Tranzmitors (The) - Busy Singles

Artist: Tranzmitors

Album: Busy Singles

Label: Deranged Records

Vancouver's Tranzmitors have been kicking around the circuit for a few years now, and although I had always heard good things about this 80's punk garage-pop three piece, none of their songs ever really gripped me.  Most songs were either too juvenile to hold my attention or failed to reach the infectiously catchy beat suggested by their influences.  In 2008 the band released a series of vinyl and digital singles.  The challenge for any band releasing singles includes writing continuously memorable songs over a sustained period - filler is not welcome.  Given the Tranzmitor's track record, I wouldn't have thought they could pull it off, but the cumulative release of their 2008 singles as a unified collection, Busy Singles, proves otherwise.

The biggest difference between Busy Singles and the Tranzmitors' previous work is the draw of each song's hook.  While previous works tried sounding catchy, they always fell short - instead sounding unnatural - like a band trying too hard.  But this time around the band harnesses a perfect blend of 80's punk and Brit-pop, with thin layer of "garage" roughness holding the sound together.  Every song begs the listener to get up and dance - or at the very least bob their head to the oh so infectious beat.  In other words, the album truly feels like a singles collection - every song has its own unique lure.

For example "Bigger Houses/Broken Homes" builds up to an explosive chorus thanks to a duet between the band's load and backing vocalists, and "Dancing in the Front Row's" harnesses the power of handclaps and simple chord progression.  When the band strays from their danceable melodies the beat slows down and they incorporate a slight 70's influence to keep things lively, and most importantly, fun.  Slower songs like "Live A Little More" or "Are you Gonna Take Me" differentiate themselves with bouncier melodies and a less persistent guitars.  

However, despite my kind words, some listeners may be turned off by the band's tendency to repeat lines - specifically track titles - in excess.  For example, "Teenage Filmstar" has a lengthy  full minute bridge where lead and backing vocals simply repeat the track's title over and over - and despite being undeniably catchy, the repetition becomes tiresome.

Overall though I'm doubly impressed at how the Trazmitors finally found that catchy musical sweet-spot, as well as how coherently the individual singles work together as a unified 48 minute album.  Despite the long runtime for simple garage-punk, the album never has a lull and easily retained my attention for the entire playtime.  If you're like me and never gave the group due notice, then there's no better starting point than with Busy Singles.

Fake Problems - It's Great to be Alive

Artist: Fake Problems

Album: It's Great to be Alive

Label: Side One Dummy

Over the past few years Side One Dummy has been signing and taking chances on what might initially seeming like obscure novelty bands.  First came the gypsy ramblings of Gogol Bordello, then the mexican melodies of Dusty Rhodes and the River Band, and just last year the southern washboard scrape of The Reverend Peyton's Big Damn Band.  Surprisingly, each of these gambles have paid off, but more importantly the arrangement has helped these bands more fully realize themselves in a top notch studio, probably thanks to the combination of a sizable recording budget and Side One Dummy's commitment to artist directed creativity.

That being said, Fake Problems have become a leading staple in the folk-punk underground since their inception four years ago - well before signing with Side One Dummy last fall.  Since 2005 the band claims to have never taken more than three months off from touring and recording.  Consequently, there has been a great consistency and natural evolution evident in the band's sound with each seemingly randomly released single, free EP, and full length album.  So when I heard that the rather unstructured but hard working Fake Problems had signed with the well established and polish-centric Side One Dummy, I was rather curious to see how the match-up would pan out.

Fortunately the combination has produced yet another fine addition to both Side One Dummy's catalogue and Fake Problems' discography.  Put simply, Fake Problems has crafted their most fully realized album to date.  From start to finish every song sounds in place and purposeful.   The addition of flourishing instruments like trumpets and pianos are explored naturally in true Fake Problems form.  

The opening track, "1234," harnesses the power of a sweeping backing brass section that immediately hooks the listener.  It's a short and hard hitting intro that gives It's Great to be Alive an immediate draw.  Throughout the album the band explores a variety of new genres, in addition to the traditional folk, country, and punk cornerstones that still dominate tracks like "Dream Team" and "Don't Worry Baby."  But throughout most of the album the band also dabbles with various other genres.  "You're a Serpent, You're a She Snake" and "Diamond Rings" shockingly draws upon danceable disco beats - but even more shocking, the result is just as infectious as tunes by disco-punk bands like Men, Women, or Children or Panic! At the Disco.

But the masterful integration of once foreign genres doesn't stop there.  Tracks like "Level with the Devil" sound reminiscent of gypsy punkers Gogol Bordello, and others like "Alligator Assassinator" throw in a touch of swing for a real dancehall body shaker.  What allows Fake Problems to draw upon such a breadth of sound is their firm command over their core mechanics.  Stylistic switches between songs feel natural and organic, with Chris Farren's vocals providing a coarse continuity.

