Written by John Linnell

Kevin Schlereth is here to dify the laws of tradition. Every once in a while an artist comes around with the versatility enthusiasm, and creativity that not only crosses over different genres  but breaks all the rules of what a singer/song writer should be. Kevin Shlereth is one of those artists you cant classify into one genre. 

Kevin's second self titled LP Dont Die! Please Stop Dying  Is a very rhythmic album that veers away from the formulaic mainstream artists of today. Kevin is former guitarist/singer of the Band Engaged. Coming from an acoustic punk background, Kevin pushes all the boundaries of what a song should be and keeps the listener in suspense.  The album is probably nothing you've ever heard before and at first listen you kind of get blind sided with unexpected acoustic guitar riffs that seem to happen for no reason. For every attempt at dynamic songwriting, there's a cut that encompasses an inclination towards subtler, more contemplative arrangements being perfectly in line with some of Kevin's more edgier, and more aggressive works. 

This album is definitely a step in the right direction when it comes to sound quality. Kevin personally told me the album was apparently recorded in a mobile recording studio. By that I mean, it was recorded in a mobile home. One would have never guessed.
 
"Tornadoes" is one of those edgy songs, virtually establishing the atmosphere for the record and utilizing the play of a banjo to provide the earthy wild resonance.  Schlereth's vocals are what hooks the listener and he sings. In my opinion his voice is very similar to Kurt Cobain's voice. Gritty, and kind of whiny.  "Tornadoes" is definitely one of those songs that put you on your heals right out of the gate. The song starts the momentum of the album fairly well, and I must say this song is one of my favorites. Kevin strums his guitar a whole heck of a lot in this song, and the song definitely showcases Kevin's guitar playing abilities. 

As for the songwriting, Kevin still remains inventive in both subject matter and finding new ways to address topics like religion, and contemplating ones relationship with a redemptive God. There are many times in which the album verges on being too truthful for comfort, most notably on "Natural Causes" and "Don't Die" which could be an anthem for friends who have perished, either literal or figuratively. More hopeful songs, such as "Sunshine"  is a bright spot on the album, yet still retains a bald honesty strong enough to elevate the album from being too depressing. Also the song adds additional allure of backing vocals from who gives the song an edge over its predecessors by emphasizing harmony, and hope. 

All in all the album isn't great, but it does stand on its own as a very creative body of work full of dusky textures with a sparkling hue of optimism. Kevin certainly has a signature type of sound, and stands in a category all by himself. Razor sharp. 

There are very few bands who can take all the hits and stay afloat after 15 years of touring and recording and not compromise the vision and core of the band. The music industry is a constantly changing force, and if you don't go along with the tide, you get forgotten and pushed out of the consciousness of the masses. Project 86 is  one of those bands who have not only done things their way but have honed in on who they are as a band and still have maintained a devout fan base.  When P86 came on the scene in 96' they were reminiscent of  Rap Core bands such as Limp Bizkit, but as the years went on they developed their own sound. 

Wait for the Siren is album number 8 from So Cal's Project 86, and is not quite a return to roots, but I do feel like there are moments in the album that are similar to the P86 I remember. Parts of the album are vaguely reminiscent of past albums such as Drawing Black Lines and Truthless Heroes. In my opinion, since Rival factions I felt the band had lost some steam, but after WFTS I finally feel like the band has turned the corner. 

Having said that I approached this new album hopeful and skeptical, keeping in mind that I should listen to it as a new, stand-alone work rather than trying to compare it to past releases. Ultimately, I enjoyed it. The band experiments effectively with melody, and integrates it beautifully with the heavier parts of the album. I think Andrew Schwabs vocals are still some of the most distinct vocals in the rock world, and I think the lyrics are as always stellar.

 At first listen the album starts very heavy, maybe the heaviest they have ever been. The first track "Fall Goliath Fall" opens up with militaristic rudimentary drumming, accompanied by the hammer dulcimer, and some mandolin, then the track goes straight into solid heavy guitar riffs. I believe this is the first time they have ventured away from using exclusively traditional rock instruments. I was excited right off the bat, and was immediately sucked into the album. While most of the album is filled with pounding hardcore guitar riffs, the album slows down with a few softer tracks. A lot of the album is full of simple repetitive low tones, which differs from Randy Torres' complicated guitar work, but some of the guitar parts pay homage to Randy. A great example of this is "The Cross Fire Gambit." In my opinion this song sounds nothing like any other song on the album. The song starts off with a fast intricate guitar intro into a slow verse, and suddenly picks up the pace again. If you're a long time P86 fan you should love this one, which sounds much like their past works. 

