s great for their age,” instead of just, “Wow, that’s great.” It’s time to drop the qualifiers, folks. The Make It All Show is a killer rock record. Starting some time in 2017, if I recall correctly, Skating Polly went from a two-piece, to a three-piece, adding their brother, Kurt, to the lineup on drums (mostly). I love what this move did for the band – the musical depth that an extra member added was immediately obvious.

The first (and only, so far) pressing of The Make It All Show was on a really cool pink and red splatter vinyl, released on El Camino Media:

Skating Polly - The Make It All Show - Pink/Red Splatter Vinyl

This record took an unexpected turn for me. I thought I had established a good idea of what to expect from Skating Polly musically. I’ve loved their energy since I first happened upon them at Riot Fest in 2015. Their harsher material best captures that energy and draws you in, but I have found that the tracks of theirs that keep me coming back have been the less-brutal, more-pop-influenced tracks. This has been true for their last three releases: “Dead Friends” and “A Little Late” on 2014’s Fuzz Steilacoom, “Pretective Boy” on 2016’s The Big Fit, “Black Sky” and “Louder in Outer Space” on last year’s New Trick EP

Those types of tracks are great on The Make It All Show as well. Their louder songs, however, have made the leap. The grand standout on the album is “They’re Cheap (I’m Free)”. This song’s vicious auditory assault tore a path of destruction through my living room. Once I sifted through the wreckage, I played it again. The track begins with a perfectly evil, menacing bassline and clear calm-before-the-storm vocals. The intensity builds and explodes into a chorus of savage badassery. It’s freakin’ great. Check it out:

Next up: “Camelot”. This one has a similarly vicious intensity level. It’s a full-speed, shredding rock beast, with another killer bassline. The last couple of lines could easily be the chorus of another song. Here’s the official video:

I’ll wrap up with my favorite of the less-noisy tracks: Hollywood Factory. I don’t have a ton of insights on this one…it’s just a great pop song and ends up stuck in my head with great regularity. Here, again, is the official video (they make a lot of those):

Great record, start to finish. Highly recommended.

Top Drawer Pop Punk Lives


14 Soda Punx LP
Top Drawer Records
Available January 19th

It’s 2018. Sicko is doing a reunion show. I’m flying out for it. Top Drawer Records is active again. I can’t really handle this combination of events. The Sicko performance is part of the two-day Seattle Pop Punk Festival, January 19th and 20th at Highline. You should do this. You still have time. I was a bit late to the party with Sicko (a friend introduced me in 1997), so I never got to see them play the first time around. Time to rectify that.

If that weren’t enough, though, Top Drawer decided to take it one step further, reviving the (tragically) lost art form of the compilation. In conjunction with the festival, they are releasing the 14 Soda Punx record, limited to 500 copies on red vinyl (pre-order here). This is a 23-year-later sequel to the classic Top Drawer 13 Soda Punx compilation.

Top Drawer and Sicko have always excelled at promoting the frequently overlooked Seattle pop punk scene, which has always existed – it shared space with the ’90s grunge boom era, and never achieved the fanfare. The Fastbacks managed to keep one foot in both worlds, but they were mostly alone in that – other bands were seemingly either in one camp or the other, and there was little overlap. Top Drawer planted the pop punk flag and flew it proudly while everyone else was perfecting their power chord/feedback balance.

So here we are. There is still pop punk in Seattle, and Top Drawer has come out of retirement to once again, with a small army of punk bands, to stake its claim to that segment of the Seattle music scene. And it’s good. 14 Soda Punx is a fascinating walk through a variety of pop punk styles. Parts of the record are like walking through a mid-90s Warped Tour lineup…you can hear influences all over the place from the bands of that time.