Joining the big leagues of the independent world really payed off for Fake Problems.  An increased budget clearly helped them explore their sound with more clarity and direction.  And despite exploring quite a few new genres, every song sounds natural and in place.  There's no doubt that with It's Great to be Alive, Fake Problems have crafted one of the first great punk albums of 2009.

illScarlett - All Day With It: Ultimate Collector's Edition

Artist: illScarlett

Album: All Day With It: Ultimate Collector's Edition

Label: Sony BMG Music (Canada) Inc.

Make no mistake about it, when illScarlett released their debut EP, EPdemic, back in 2006 I absolutely loved the disc. I hadn't heard such a lively mix of Reggae, ska, punk and dub since the 90's and I pushed the band on my friends as the "next Sublime." But then the band signed to Sony Music Canada, and promptly butchered their stripped down sound with wildly out of control, excessive overproduction (for this I blame the addition of producer Matt Wilder). So upon their 2007 full length release, All Day With It, I promptly hung my head in shame and hoped the same friends I had pushed the band on never heard the abomination. But then, one December 2008 morning I found myself walking up and down the isles at HMV and stumbled on a pleasant surprise: illScarlett had re-released All Day With It and bundled it with a complimentary bonus disc, all for HMV's low price of an even $10. Having a gift card in my wallet I took the bait and indulged.

I should reinforce that the package's core remains unchanged, and that All Day With It still sounds as disappointing as the day it was released. For starters, the album only has eight new tracks, a disappointing reality since the original EP only had eight songs in the first place. The other two tracks include butchered rerecordings of past favourites "Pacino" and "NTF." While I will concede that the album starts and ends strong, with "Who's Got It" sounding as strong as anything off of EPdemic, and "Danse Macabre" finding the band experimenting with their Dub side, what follows sounds predictable and contrived. "Life of a Soldier" resembles a bad pop song, "The Fashion (Do or Die)" sounds like paint-by-numbers radio punk, and "Paradise Burning" has backing vocals that wouldn't sound out of place in any Boy Band. In a way I feel bad bashing these tracks though, since the production quality, rather than the band's song writing ability, hurts the final product the most. Most songs have needless layers of novelty sounds, from exotic violin strokes to lingering guitar distortion - it just sounds too busy and takes away from each song's core.

But enough dwelling on 2007's disappointment. The new bonus content packaged with All Day With It's restores my faith in the band. The disc boasts five live tracks, four acoustic tracks, and two B-Sides, but the live tracks really steal the show. While seven of the nine tracks are from EPdemic, the two biggest surprises are All Day With It's "Nothing Special" and "Who's Got It." While the studio versions suffer from the aforementioned overproduction, the live versions strip the tracks down just enough to fully appreciate the core. It's also refreshing hearing Alex Norman's voice outside of the studio. He's a gifted vocalist who sounds just right with a few expressive, natural imperfections. The acoustic tracks are must haves for anyone who enjoyed their previous EP. Stripped down versions of Heaters, One-A, Mary Jane, and First Shot are a real treat. They even add a few tasteful tambourine hits for good measure.

The two unreleased tracks are as can be expected: promising, but as overproduced as the rest of All Day With It. The cheerful "Her and I" sounds like stock illScarlett, heavily influenced by reggae, ska, and punk. But "Babylon" switches things up a bit, showcasing the band's more creative side. The track starts out with the distant sound of traditional female Punjabi vocals, framing the track with an "Eastern" influence. Fortunately the track escapes novelty, and Norman even gives his lengthiest rap-inspired verse to date. While definitely a standout track, given the album's conservative nature I'm not surprised "Babylon" didn't make the final track listing.

Overall I strongly recommend obtaining All Day With It's collector's bonus disc. The band's willingness to showcase their raw and unplugged side pays off in a companion disc that easily eclipses the central product. And in a world where live/acoustic/unreleased tracks go for premiums on overpriced EPs and live albums (Jimmy Eat World and Billy Talent, I'm looking at you), the opportunity to get both CDs for a flat $10 shouldn't be overlooked. There's only 5000 of these floating around Canada, so be sure to snatch one up - Oh, and did I mention it comes with a personally signed fold out poster? Yet another great reason to invest.

Auxes - Sunshine

Artist: Auxes

Album: Sunshine

Label: Lovitt Records

Post-hardcore, post-punk, and experimental are all descriptions of genres that I have a hard time accepting.  They're vague, unspecific, and to make matters worse often go hand in hand.  Will it sound coherent? disjointed? or provide a rich, flowing soundscape?  Whatever the case, you never really know what you're getting yourself until that first listen.  Sometimes they can be an indecipherable mess appreciable only by the genre's most die hard enthusiasts, but other times they can sound like Auxes' debut full length, Sunshine - a structurally complex journey full of unpredictable paths.

