Record #918: Crowning – Survival / Sickness (2020)

I have said, often and loudly, that I don’t like screamo. And I don’t mean screamo as a catchall term for any music with screaming in it, like your mom uses it, but as a distinct branch of emo and hardcore heralded by bands like Orchid, pg.99, and Saetia. I’ve proclaimed for years that it’s too abrasive and tuneless for my tastes.

Exceptions were made, of course, for envy. And Boneflower. And Chalk Hands. And Birds in Row. And…actually you know what, maybe I do like screamo. Because recently, I’ve found a few skramz records that I really love. One that was introduced to me recently was Survival / Sickness, the debut record from Crowning out of Chicago, a cathartic fury so explosive that it lasts a mere eighteen minutes before burning out. Still, it packs in more energy in that short runtime than several albums three times its length.

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Record #917: The Abruptors – Love and Other Disasters (2019)

It might surprise folks, since I’m the frontman of a ska band myself, but I don’t listen to a ton of ska. In fact, before I joined that band, my vision of ska was very narrow, informed by my time in youth group in the late 90s and Tony Hawk’s Pro Skater. That is to say, I was almost exclusively aware of Christian Third Wave ska bands like Five Iron Frenzy and OC Supertones and also Goldfinger.

But as I’ve learned, ska is a far deeper tradition, with roots stretching to Jamaican folk music and permeating British anti-racist movements in the 70s before being co-opted by punk and hardcore in the 80s and then becoming the soundtrack for suburban middle schoolers hopped up on Mountain Dew in the 90s.

I was recently gifted this copy of Love and Other Disasters, the debut record from Buffalo NY outfit The Abruptors. And despite the time and place of its origins—and whatever expectations my brain might still make when I hear something described as ska—it lives much closer to the rocksteady and two-tone sounds of early ska acts like The Specials and Skatellites instead of the hyperactive mania of Third Wave, as well as some tasty flavors of 60s doo wop and R&B. Continue reading

Record #916: Braids – Euphoric Recall (2023)

As the ancient Greek philosopher Heraclitus once said, “Change is the only constant in life.” He probably wasn’t talking about the artistic trajectory of musicians, but it’s certainly applicable. Every artist’s career is destined to change—whether by the continued growth of experimentation or the stagnation from repeating once-fresh formulas until they decay. And as artists change, their fans also change, and often in different directions. It seems to me that many fans usually follow an artist for three albums before they each move beyond one another.

I say this because I’ve loved Braids since their 2011 full-length Native Speaker, a delightful piece of energetic yet thoughtful art rock. I even emailed the group to get a digital copy of their debut EP which has since been scrubbed from the internet. While I eagerly anticipated the more ambient Flourish // Perish, devouring the singles and preordering the disc (it remains my favorite of theirs), I somehow missed Deep In the Iris until months after their release. So when a promo for Euphoric Recall came across my inbox, I was surprised to find that it was actually their fifth record, having released Shadow Offering in 2020.

But listening to Euphoric Recall, I was instantly reminded why I fell for the band in the first place. And not because they’re still putting out carbon copies of Native Speaker (they aren’t), but because the careful balance of experimental sonic craft and hooky songwriting is still a fertile field for the harvest.

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