Another song which I took a liking to is "Sots" which is probably one of the hardest songs on the album. This song really ties the album together, and is one of my favorite songs. The guitar work is heavy and very melodic. Its one of the songs on the album I keep going back to.   

Andrew  is the only founding member left in the sixteen year old band, which could possibly play a part in why the band has morphed so much. One difference about this album is Andrew  is definitely signing a lot more these days. His voice is soft yet creepy, and haunting. While Andrew  uses his trademark blood curdling scream for most of the album, he adds some growling low tones at times, which I don't remember on any of their other albums. Andrew sings with soft layered vocals, which adds a creepy effect. This is evident in "Defector" and "Blood Moon." 

As diverse as this album  is I feel like one minute I'm really digging it, drumming on my steering wheel, and the next minute I'm listening to very slow melodic interlude. I found myself skipping through the softer stuff in search of the heavier tracks. At times it felt like there were some fillers thrown in. Some of the songs seem inconsistent with the flow of the album, and the order of the songs didn't make sense to me. By the last few tracks I found myself kinda bored. The album starts off with intensity, and promise  but the deeper I got the more the album dwindled into to a loss of interest.  

This review may be a little confusing. One minute I'm saying its a solid album, and the next minute I'm saying its boring, and schizophrenic. But the truth is I think its a good album with its pluses and minuses. So having said all that this album is a grower. I think the new record is a natural progression of their sound. It's equal parts their older work and a new sound. It retains elements of hardcore sensibility while also tossing in dashes (musically) of "Rage Against the Machine" (to my ear), and sometimes even the progressive and psychedelic flashes of Pink Floyd (in parts) rear their head. Which is a delightful surprise. I eagerly anticipate the band's next record. Because I think they have yet to decide on a sound. Which means they have yet to hit their stride. I think they continue to improve as a band, and they are not afraid to experiment even when so-called fans start tossing around the term "sell-out" without providing the album a proper chance to grow on them. 

They didn't sell out. They evolved. They expanded. They improved their range. It's like the transition from black and white TV to color. Some people are hesitant and don't think the change is necessary. Eventually, it becomes obvious that the change was a well needed improvement. 


 











  

After 20 years Mxpx apparently still has some fule left in their tank. When it comes to fast paced pop punk with introspective subject matter, MXPX is the best in all the land. After a five years with no releases Mxpx comes out of the blue with their 9th full length album, Plans Within Plans. This album is a breath of fresh air for me, because It finally feels like they have came back to their punk rock roots. 

One thing that is apparent as soon as the first song "Aces Up" begins, is that the album is one huge wall of sound. From beginning to start the song is a fast paced and a very energetic track. As always very fast drumming, and quick bar chords. Even though the song isn't the most complicated of songs it is a great introduction to the album. 

"Screw Loose" the second song on the album, is one of those songs where  MXPX tries to be hardcore. Me personally I don't get why this song is second on the album. Every Mxpx album has a song similar to this one that doesn't quite fit. Its not terrible but it belongs lower on the track list.   

 Mike Herrera's songwriting seems to have deepened and he sounds wiser. Although there are some songs mainly about the same posi topics as previous Mxpx albums, the album does touch on the subject of getting older, moving on from failure, and reminiscing about younger days. Specifically the song "Best Of Times" which talks about memories and being young. For me I feel like I grew up with Mxpx's music, and I feel like I've gone on this journey with them.  While much of their earlier albums are about going to high school, crushes on girls, and skateboarding, this album really hones in on the fact those days are gone and getting older is something exciting. 

They craft huge melodies and hooks that will keep you listening to the album. It is very easy to tell Mike Herrera's bass playing is almost always audible. He crafts melodic and catchy bass lines, but they also have a groove to them, as in "The Times" which contains an amazing bass intro. Yuri's drumming is also top notch. He constantly keeps a flawless pace, but at times will throw in fills to spice things up.  

For the most part this album never lets up, and its a great album to listen to driving on a sunny day. Its very difficult to stay in a bad mood while listening to PWP. Mxpx have always been solid when it comes to musicianship, and this album is no exception. Throughout the whole album Tom plays very clear and unexpected guitar riffs. One thing I have to say about mxpx is even though they do have a lot of simple bar chords mostly in the verses, there is always something interesting whether it be the into or an unexpected guitar solo. MXPX always has well layered guitar work. Sometimes three tracks overlapping at a time. It seems like Mike never takes the easy road as some bass players seem to do. His bass playing is always exceptional, and always blended perfectly with what Tom and Yuri are doing. 

