punk

Record #554: mewithoutYou – Catch For Us the Foxes (2004)

/ Nathaniel FitzGerald

As much as I’ve looked forward to this section of my collection, I’m sitting here with “January 1979” blaring at a complete loss of what to say about this record.

Do I talk about the broad scope of Aaron’s lyrics as he dissects theology, philosophy, and his own mental state in a yelping shout? Do I talk about how the rest of the band broke the doors off of punk music to create some of the greatest soundscapes put to tape? Do I talk about how over the last fourteen years, no record has meant more to me?

Because this record is all that and more. And if I didn’t have work to do today, I could write about this record all day.

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Record #552: mewithoutYou – I Never Said That I Was Brave (2001)

/ Nathaniel FitzGerald

Few groups have as varied a discography as mewithoutYou. They’ve forged a musical niche for themselves that is as diverse as it is consistent. Their records have run the gamut from blistering post-hardcore to intense indie rock to charming folk.

But looking back across eighteen years and seven albums, it can be easy to forget that mewithoutYou (whispers) sorta started out as a joke.

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Record #550: METZ – METZ (2012)

/ Nathaniel FitzGerald

For all of its simplicity, there’s something about punk that’s just slightly inaccessible.

If it keeps too close to the formula, it’s derivative. If it strays too far, or even if it has the right sonics but the wrong attitude, it’s a sell out.

Even if a band captures all of the fury and wrath of punk live, capturing that energy on record is as difficult capturing lightning in a jar.

But nobody must have told METZ.

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Record 248: Blondie – Parallel Lines (1978)

/ Nathaniel FitzGerald

The mid-to-late seventies were a great time for punk. An unvoiced rebellion finally found its eloquence wearing ripped denim and filling CBGB & OMFUG (Joey Ramone having convinced the owner to let punk bands play there instead of just country, bluegrass, and blues acts).

Punk was fresh, it was real, and most importantly, no one knew what punk was supposed to sound like yet. Whenever I hear Heart of Glass between Brothers and Allman on the oldies station (my town’s radio stations are weird), I shake my head incredulously muttering, “these guys used to play with the Ramones.” And Television too, but Television isn’t exactly what you think of when you think of punk either.

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