Since Top Drawer has brought back the compilation with authority, I am going to revive yet another lost art form: describing tracks on a comp by drawing comparisons with other bands. There are highlights all over the place, but one real standout for me is the opener. The record kicks off with a strong entry from Success called “Kurt Bloch,” a not-super-subtle musical love letter to the Fastbacks. It’s got Weston/Armchair Martian-style guitar work and vocals, which equates directly with happiness. It’s scientific fact. Really catchy and solid. Ramona’s “Token” follows, which is also fun – this one kind of sounds like one of the early Rancid tracks sung by Matt. Or something by Tilt. Or both together.

Shadow Cats bring us “Paranoia,” which sounds like a Fastbacks love child. Fantastic hooks and Hi-Fives-like vocal progression. Head-bobbing and infectious. Burn Burn Burn’s “What Doing” takes us on a detour from 14 Soda Punx and lands us in a ’90s Fat Wreck comp. Great energy. A couple of tracks later, after we find our way back from Fat Music for Top Drawer People, we crash into something straight out of Husker Du – the Botherations track “Amor Perdido.” I love the emotional intensity of this song. Intensity – whether in music or obvious in vocals – is a feature I am realizing more and more matters to me in new music.

At this point, we reach the brightest highlight for me on 14 Soda Punx. I will say that Top Drawer did its best to avoid making this record/festival a celebration of Sicko and its members’ new bands. I knew Denny’s new band was on here, but I did not know which band it was when I listened to it. When the Drolls’ song “Getting Old” kicks in, it takes all the guesswork out of the equation. This song brings me back to vintage Sicko. Great stuff. Ean’s new band, Date Night with Brian, follows with the characteristically catchy pop song, “Get It In.” The song is excellent, and it is a good follow up to their debut EP that came out in 2017 (which you should go check out from Top Drawer. It’s on Spotify, too). 14 Soda Punx closes with Dead Bars, probably the best-known of the bands on the record. They contribute the hysterical “Krist Novoselic’s New Band,” which…well, just go listen.

Top Drawer has returned with a vengeance, and it’s what we need in 2018.

Best of 2017

Best Albums of 2017

Have you noticed that all the “best of” lists from “independent” publications all kind of look the same this year? In past years, I’ve been able to find at least one or two that have contained decent overlap with my favorites. This year, they all seem to reflect what in the past would have been a Billboard end of year chart. Sorry, folks, I’m just not looking for you to tell me that Lorde or Kendrick Lamar had the best record of the year…I want something based on more than sales figures. I’ve also noticed that the big lists are very careful to cover ever genre. You won’t find any of that here.

Instead, first and foremost, you get a list of all of the albums that had me going back for repeated listens this year. There were a good number in 2017. I have included one release that came out late in 2016, because 1) I didn’t hear it until 2017 and 2) if one thing has been clear this year, it’s that there are no rules anymore. I’ve also kind of stopped ranking albums. Does it matter if something is #1 or #3 on my list? Not really. It’s kind of arbitrary and adds little value. We can say I listened the top tier ones a lot more often than the “other notable” records. That’s as much as I am going to break it down. Enjoy. There’s a lot of great stuff happening in the indie music world. I’m eager to hear your comments (and feel free to suggest other bands I’ve missed!).

Once you are done here, please check out the Pette Discographies Best of 2017 Mix Tape Playlist on Spotify. In order to embrace my inner nerd in full, I actually constructed to fit a 90-minute mix tape (allowing 46 1/2 minutes per side…).


Diet Cig – Swear I’m Good at This

It was a toss-up whether I anticipated this album or the new Afghan Whigs more when the year got started. I would have thought it impossible for this record to live up to the level of hype the machine in my head was cranking out…and yet, it did. It’s a fantastic album – catchy, energetic, brutally honest songs from guitarist/singer Alex Luciano’s adventures/missteps in early adulthood. Great hooks, fantastic energy. I can say with certainty that I listened to this record more times than any other in the first half of the year (and most likely more than any other all year). “Maid of the Mist” is a damn-near-perfect indie rock song, and it contains a delightfully vicious opening line: “I want to hold a seance for every heart I’ve broken, put them all in a room and say, ‘Get over it.'”. Other highlights: Bite Back, Blob Zombie. I’m really looking forward to seeing their songs performed with a full band in the spring (they have been a two-piece band to this point).


