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Album Review

Beach Rats – ‘Rat Beat’ [Album Review]

Beach Rats’ ‘Rat Beat’ (Epitaph Records) is a riveting collection of well-conceived, expertly executed tracks of snotty hardcore punk by lifers who happen to be feeling the need for it lately.

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When hardcore punk first began in the ’80s, it carried with it an impudence and aggression that marked it out as the perfect scapegoat for much of society’s ills. For people on the outside, it was an elaboration on an already ugly, possibly evil subculture that begged to have its nose rings yanked out by dashing protagonists. For those on the inside, of course, it was one of the few places where subversion, irreverence, wrath, and political anger could all be channelled into an outlet that would reward both musicians and fans.

Perhaps that’s why instead of dying out like early detractors liked to predict, the genre has gone on to influence mainstream fashion, politics, and, yes, music to this day. And despite the hordes of people who moved on from this way of life into other modes of living, there are still lifers who continue to live the life that hardcore promised, has always promised, its practitioners. Those who follow hardcore’s cornerstones of inspiration, integrity, and insolence (and, you know, playing fast) will be granted its power.

So it makes sense that some of the biggest names in hardcore, those who helped bring about the genre, throughout the waves of irony and popularity and disaffection, who always stayed true, would be able to channel this particular power. It makes sense they would all end up at Jersey Shore, the antithesis of the eponymously titled MTV series that popularized everything insipid about mainstream culture. It makes sense they would write as they used to as kids, and you can hear that on Beach Rats’ debut, Rat Beach. It makes perfect sense that members of The Bouncing Souls, Bad Religion, Minor Threat, Lifetime, and Dag Nasty, when put together in a band and allowed the freedom to write like they once used to, would be a tremendous achievement in channelling all things punk.

What’s wild is there’s no evidence of these members showing any interest in slowing down. Even bands like Metallica suffer their age, but anyone listening to Beach Rats without knowing the band’s credits could be forgiven thinking they were listening to some bratty teens spewing good punk. Opener “Bikes Out!” sets the pace for the album, a breakneck hardcore rhythm that only ever wanes to drive up the intensity, not to pull its punches. As if to prove the point, the following track, “Dress For Sick Sesh,” starts at a mournful pace, only to suddenly kick into full-on force-fed speed. Even the album’s title track, ostensibly the album’s single, stays the speedy course, albeit with swinging interludes that neatly offset any monotony.

As an album, it’s a riveting collection of well-conceived, expertly executed tracks of snotty hardcore punk by lifers who happen to be feeling the need for it lately. As a submission from a group of hardcore vets, it’s a time capsule for anyone who grew up alongside or shortly after them. As a listener, I’m just glad I have something to ride out the rest of the summer before I have to leave the beach.

Beach Rats

Rat Beat Track Listing:

1. Bikes Out!
2. Dress For Sick Sesh
3. Heavy Conversation
4. Rat Beat
5. Summers End
6. Saturday
7. Clorox Boys
8. Wordz
9. Blown To Bits
10. She Was A Goner
11. Beach Talk
12. Fuck You Dad

Run Time: 21:44
Release Date: July 29, 2022
Record Label: Epitaph Records

Director of Communications @ V13. Lance Marwood is a music and entertainment writer who has been featured in both digital and print publications, including a foreword for the book "Toronto DIY: (2008-2013)" and The Continuist. He has been creating and coordinating content for V13 since 2015 (back when it was PureGrainAudio); before that he wrote and hosted a radio and online series called The Hard Stuff , featuring interviews with bands and insight into the Toronto DIY and wider hardcore punk scene. He has performed in bands and played shows alongside acts such as Expectorated Sequence, S.H.I.T., and Full of Hell.

Album Review

Gianfranco Pescetti – ‘DAYSTAR NOCTURNAL’ [Album Review]

Gianfranco Pescetti delivers a series of ambient/dance bangers, coalescing a nexus of complexity and intoxicating extracts on ‘DAYSTAR NOCTURNAL.’