My favorite track on the album is by far is "Far Away." This song is a scorcher. Probably the best song on the album. This song has everything I was just talking about, plus some hardcore screaming in the bridge, which is a first for Mike. It also seems like Mike does an exceptional job in painting a picture with his lyrics. 

"It's a struggle just to stay alive
A brute force wind keeps us huddled inside
While the ship is going under
The violence will tear us asunder..

I think this song probably should have been placed much earlier in the track listing though. This is the 1st single on the album and its number 8?   

"Stay On Your Feet" "When It Comes To You" are also solid tracks that showcase MXPX's talent in crafting fast paced poppy punk songs. There really are no weak songs on the album, and the album for the most part flows really well. "Lucky Guy" is a song about how lucky Mike is to be with his wife. 

"Nothings Gonna Change" is really when MXPX really showcases their musical abilities, perfect drumming, exemplary guitar work, creative and intricate bass riffs. This is a perfect song to close the album. 

When all things are said and done the album is exceptional, and I really can honestly say this is one of my favorites from Mxpx. I find myself going back to this album over and over again. True fans will love it, and newer fans will have no problem getting into them. Well done!! Well done!!

If falling asleep is boring, then maybe you need a change. You might even need some music to help you get to sleepy land. The Light By "Incandescence" is a supernatural journey through angelic realms, pulsating ambient sounds, and symphonic melodies.  Much like "Sigur Ros", Its like the combination between a movie score and the sounds you might hear while drifting to the after life. This album is probably not suitable for a road trip that's for sure, but it might be great for sleeping under the stars and the background for heavy thought. Created by Steven Lemaire, ex guitarist for the band "All Day Drive, this project is nothing to look over. It may be slow with lengthy tracks, but its a brilliant peace of work that needs to be checked out.

Written by - John Linnell

Remember when Bluegrass music used to be angry, when it used to be the raised voice of a people?  The good news here is that Bluegrass music is still a rallying point for today's youth to express discontent at a world that seems largely out of control.





The Vandolins are a full Bluegrass/Stringband from Red Bluff California that puts out as much sound as a rampaging rock band, but with purely acoustic instruments. It's pretty impressive to hear this much sound coming out of a Bluegrass band, not to mention the wildly varied tempos and melodies.  

The Vandolins can be counted among the host of Bluegrass bands that play bluegrass instruments but wouldn't be caught dead playing the main stage of any mainstream  festival. Vandolins gruff sensibilities are more in line with bands like Hank William The III or The Devil Makes Three.

Singer David Soltar sings in a husky voice backed by hard-strummed acoustic guitar, banjo, mandolin and upright bassist Patryck McAuliffe plucks every string accurately even while dancing around like a wild man, and fiddle/mandolin wizard Jeff Coleman plays incredibly well. Its obvious hes a seasoned fiddle and mandolin player.
 
The group's fast harmonies boost tracks such as "The End Is Near," Banjo ripper Beau Martinusen  is solid throughout, playing in a plucky fingerstyle that steers clear of any potential Deliverance jokes. 

All these songs would sound right at home beside a backyard bonfire. 
The Vandolins evoke a rough outlaw feel, singing about whiskey, saloons, and being on the road. Everything a real outlaw would experience is in their songs, and they stay real to the outlaw attitude. There is a DIY punk rock sensibility that I really can relate to, being a life long punk rock fan. (I'm talking about bands like Black Flag, Bad Religion, Bad Brains. Not Blink 182, or Green Day)

While listening to the album I can tell theses guys have a lot more influences than just country/bluegrass. The song "Ride" "The Grove" and "Living Drone" (Which is very reminiscent of the guitar intro to "Listen To The Music" by The Doobie Brothers) all have nice jazzy guitar strumming and bass plucking meshed in with crisp clean Mandolin and Banjo picking. While changing up the tempo of the album from fast to slow, they still keep a good momentum going throughout, and they stay true to their true sound. 

While their recordings are great, you still have to see them live to capture their raw intensity and energy. Not only are they amazing musicians, but they are entertaining, and have an old time feel that takes you back forty or fifty Years. To be honest you don't see or hear music like this anymore and its a pleasure to see a band staying true to who they are and making amazing music.