Katie Ellen – Cowgirl Blues

OK, let’s get this out of the way: first, Katie Ellen is a band name, not a person. Second, Cowgirl Blues is not a country album. I freakin’ love this record. Diet Cig dominated the first half of my year, but Katie Ellen took over the second. This record is full of excellent, infectious, heartfelt, and yes, brutally honest indie rock songs (sensing a pattern?). I know I said I wasn’t ranking things, but “Sad Girls Club” is my song of the year. I have listened to the full album many times over, and still cannot listen straight through without repeating that track a couple of times. It’s just a perfect, infectious song, and not just because it has the lyrical cadence of Nirvana’s “Drain You.” The chorus — “You have known for quite a while that I am not so well, sad girls don’t make good wives” — is even more biting when you see the lyric sheet, which contains quotes…i.e. ‘You have “known for quite a while that I am not so well’, sad girls don’t make good wives,” meaning this was probably something that was actually said to singer/guitarist Anika Pyle during a breakup. Rough. Anyway, fantastic record start to finish. Highly recommended. Highlights: “Sad Girls Club”, “Drawing Room”, “Houses into Homes”


Allison Crutchfield – Tourist in This Town

The curse of a January album release…by December, everyone forgets it came out this year. I gave Allison Crutchfield’s record a ton of my time in 2017 as well. It is packed with stellar indie pop songs with extensive earworm qualities. I had only listened to it once when she was touring through here, and I opted not to go, and I now regret it terribly. She spent most of the rest of the year touring with her sister as Waxahatchee (also a solid 2017 album), and now, it seems as though her focus may be shifting back toward the reunion of her previous band, Swearin’. That’s all good, but I was really hoping to hear some of this material live. I was also shocked to discover that an album I have had in my library for many years, the Ackleys, included 15-year old Allison and Katie Crutchfield. Blew my mind. Anyway…my favorite tracks: Expatriate, Dean’s Room, Mile Away


The Afghan Whigs – In Spades

It would take a lot for Greg Dulli to put out a record without it making my best of list. This is the second Whigs album since they reformed, and I can’t help but compare it to the last one. I would say that In Spades has a consistent quality to it, while Do to the Beast had more ups and downs. However, while I thought two tracks from Do to the Beast measured up to any of the best of Dulli’s extensive catalogue (These Sticks and Lost in the Woods), I did not feel that any on In Spades quite reached those heights (though I Got Lost gets close). There’s a quality in my favorite Afghan Whigs or Twilight Singers songs that gives me chills and stabs me squarely in the emotion vault. Only I Got Lost and Birdland do anything like that for me on the new record. I realize this is starting to read like a negative review…it’s not. In Spades is a great album, and I — at the very least — like every song on it. After almost 30 years (!) of transcendent music, though, my Dulli bar is set REALLY high. Highlights: I Got Lost, Birdland, Light as a Feather


Cherry Glazerr – Apocalipstick

Apocalipstick caught me off guard. I had formulated an opinion on Cherry Glazerr after their last record and singles, and felt fully comfortable in my “solid at times, but nothing that needed to be in the rotation” stance. Oops. I kept reading so many good things about their new record that I gave it a try a few weeks ago. The first two songs meshed well with my idea of the band’s sound. Same assessment: fine. Then, the third track, Moon Dust, hit, and knocked me on my ass. This is a badass, powerful rock song that thoroughly blew me away. It totally derailed my day, as I had to stop what I was doing and really give it a good listen. As I listened, more and more of it won me over. A later track on the album, Sip O’ Poison, bowled me over even more than Moon Dust had. This is one hell of an album, full of captivating songs with delightfully harsh and/or menacing guitar lines. Even the tracks that had me on the fence upon first listen have since grabbed me. Fully worth your time. Highlights: Moon Dust, Sip O’ Poison, Nurse Ratched