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Gianfranco Pescetti ‘DAYSTAR NOCTURNAL’ album artwork
Gianfranco Pescetti ‘DAYSTAR NOCTURNAL’ album artwork

Composer and producer Gianfranco Pescetti recently unveiled his latest album, DAYSTAR NOCTURNAL, his first new album in almost a decade.

Speaking about the album, Pescetti says, “DAYSTAR NOCTURNAL is my attempt to explore the depth of emotions and create a profoundly personal and evocative sound without conforming to the rigid specifications of a particular genre, all while keeping an eye to the dance floor.”

Originally from the Tuscan Island of Capraia, he previously lived in France for a few years before moving to the United States to continue his music career. He currently lives on the Hawaiian Island of Maui.

Influenced by an eclectic range of music, including modern chillwave, Depeche Mode, and The Cure, Pescetti’s sound incorporates instrumental atmospheric electronica with dance vibes and elements of modern indie rock.

Comprising ten tracks, DAYSTAR NOCTURNAL starts with “Clownspunk.” Flickering tones shape a rising intro that evolves into a shimmering, ambient-flavored dance melody. As the melody progresses, a psychedelic-lite dance vivacity slowly takes over, pushing the ambient surfaces into the background.

High points include the changing emotional sensations of “Obsidian,” which utilizes amiable layers of shifting colors riding a galloping rhythm to fashion a warm, sparkling melody punctuated by glistening, chiming textures.

Gianfranco Pescetti, photo courtesy of Gianfranco Pescetti

Gianfranco Pescetti, photo courtesy of Gianfranco Pescetti

Sundog” places darker rhythmic pulses against the illumination of drifting, humming, twinkling blushes, thus giving the melody a lingering, hypnotic intensity, at once exotic and full of lavish refinement. “Be My Ghost” swings away from the ambient and pushes into the more muscular momentum of EDM, employing a driving kick drum and elusive tints of disco.

Capraia,” a blend of industrial and heavy, atmospheric dance components, molds a mechanistic mood, simultaneously shadowy and foreboding. “The Wake,” eerily haunting on one level, pours like a waterfall on another level, giving the tune dual interpretations: either a progressive lament or a celebration of natural beauty.

The album concludes with “Stopless,” traveling on a propelling rhythm topped by intertwining layers of scintillating, aerated percolations, heady with impetuousness. For some reason, the melody conjures up the impression of EDM gingered with hints of Ennio Morricone-like Spaghetti Western.

Gianfranco Pescetti delivers a series of ambient/dance bangers, coalescing a nexus of complexity and intoxicating extracts.

DAYSTAR NOCTURNAL Track Listing:

1. Clownspunk
2. Macchia, I’ll See You…
3. Obsidian
4. Sundog
5. Nostalgia Aime Le Rouge
6. Be My Ghost
7. Capraia
8. The Wake
9. Fogbound
10. Stopless

Run Time: 35:47
Release Date: January 25, 2024
Record Label: Independent

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Album Review

Wabi Sabi – ‘The Love Insane’ [Album Review]

‘The Love Insane’ displays the psychedelic jazz band persona of Wabi Sabi and their talent shifting from genre to genre with aplomb.

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Wabi Sabi ‘The Love Insane’ album artwork
Wabi Sabi ‘The Love Insane’ album artwork

About seven months ago, Atlanta-based ensemble Wabi Sabi released their fourth album, The Love Insane, a record that not only flew under the radar but was also impacted by the pandemic, resulting in it being self-produced.

Pianist/vocalist Damien Cartier explains, “This is the first of our albums that I have produced myself. We have never done an album this way, but Covid mixed with having a spare bedroom home studio seemed like the perfect time to try.”

The genesis of Wabi Sabi occurred in 1999. Initially comprising piano, trombone, and drums, the band’s name was Damien Cartier And His My Newt Orchestra. Before long, the band added horns, bass, guitars, percussion, and singers. However, there was a problem: the band’s name, the spelling of which stymied people.

