On Dose Your Dreams, Fucked Up Return to Their Magnum Opus With an Even Better One

Let me be very clear here: Dose Your Dreams, Fucked Up’s first album in four years, is unquestionably their best record.

For a group already known for their ambitious 2011 rock opera David Comes to Life, the thought they would top it with another double album seems patently insane, but they actually *did it*. It’s an overwhelming assortment of punk, psych, digital hardcore with elements of arena rock and other genre experiences. That said, it represents everything great about them to this point and pushing them in completely new directions for the future. It’s an album elevating a ‘great band’ to an ‘all-time great band’.

There’s an incredible amount of ground to cover here, so I’ll provide some  cliff notes. For an album that’s this ambitious, it’s also a bit of a changing of the guard – band mastermind/guitarist Mike Haliechuk and drummer Jonah Falco are in firm control of the band, pushing Fucked Up in directions they couldn’t have dreamed up. Vocalist Damian Abraham has taken a less active presence in the group as priorities in his life shift, being deployed a little more carefully across 13 of the album’s 18 songs – and it works beautifully.

Whether it’s the catchy-as hell glam rock stomp of “Normal People,” the disco-psych (yes, you read that right) of “Dose Your Dreams” the gutbucket hardcore of “Living in a Simulation,” the throbbing snyth pummel of “Mechanical Bull” or guitarist Ben “Young Guv” Cook’s insta-classic shredded lead vocal on “Accelerate”, there’s a staggering amount to get into. Jonah Falco handles vocals on two songs, including the standout Beach Boys-ian “Love is an Island in the Sea”. Even J Mascis shows up to duet with Jennifer Castle on “Came Down Wrong,” which sounds like a little Dinosaur Jr. tribute in miniature.

Dose Your Dreams is about many things. Sure, it’s about Fucked Up’s most famous character, but it’s also the picture of a band – six people with disparate influences pushing outside what it means to *be* a band. No longer confined to traditional roles – there’s no longer one singer, one guitarist, one drummer, so on and so forth – they have made a record that’s messy, fearless and totally original – so much so that it needs to be heard to be totally understood. If it’s the last record the group makes – which always seems to be a threat – nearly every interview highlights how different each member is from each other, then holy shit, they went for broke and nailed it.

Given their track record in the last fifteen years, it would also not be surprising to see Fucked Up again reinvent themselves as something less recognizable, more fluid, more daring, and more powerful than we could ever possibly imagine. That’s what they’ve done here, because that’s what truly great bands do.

Dose Your Dreams is out Friday on Merge.

Restorations Tackle The Tough Stuff on LP5000

On Restorations first album in four years, LP5000, the group delivers an emotional wallop over seven songs in a 25 minute span. It’s a look into being in your thirties – appreciating all the things that the age brings – love, stability and the prospect of a bright future still ahead, but sometimes just falling short. In addition, with what feels like a scandal-a-day in the news, the world seems to be retching at this point. Like vocalist/guitarist Jon Loudon says on the creeping, anxious “Nonbeliever”: “I love your protest lines/oh, but who has the time?” coupled with “Got a partner for starters/and a kid on the way/can’t be doing all this dumb shit no more”, it’s pitting ideology vs. reality. How are you supposed to stay engaged when there’s all this other stuff that needs your attention?

That’s just a part of it. “The Red Door,” LP5000’s sweeping, totally anthemic first single addresses the process of  gentrification. “Feel my pulse pick up with/every building that’s built/haven’t we all felt a little/a little in between before?”, Loudon says. Sure, he could be talking about the band’s hometown of Philadelphia, but it also doubles of the transitional point of your life of moving from one constant to something totally unfamiliar. It’s a clever sleight of hand, until the final dead giveaway: “All I want is to see you comfortable/In your own skin/In your own way.” It’s a simple statement conveyed with the disappointment and exhaustion of emotion of watching one of your favorite places being wiped away without a trace in favor of something hollow and empty, or worse, replaced with nothing at all.

LP5000 is a complicated record that has remarkable highs and lows in such a short amount of time. Restorations have always been a band that crushes with dynamic sonic shifts paired with bone-cutting truths. That’s no different here. “And now you can’t afford to live in the town you were born in/When they ask you where you’re from, you tell them the truth/You don’t know, and who does anymore?, Loudon sings at the end of “Remains”. They’re a band trying to live the best they can and admitting it’s fucking hard. We’re people less about where we’re from and more about how we relate to each other through our experiences. In the unbearable nowness of now, it’s the best we can do. It’s good that records like LP5000 exist to remind us of that.

LP5000 is out September 28 on Tiny Engines.