Charly Bliss – Guppy

I will be honest…the first time I listened to this record, early in the year, it didn’t resonate with me and I couldn’t get over the sound of the vocals. However, I read at least three different reviews as the year went on that said the same thing: something along the lines of, “the vocals turned me off at first, but then I couldn’t get the supremely catchy songs out of my head and now I love them.” I decided to give it another try, and I am really glad I did. Count me among those now on the Charly Bliss train. Now, I can’t figure out how I gave them a pass earlier in the year, especially since the album takes no time to get going; the guitar line in the opening track, Percolator, just crushes. I have listened to everything they have released kind of incessantly throughout the fall. Guppy is packed with addictive indie rock songs full of savage self-reflection and occasional shredding guitar lines. I love it. I got to see them a few weeks back and they did not disappoint. Interestingly, some of my favorites of theirs are the one-off mp3s and singles they have put out separately. In addition to the Guppy album, Don’t sleep on those: Turd, Clean, Special, Love Me are all fantastic. Highlights from Guppy: Percolator, DQ, Ruby.


THICK – It’s Always Something… EP
(2016)
I heard THICK on the fabulous playlist assembled by the NY Times as part of their Rock’s Not Dead, It’s Ruled By Women article that came out in September (https://www.nytimes.com/2017/09/01/arts/music/rock-bands-women.html – well worth one of your ten free articles this month). Both the article and the playlist are phenomenal. The playlist fully validated what I have been listening to in recent years, as 90% of the new bands that have hooked me in the past five years were featured. THICK doesn’t have much material out yet, but I like what I’ve heard. There’s a ton of potential in their handful of songs, which swing between indie and full-on riot grrrl. It’s Always Something… is a four-song cassette EP and all songs are good. You can already see the growth in songwriting from the other tracks that they have on Bandcamp, and I can’t wait to hear what’s next. Highlights: Puke’s Diner, Anymore


Skating Polly – New Trick EP

I’ve mentioned Skating Polly before on my best of lists. I continue to be intrigued with their rapid development as musicians. They drew me in with Babes in Toyland-esque noise, and kept me coming back with their less-thrashy, more harmonic material. this year, they went into the studio with Louise Post and Nina Gordon of Veruca Salt and cranked out a three-song 12″ EP, and it’s excellent. All good. They also added their brother to their touring lineup to make it a three-piece, and it had a great effect. Highlights: Louder in Outer Space, Black Sky

Other Notable Records of 2017


Cayetana – New Kind of Normal 

I’m still trying to figure out what to do with Cayetana’s second full-length album. It’s really good. And I rarely listen to it. Why? Well…it’s a tough album. It’s actually the perfect musical embodiment of depression. I don’t mean that in an, “I’m sad today and I’m going to turn out the lights, light a candle, and listen to _ to stew in it” kind of way (I left in blank because everyone has their personal preferences for this). No, this is not that type of album. This is a no-holds-barred, bleak portrayal of what it is like to wrestle with crippling depression. It’s not that it isn’t heartfelt…it’s just got that energy that someone has when they are just going through the motions of daily life as they battle all-encompassing depression. It’s brilliantly constructed, but, honestly, tough to put on with any regularity. There are a couple of standout tracks, like Phonics Failed Me, that break free from the bleak overall feel to strike at some more emotion; those do keep me coming back. However, there aren’t any songs on this record like a handful of the ones on the last album, like Dirty Laundry, that I may or may not have listened to 15 times in a row. Highlights: Phonics Failed Me, Am I Dead Yet


Date Night with Brian – S/T EP
I’m just happy that there are new songs from Ean Hernandez of Sicko. A solid EP of exactly what one would expect from him: poppy indie-punk songs. Highlights: Summertime, Anywhere