Then Damian saw an episode of King Of The Hill where Bobby discovered the concept of Wabi Sabi, a Japanese aesthetic that perceives beauty in imperfection and transience. Enter the band Wabi Sabi, whose unique sound amalgamates elements of soul, funk, reggae, and pop with tangs of jazz.

The Love Insane begins with “The Truth,” opening on a soft, low piano topped by tender vocals, mirroring pensive tones. The melody blends savors of rock and jazz, forming a dreamy, almost psychedelic flow of floating textures.

Highlights on the album include the title track, conjuring up the swaying soul surfaces of the ’60s, tinted with twangy, country-laced guitars. Cartier’s vocals are spot-on and convey touching, quixotic aromas.

New Life,” a personal favorite, evinces suggestions of Steely Dan because of its deliciously trippy-lite surfaces and grand brass accents that bray forth finessed tones. The funky “Not Yet, Sister,” with its hints of reggae, features bright horns, skiffing guitars, and a neighing organ.

The album finishes with “The Weirdo Blues,” a luscious fusion of bluesy jazz and orchestral flavors. There’s a delightful, sleazy sensation to the tune, imbuing the song with benevolent craziness.

The Love Insane displays the psychedelic jazz band persona of Wabi Sabi and their talent shifting from genre to genre with aplomb.

Wabi Sabi, photo courtesy of Wabi Sabi

Wabi Sabi, photo courtesy of Wabi Sabi

The Love Insane Track Listing:

1. The Truth
2. I Am OK
3. Manifest
4. The Love Insane
5. New Life
6. Not Yet, Sister
7. Sick Tuna
8. The Fall
9. Please Rescue Me
10. Spacetime
11. The Weirdo Blues

Run Time: 48:18
Release Date: July 28, 2023
Record Label: Independent

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Album Review

Spike Polite & Sewage – ‘Punk Not Dead’ [EP] [Album Review]

Seething with primal momentum and frenzied, punchy surfaces, Spike Polite & Sewage’s ‘Punk Not Dead’ projects an intensity of defiance and insurrection.

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Spike Polite & Sewage ‘Punk Not Dead’ [EP] album artwork
Spike Polite & Sewage ‘Punk Not Dead’ [EP] album artwork

Punk Not Dead, the latest EP from Spike Polite & Sewage, is an insolent, provocative social satire, a response to the clueless decline of Western civilization, à la Oswald Spengler. Unrestrained, the EP was produced by Ted Sabety.

Made up of Spike Polite, aka Reagan Youth and Cheetah Chrome, on vocals, Michelle Shocked (bass, vocals), Antony Romero (guitar), and Beast (drums), Punk Not Dead follows on the band’s 2021 EP, PANDEMONIUM.

Comprising three tracks, Punk Not Dead opens with “What Happened to the Punk Rock,” rolling out in buzzsaw guitars riding tight, raw percussion. A single voice segues into gang-like vocals, imbuing the lyrics with enflamed indignation. This is old-school, fulminating punk rock.

Twitter is a Death Machine” delivers a short, vicious commentary on the malicious ramifications of social media platforms, specifically Twitter, now known as X. Traveling on a fast, chunky rhythm, the harmonics slice the atmosphere with edgy guitars.

Snarling, grinding guitars give the intro to the title track chaotic textures as sneering vocals infuse the lyrics with ferocious energy highlighted by ringing percussion. The outro reveals the spoken word vocals of Spike and Michelle announcing that “punk is not dead.”

Seething with primal momentum and frenzied, punchy surfaces, Punk Not Dead projects an intensity of defiance and insurrection.

Spike Polite & Sewage, photo courtesy of artists

Spike Polite & Sewage, photo courtesy of artists

Punk Not Dead Track Listing:

1. What Happened to the Punk Rock
2. Twitter is a Death Machine
3. Punk not Dead

Run Time: 3:24
Release Date: January 15, 2024
Record Label: Solid Bass Records

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