Sunshine first lured me in because of the deceptively upbeat, borderline hardcore-punk vocals utilized by lead vocalist and lyricist Lenny.  Put crudely, Lenny's voice sounds like a higher pitched version of a stock east coast hardcore singer, but one who is constantly gargling varying quantities of water.  The effect sounds familiar but unique, and least noticeable during the first three songs.  The first track, "Burning Brighter," like most of their songs, has an instant appeal but never quite transforms into an overly catchy tune.  In some ways it's like the band wrote a pop song and intensionally played it in various conflicting keys.  In the next songs, "The Things Lovers Do" and "Sunshine," Lenny's shrill voice sounds reminiscent of early Arcade Fire.

But after the forth track, a quiet melodic hardcore inspired instrumental (aptly named "instrumental"), Lenny's voice sounds more obscure with each following track.  But Auxes make the transmissions subtly, and the vocally unique elements always sound appropriately distorted in conjunction with each track's level of experimentation.  For example, in the almost catchy "Radio! Radio!" Lenny has a distinct backing chorus of himself singing in parallel while singing in a slightly higher pitch, but because of the song's more conventional sound his vocals seldom stray from their sound introduced in "Burning Brighter."  But in more obscure tracks, like the slow "Greeting Card Perfume" or "Happydays," Lenny employs a sluggish, quiet but shrill and heavily distorted wail that fittingly matches the tracks crawling pace and seldom changing backing blanket noise.  During the more chaotic arrangements, like "Lookalive," Lenny's voice often matches the unpredictable chords and varying drumbeats by disjointedly singing in slight contrast to the overarching melody.

Auxes have an interesting take on the more experimental side of their genre (whatever that really is).  Auxes match their post-punk, post-hardcore, experimental classification by allowing a fitting level of ambiguity within their tracks.  Some sound coherent, just escaping sing along potential, while others ditch convention entirely, fragilely held together by the odd constancy of their weirdness.  In any case, Sunshine is an oddly listenable piece that those curious about "post-(insert ambiguous term here)" may find worth investigating.

The Loved Ones - Distractions

Artist: The Loved Ones

Album: Distractions

Label: Fat Wreck Chords

One look at Philadelphia's The Loved Ones' busy release schedule and you just know The Loved Ones have heart.  Not content at simply releasing one critically acclaimed album in 2008, they also collaborated with Chuck Ragan (Former frontman of Hot Water Music) for a small but stellar Split EP.  Now it's early 2009 and those energetic young lads are at it again, releasing a new six song EP.

The EP, titled Distractions, consists of three brand new songs (well two really), as well as three covers surveying The Loved Ones' biggest influences.  The album starts with "Distracted," easily the most distinctly Loved Ones song on the album.   Their Mid-tempo guitars, Dave Hause's throaty pop-punk vocals, and melodic punk-rock framework feel better than ever.  While I had always felt that the band sounded a little uneasy about their core mechanics in their 2006 debut, over the past year they've come to sound more comfortable in their own skin.  Chorus to verse transitions are tight, bridges are well thought out, and Hause's vocals finally match the whole ensemble.  

However, the next couple tracks really showcase why The Loved Ones are on many critics radar.  In 2008's Build & Burn the band enriched their sound with a variety of piano strokes and Springsteen influences.  "Last Call" continues that evolution.  "Last Call" eloquently starts with a slow, crisp piano solo before transforming into an instantly memorable, melodic, rock influenced punk tune.  The Loved Ones have always had a rough edges beneath their pop tendencies, but "Last Call's" chorus balances that energy in a way that keeps their signature sound, but makes for one of their most accessible songs to date.  "Spy Diddley," a B-side that die hard fans have probably heard off of Fat's website in the past follows next.  The strongest Loved Ones songs always have great choruses, and "Spy Diddley" is no different.  For a previously unreleased song, it fits the album just fine, and even provides a nice counter tempo to "Last Call" slower beats.

For the final three songs The Loved Ones treat us to a brief glimpse of their influences.  The first cover, "Johnny 99" is a classic Bruce Springsteen acoustic track.  The Loved Ones, however, replace the acoustic guitar with a lone electric one.  While this strategy worked back in  2008 for their cover of folk star Chuck Ragan, in 2009 the result comes across rather unremarkable.  Thankfully, the second cover, Billy Bragg's "Lovers Town Revisited," redeems the band's old-meets-punk cover strategy.  Even though they play the song at a blistering pace, their delivery maintains Bragg's raw, rebellious essence.  But the final cover, Joe Strummer's final masterpiece "Coma Girl," really steals the show.  The Loved One's version is a case where a band sticks dangerously close to the source material - inevitably losing points for originality - but I doubt anyone will ever fault them on the decision.  Any opportunity to hear a respectful version of "Coma Girl" is cause enough for celebration.  It's fun, lively, and would make old Strummer smile knowing that today's punk frontrunners know how to capture his spirit.

All in all, Distractions has a little bit of everything.  Songs like "Distracted" should appease fans of The Loved Ones simpler, signature pop-punk sound, while "Last Call" shows a band who loves layering and evolving their sound.  The covers are a special treat, and leave listeners like myself curious about where The Loved Ones will draw the most inspiration from in future releases.