Greensleep – Cheap Headphones

Greensleep was one of my favorite bands of the ’90s. They were pretty unknown, especially outside of New York, but cranked out song after song of heartbreaking indie-punk during that time. I was really excited to hear that they were reuniting. Naturally, they are not the same band that they were then; a solid chunk of life has passed since the ’90s. In reforming, though, they added a fourth member, who now does the majority of the singing, and it has completely changed the dynamic of the band. Cheap Headphones is their first full-length album since reuniting. The main singer/guitarist from the original band only sings four of the eleven tracks on the album. Those four songs would make a fantastic EP; those songs somehow retain the angsty, early-twenties energy that the band had in the ’90s. The ones sung by the later addition to the band don’t have the same energy. Some are good songs, but the feeling is off. Highlights: 2nd Avenue, Restrepo, Armchair Revolutions.

Pette Discographies Best of 2017 Playlist

Instrumental Ska with Jazz Jamaica: Rico Rodriguez in the ’90s

Here’s a rare one (for me)…an in-depth study of someone’s discography that contains almost no vinyl.  The third wave ska scene featured something that I have not seen to my satisfaction since: truly fantastic instrumental ska albums.  While paying homage to the 1st wave with lots of covers, the 2Tone era broke fully from instrumental ska.  The 3rd wave went in several directions – punk ska (aka “punk with horns”), more traditional sounding ska with vocals, and then, the really traditional instrumental ska.  It was a particularly unique time in ska history, as a good number of the original Jamaican masters were still alive and touring, their influence obvious in every instrumental release.  One of these was the late Rico Rodriguez.  Rico was wonderful, and a trombone master.  Which brings us to today’s task: tackling the very confusing discography of Jazz Jamaica, the wonderful Rico Rodriguez band of the era.  “Oh, that’s easy,” you say.  “It was just two CDs, right?”  (Okay, I know you aren’t saying that.  Work with me.)  It turns out there were several albums that were only released in Japan, several others released under different band names, and even two using the name that were really by a different band.  It took me forever to get straight.

Total aside: I tried like hell to see Jazz Jamaica and/or Rico play before he died.  The world conspired against me.  Jazz Jamaica actually flew to the States for one show in the late 90’s – a free performance in Central Park.  My car was stuck in the shop longer than expected and I couldn’t afford the bus ticket to New York at that point.  I’m still kicking myself – I even had a friend who really had no interest go as a surrogate.  Then…years later, I lived in Switzerland, and I was supposed to drive to see Rico (in Lucerne, if memory serves), but he cancelled at the last minute due to illness.  Of course, the car I was driving might not have made it anyway.  Tragic.

At any rate, let’s take a dive into Jazz Jamaica.  First, the ground rules: what counts as Jazz Jamaica?  Here’s how I am defining the band: 1. Must contain Rico.  2. Must contain a representative sampling (half) of the eight band members who released the albums under the Jazz Jamaica name.  This will become clearer in a moment.

1. Skaravan CD – 1993/1996

Readily available U.S. CD.  Easy, right?  Negative.  This one originally came out in Japan and the UK in 1993, then later in the U.S. in 1996.  Each had a completely different cover.  That’s not too bad.  But wait, there’s more…the Japanese version contained three additional tracks.  And they’re GOOD: “Dr. Kildare,” “Rasta,” and “Confucious” (a significantly different version from the one that later came out on the Double Barrel album).  There are some wonderful recordings on this album, including my all-time favorite version of “Peanut Vendor.”  All in all, a fantastic album.  It stands out above the other early ones.  If you listen to all three of the Japanese releases, it is fairly obvious why this is the one that got the subsequent U.S. release.

