“Cars and Houses” and “Lingonberry” are indie rock bangers. “Reception” has an amazing post-hardcore feel, completely different from the other tracks. It even has some jangle and whoa-ohs in the backing vocals. ![]() “Friends” is a great bouncy pop punk track that still has a sharp edge, and “Antisocial” slows things down a bit without losing any of the other strengths. As the album evolves, the songs inject more pop goodness and strip away only a tiny bit of the power. ![]() “Push It” is ace garage punk with loads of power and infused with musical tension. It’s a mélange of genre bending that’s pretty damned cool. This stuff is fantastic! “Sleeping” mixes the sound of those Denton bands with plain old rock and roll, and includes some cool hard metallic bits and surf guitar jabs. ![]() Skate punk fans will enjoy both bands.ĭEAF LINGO – Lingonberry (Lövely Records, )As I began listening to the “Intro” track, I thought to myself, “oh, this is going to be some weird wanky experimental stuff on guitars.” But thankfully it was just an intro, because BAM! The band launches into “Summertime,” and it’s like listening to a less tense version of Radioactivity or Marked Men, and mixed with loping pop punk. Metal fans will likely disagree, and may enjoy it. Bring on the Storm is more metal and less punk, sounding like they’re trying to be a big arena band (or what we used to call a “hair band”), and it’s just not my thing. Both bands acquit themselves well, though I prefer Call It a Day’s tracks, as being more punk. Call It a Day focuses on the speedy melodic hardcore end of the spectrum, while Bring on the Storm focuses more on metallic flourish their songs are played at a more moderate tempo, and they’re more melodic and way more metallic. Both bands play what would loosely fall into the skate punk camp, but the two approach it from different directions. So, each contributes an EP’s worth of material to make up a full-length release. This new split, uh, I guess I’ll call it a full-length EP, contains four songs from each of two bands, Canada’s Bring on the Storm and France’s Call It a Day. This is an interesting journey into our collective musical past.īRING ON THE STORM / CALL IT A DAY – Through The Distance (Thousand Islands Records, ) Juxtaposing the two genres of the era is quite a clever thing to do. “Let It Go” blends the orchestral pop of the mod era with sitar and back-masking of the psychedelic era, to create a track that’s both freaky and poppy. “How To Do It” has a familiar 60s pop liveliness to it, feeling almost theatrical with its insistent beat provided by the piano. “The Sky Is Blue Hello Good Morning On With The Show” is a favorite, for its clever arrangements, including the aforementioned instruments, plus piano and harmonica, harpsichord, French horns, and even a rooster! The track, which is really three or four songs in one, has a lilt to it, a bounce reminiscent of Sgt. One of the really nice touches on this album is the use of orchestral-like arrangements, including lush strings, and even piccolo trumpet here and there. Think about the earliest Pink Floyd albums, loaded with psychedelic pop, but then smooth out the rough Syd Barrett edges and you get an idea. Vocals are subdued, while the music is sweet and moody at the same time. It’s chock full of the sort of music that was all the rave back then, especially in England. Chuck Yoakum does more than pay homage to that era, he dives in and makes himself at home in it with this LP. ![]() It went with the love and flowers pop music of the time, which often had hints of mod and psych. CHUCK YOAKUM – Paisley Garden Project (Kool Kat Musik, Paisley was a popular pattern for clothing in the 1960s, with its psychedelic style.
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