All in all, the performances are as solid as one would expect from the seasoned pros who lend their talents here and the first-rate musicianship of The Vandolins themselves underscores every track with just enough ‘spin’ to keep bluegrass lovers happy. 

https://www.facebook.com/thevandolins?ref=ts 

Article by John Linnell-

First of all before I review this album I need to give you some background on my relationship with D.N.A. We’ll start in 06? Nate happened to be in town (Redding) and was a friend of a good friend. We were having a bunch of our friends play on our awesome porch. I remember being totally blown away. If you’ve ever seen DNA live you know they never stand in one spot, so it made for a great energetic show. I’m always taken back by Nate and Tessa’s passion and genuineness. When I lived in Reno they played on my porch again, and ever since then every time they come through town they crash on my couch, or a floor. I’m happy to call them good friends.

Lets dive into the album. The album opens with “Waking up is hard to do” this song is like an explosion of optimism, mixed with a crazy mix of organs, horns, grungy guitars, and an array of instruments. The first track pretty much starts the album off in stride preparing you for a very energetic, and fast paced album. DNA’s earlier works are all acoustic punk which translates very well to electric guitars. You can tell they stuck to their punk rock roots with the songs “Emergency” which is full of fast paced bar chords, accompanied by Dracula organs as well as giving the listener some insight into Nate and Tessa’s lives. It’s obvious that the band is enjoying themselves. This is evident with the song “Chick Flick.” As far as I know this is the first attempt by DNA to try some reggae, and they pull it off nicely, as well as revealing the love this married couple have for each other. One of the reasons I like DNA is they have substance to their songs. You can tell they are great people and I enjoy the stories within their songs. “We talk Occasionally On the Internet” constantly maintains a very full sound, from the palm muted verses, to some amazingly catchy bass lines and are just fun to listen to. There are few moments when any one musician truly stands out and is exceptional, but it’s never a bad thing. When the music gets fast the entire band plays faster, when it slows down, everyone follows suit perfectly. They play as a unit, not as individuals, and the sound they muster is unique and very enjoyable. I love how DNA’s songs have gravitated towards a ska feel. “Distracted Nate” This song was a pleasant surprise, seeing as they added a horn section. Im a ska fan and thought it fit great.The song delivers a brilliant ska chorus alongside a remarkable trumpet part that will amaze fans. This will be the track fans gravitate to, keep on repeat, and maybe even want to dance. (I know I did) The only negative thing I might say about the album is there are a few songs that may lose the listener and lessen the excitement of the album like “ Hospital” this song made me sort of nauseous. Basically the song is a true story how about how Tessa’s appendix burst, and she was very sick for a while. It goes into detail about her being cut open by the doctors etc.. However fans shouldn’t lose hope too quickly. The album changes gears a tad reminding listeners of DNA’s earlier works with ”I need to know” This song is a quiet melody with a banjo lightly picking in the background. This is one of DNA’s best tracks to me because it’s very honest. I need to know/everything is gonna be ok/the sun will come out some day/and all these clouds will fade away. I think these words are something every person can relate to, and the song would fit well in a movie score.

Overall the album is a great catchy collection of songs. “With Our Powers Combined” is a pleasant surprise offering a mature-sounding DNA album that will surely win over the hearts of fans. There is certainly something for everyone on the album.

Listen to the album here: http://soundcloud.com/destroynateallen/sets/wopc/s-M5FoO

https://www.facebook.com/destroynateallen?ref=ts

http://destroynateallen.com/

Written by - John Linnell 

''Awaiting the Apocalypse" emerges from the shadows with entropic, and chaotic melodies shoving a wall of melodic anarchy down your throat with "At War With The Dead" their first offering to the Metal gods. This bad boy kills the elderly right in their tracks with jaw dropping promotion to hellish, brutal screaming guitars while at the same time sane and contemplative subject matter. Instead of setting themselves into a comfort zone, they push harder and harder with each track. This dark collection of melodies completely maraud your reality of what music really is, and how big the spectrum can be stretched. Tyler Edwards breathes complete fire throughout the album, delivering his best low growling vocal performance to date, dripping vehemence and desperation. There is a certain amount of renewed freedom offered The ATA's songwriting on this album, allowing them to be at their craziest They do a great job at leaving the listener with no escape from impact.  

The Instrumentation is top-notch. Drummer Dan Capps is the ringleader on the chaos, his timings and fills creating a strong backbone for the madness.  and , the guitarists, Marcos Silva, and  Jon Loan have such chemistry, throwing distorted riff after dissonant chord off one another, going off in opposite directions at times and reining it in perfectly.  

The gem of the album here though is "Ill Beat You To Death"  The band puts together a perfect jam of chaos, build-ups , and a foreboding atmosphere.

 Terrifying and sadistic yet a smoldering hope as the album comes to a sudden close, catching your attention much like a hungry wolf howling against the silence. The anticipation grows and climaxes to a point of absolute aural terror.  Escape is futile.