2. The Jamaican Beat: Blue Note Blue Beat Vol. 1 CD – 1994

This was a Japan-only CD.  Usually fairly easy to track down, as long as you are willing to pay for shipping from Japan.  This one…I don’t know.  Parts are good and others fall flat.  It opens with a rendition of “Three Blind Mice.”  I mean…it’s certainly the best rendition of it I have heard, but it’s still “Three Blind Mice,” and they opened the album with it.  It’s…an odd choice.  They do a version of “Watermelon Man” on here, which is one of my all-time favorite instrumentals.  I have always thought that this should be a high-energy song, though, and the Jazz Jamaica version is a bit more chill, with a wandering bass line.  It’s good, but then I listen to the Jump with Joey or Baba Brooks version, and feel that those are far superior.

One weird thing is that there were a couple of tracks on the disc with vocals, which was pretty abnormal for Jazz Jamaica.  Hmm…I feel as though this is coming off as too negative.  It is actually a very good album.  The second half of the disc, in particular, is really strong – “Sidewinder” and “Song for My Father” are really good.  There is also a pretty badass version of  “Take Five” on here (which Rico later did for the fabulous late-’90s Ska Island compilation as well).  This song, with its aggressive horn line, is the type of track that really showed off Rico’s trombone ability.

3. Rico & His Band – You Must Be Crazy CD/LP – 1994

The first curve ball (aside from the Japan-only releases, of course).  This is a live album, recorded in 1994, released in Germany.  It’s not officially Jazz Jamaica, but it meets the spirit of the exercise and the sound of the band.  Rico, along with Eddie “Tantan” Thornton, Michael “Bammie” Rose, and Tony Uter play on this one.  The rest of the band is different from the Jazz Jamaica releases.  It’s a very solid live recording.

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Jamaican Ska Records Are Going to Drive Me Crazy

No, seriously.  A very…let’s say “detail-oriented”…personality such as my own cannot handle trying to research Jamaican records.  I am working on a little Skatalites project right now, which I will premier a few months from now, depending on where my research takes me and whether I retain my sanity.  I was sorting out the tracks that appear on the old Studio 1 Best of the Ska-talites album, starting with the track “Air Raid Shelter.”  My LP is in fairly rough shape, so in digitizing it, I ended up with really crackly recordings.  I happen to have the 7″ of that song, so I figured I would just record the 7″ and be done with it.  Simple, right?  Negative, Ghost Rider.  The song on the 7″ didn’t match the one on the album.  I checked over on Discogs, which told me that the tracks on the record were all out of order.  Crap.  That album was my only source for about 8 of the tracks on there.  After researching the matrix codes on the 7″, I determined that it was mislabeled, and was actually “Addis Ababa.”  Cool.  Let’s double check that with the version of that one that I have on the Foundation Ska CD – that ought to be accurate, right?  D’oh…that’s an entirely different song, and was actually “Fidel Castro.”  Cross-referencing with YouTube, I sorted it all out, and “Air Raid Shelter” was actually labeled correctly on the LP.  So let’s recap…the Best of the Ska-Talites LP track listing on the sleeve does not match the one on the labels, neither of which match the actual track listing.  However, the tracks on my copy are not out of order in the same way that is documented on Discogs.  The “Air Raid Shelter” 7″ is actually “Addis Ababa,” and “Addis Ababa” on the Foundation Ska CD is actually “Fidel Castro.”  Got it.

Pette Discogs’ Best Albums of 2016 (and Late 2015)

‘Tis time. My annual music review has been something I have put together for several years, but I have generally limited it to a personal Facebook post. That seems a little silly, considering these vast tools at my disposal to reach at least 5-10 additional people who might care. So, I’m expanding the reach this year. Here we go: my favorite albums of 2016 (and late 2015, if I did not get to it by 2015, but it counts because I make the rules). The first few entries here are interchangeable in my rankings – they are all albums I have listened to incessantly since I discovered them.

1. Tacocat – Lost Time
I was way late to the game on Tacocat. Then, I was listening to extensively curated female-singer-indie-rock channel on Pandora, and Pandora and I had a discussion, which essentially amounted to Pandora saying, “Um, you like Tacocat, dumbass. No, really. Get on that,” and me saying, “Mmhm.” We had that conversation about three times before I paid attention. Pandora was correct, and I have remedied the problem. I am now caught up. The good news is this happened at the perfect time: about a month before the release of a new Tacocat album, followed by not one, but two rare DC tour appearances. It’s true: I  Tacocat and you should, too. Their newest album, Lost Time, covers all kinds of fun topics, but I will leave that to you to work through.

Highlights: Talk https://www.youtube.com/watch?v=FkG_Wo-01Qc
I Hate the Weekend https://www.youtube.com/watch?v=ZsXYk-Yw-jY
Dana Katherine Scully https://www.youtube.com/watch?v=6_Q3am_-L6o

2. S P O R T S – All of Something (2015)
Heartfelt, energetic, solid indie rock with a distinct hint of a midwestern sound. This album grabbed me immediately…I just didn’t hear it until early 2016. I read a review of All of Something shortly after I heard it that made it sound as though this band had all the makings of one that was not long for this world (some members – but not all – graduated from college and moved from Ohio to Philly). It hasn’t done them in yet.

Highlights: Saturday https://www.youtube.com/watch?v=gU-LEXqB3D8
Reality TV https://www.youtube.com/watch?v=ZBPws9DOCDc
GDP https://www.youtube.com/watch?v=z9zUJeh1h1c

3. Bloodboy – Best of Bloodboy EP
No, Bloodboy is not a hardcore or metal band (at least not yet) – just solo singer/songwriter Lexie Papilion. I am still trying to figure out how I found my way to this EP. It contains sounds one would normally expect to find exclusively in ’80s songs (and for those of you saying, “I love ’80s songs!” I did not mean that as a positive). It works, though. It really works. These are phenomenal songs. Intense, biting, and infectious – I have been listening to this EP repeatedly for the past couple of months. If only there were a physical product so that I could give her money for her music… Anyway, this EP is a stellar debut and I look forward to what is to come.

Highlights: Keep Your Disease https://www.youtube.com/watch?v=dxH5DNIF9uU
Hey Kid https://www.youtube.com/watch?v=KUkFgXCV5fQ
Fuck Yourself (I find it endlessly entertaining that Amazon refers to this one as “Fuck Yourself [Explicit]”…y’think?) https://www.youtube.com/watch?v=W6nXvLLdVDQ
Mom, I’ve Changed https://www.youtube.com/watch?v=2Uiq8Q9XgJE

Oh, just listen to the whole thing. It’s all good. The last track doesn’t hold my attention quite as much as the first five, but it’s still good.

4. Blowout – No Beer, No Dad
Blowout sounds like early Lemuria…I mean they REALLY remind me of early Lemuria. This is a fantastic development – I miss early Lemuria. It’s catchy indie-punk songs at their finest. This is their first full length, and it has also been occupying my stereo with great regularity in the latter part of this year.

Highlights: Guts Grown Up https://www.youtube.com/watch?v=psoYmtqACxU
Cents Cents Money Money https://www.youtube.com/watch?v=cq2tzjgAjhc
Green Couch https://www.youtube.com/watch?v=1Q1WwxjuQ0w
Indiana https://www.youtube.com/watch?v=TeR2xSTbhzI

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BLOG!!!

Well, check that out: I went and made a Pette Discogs blog.  This format should make it easier for me to post about some of the individual records I have researched in recent years.  I have replaced the blog-ish part of the main site with this one and am loading all of my old posts from that site on here so that they are archived better.

Total Tuscadero Update

In honor of Tuscadero reuniting to play the Black Cat 20th Annviersary show in DC, I have updated all of my Tuscadero entries with new information.  I have also added three compilations that I had never covered before.