 

In the unpredictable world of rock and roll, its hard to stay in the game, let alone on top of your game. Yet, in spite of the turbulent nature of their medium, Stavesacre has remained a driving force in the unpredictable world of rock. Nine years into their history fans, critics and peers alike point to Stavesacre as a steady source of musical inspiration, passion and integrity. The band has long been considered by Southern California music press and thousands of ardent fans to be the best band you've never heard of, due to the group's fervent underground following. Excellent songwriting, musicianship and a full throttle live show have established them as a rock tour de force. 

They've released 2 of my all time favorite albums in Friction and Absolutes, and have, with “At the Moment”, a song in the all-time greatest songs argument…top 10, no question. I have seen them more times than I can count. I have always loved their originality, to the point where, if you were to start playing a Stavesacre song to anyone who knows them, before Mark even starts singing, you can tell, even if you’ve never heard it before. I love their music, their songwriting, their personalities…everything. It’s a shame that they haven’t gotten a massive record deal yet. And, with that being said…)

I can say up front that this album is, what some may call, a “grower”. It’s not really that great the first time you hear it (in fact, it’s not even that good on the first listen), but, as time goes on and you listen to it more, the more you can like it. I am by no means saying that this is a great album, though. Sadly, that’s not the case. Upon first listen, I almost couldn’t make it through the album. I don’t know if I just hold them to a higher standard or what (it is quite possible), but I can honestly say that I’ve never been as disappointed by a Stavesacre album upon first listen as I am by this one. I don’t know exactly what it is, so I’ll let you in on some of my thoughts as I listened to this. “If Mark wasn’t singing, I would have no idea this was Stavesacre.” One thing I’ve always loved about Stavesacre is that every single member is so extremely talented that, not only are their live shows great, but they always manage to carry that talent over to their recordings. Aside from 1 or 2 places on this album, it could really be anyone playing on this, with Mark singing. Sam is such an amazing drummer, but I don’t hear it on this album. Dirk is a unique bassist, but, aside from a couple places, you can’t really tell he’s that great. Ever since Ryan joined, I’ve loved what he’s brought to the table (different from Jeff, but still good), but they could’ve grabbed any guitarist from any emo band to do what he’s doing on this album. And Mark…well…on a couple songs (“Fear and Love” and “You Made it Look So Easy” being the most obvious culprits) he sounds whiny.
“If I didn’t know any better, I would think that they’re trying too hard to get a major label to notice them and cash in on the already overdone emo market.” Here’s the sad thing…I don’t know any better. That’s really what the majority of this album sounds like. There’s really not much that separates this release from a lot of what’s already out there. I could see this coming for a while, and just hoped I was wrong. As much as I like Speakeasy, that was really the first step in that direction, and it continued with Stavesacre. “Witch Trial” was more along the lines of Absolutes, but the rest of the album took them one step closer to emo. When I heard the Bull Meets Fighter EP, I was actually pretty excited when I heard the title track. A little harder and nastier than the majority of Stavesacre, and, of course, it had that wicked guitar breakdown in the middle. I was hoping that momentum would carry over to this album, but, sadly, it didn’t.
And now, my final, and, possibly saddest thought…

“It sounds like a group of high school/college kids really into today’s emo got a hold of Speakeasy and Stavesacre and have now made a more watered-down, more radio-friendly version of those two albums.” That is a sad thought to me, but it doesn’t make it any less true. It doesn’t sound like Stavesacre…it sounds like a band with limited exposure trying to be Stavesacre. I had always thought that they too unique to ever be copied, or too unique to ever sound like anyone else, and now, finally, I am proven wrong…and I hang my head and hope this will pass.

Re-read all that. I just did.
It really sounds like I hate this album. That’s not really it. I did at first, but, as it turns out, my hatred isn’t hatred at all…it’s disappointment. As I sit here listening to it yet again right now, I’m still disappointed that they didn’t put out something better, but it’s still a pretty good album, with a couple of tracks (most notably “The Trouble With Being Born” and “Future History of the Broken Hearted”) being a bit more aggressive and more Stavesacre-esque than the rest of it.

In short, throw your preconceived notions of what you think this album will sound like out the window before you listen to it, and then listen to it with an open mind. You’ll like it better. And, as I said at the top of this review, it’s a grower. I’m currently on my 8th listen, and I’m liking it much better now than I have the previous 7 times. Give it time and attention (like a new puppy), and you’ll find that you’ll like it more an more with every listen.