Lucero Address Change on the Magnificent Among The Ghosts

Lucero – Among the Ghosts


2018 marks twenty years together for the Memphis-based Lucero, a group no stranger to making classic record after classic record. That’s why it’s not surprising that their ninth, Among the Ghosts might just be their best. On the whole, the album sounds like Ben Nichols coming to terms with a new phase in life – both as a husband and a father, and the double edge sword that can be.

It’s an album that shows the true breadth of their talents – the album’s title track starts on a mediation about a lot of things – Nichols talks about leaving his family behind on the road – specifically his young daughter – and the toll it takes. “The first words she said to me were ‘goodbye’”, he sings. It almost breaks your heart to hear the resignation in his voice.

Nichols sounds a little hard on himself about how life transforming has impacted those around him. That’s apparent on “Everything Has Changed,” charged by Rick Steff’s inimitable keys. “Looking like darker days/ain’t nobody else to blame/somewhere down in hell they call my name.” It’s a classic Lucero slow-burner, but seems to hold so much more weight in the light of the birth of his daughter.

One of the album’s best tracks, “For My Dearest Wife” was inspired by Civil War soldiers writing back to their families, however, it’s really feels like a storytelling device about Nichols missing his wife. The band offers an interpolation of “Battle Hymn of the Republic” in the song, backed by Roy Berry’s marching drums. It’s a beautiful piece to talk about something personal and relatable with a historical context in a way that many musicians could not execute as well as this, or even bother with attempting.

Has this band ever written a song as tender as “Loving”? That’s debatable, “It might not be good enough for them/but I just want to be good enough for you” may be one of the most realistic and honest lines in a love song in recent memory. It’s a song Nicohols originally wrote for a film of the same name about Richard and Mildred Loving, whose interracial marriage in the late 50’s was illegal where they lived, and their challenging of the law resulted in a Supreme Court decision ruling the law unconstitutional. While the song is referencing the film, the feeling is universal.

Among the Ghosts shows a band still growing after two decades together. For a band to be making music this good, an album that feels so consequential and full this late in their career is incredible. Yes, the stakes are higher, but Lucero is there to meet them.

Among the Ghosts is out August 3 on Thirty Tigers.

Wild Pink’s “Yolk in the Fur” is Grand Ambition Unfolding in Real Time


Wild Pink – Yolk in the Fur

Any band’s second album is cause for concern. It can go two ways – a retread of the first, a brand new direction, or something entirely forgettable. Yolk in the Fur is none of those. In every way, it’s the sound of a New York-based Wild Pink accumulating mass, becoming something bigger than they seemingly ever intended, reaching beyond what they previously thought possible and forging something far different than you’d expect from a band out of New York City.

Opener “Burger Hill” is an excellent table setter, kicking off the record with placid synths and reverb-heavy guitar. “Lake Erie” is a majestic, sweeping single reminiscent of the last few The War on Drugs albums, while “Jewels Drossed in the Runoff” with it’s crashing riffs and Ross’s slightly above-a-whisper voice creating a song that’s both anthemic as it is gorgeous. Shortly thereafter comes “There Is A Ledger”, that churns only in a way that 1980’s pop-rock singles do – it’s a hard sound to describe here, but the jangly guitars and whooping synth feel so out of time but amazingly refreshing.

Yolk in the Fur is a major leap forward for Wild Pink. It communicates that they’re a band that’s deploying only a modicum of their skillset. The first two records show potential and possibility. Whatever is next feels like the scope will be much wider. Wild Pink’s wave is about to crest. This is your chance to catch it.

Yolk in the Fur is out today on Tiny Engines.

Hear/Here: Snail Mail, Culture Abuse and more


Snail Mail – Lush

Lindsey Jordan’s debut album is a confident collection of indie rock that could fit well in any decade – they’re confident, full-bodied anthems that have endless playback. “Pristine” is an amazing example of this – “Is there any better feeling than coming clean?” I’m marveling how “Heat Wave” starts as kind of a dreamy ballad before it nosedives into a straight-from-1993 speaker blaster. “Let’s Find An Out” brings things down with its simple strums as does the breezy vocals of “Golden Dream”. It’s an instant classic from a young artist on her first full length. With Lush as an example, whatever Snail Mail shows a ton of potential. She’s already an artist without limit. That’s so exciting.

Culture Abuse – Bay Dream

A runaway album of the summer in so many ways. Listening to their 2016 debut Peach, you’d think it’s an entirely different band. In some ways, it is. Frontman David Kelling is singing a lot more here, and it shows. While Peach had plenty of sludgy, ugly riffs, in place there’s big, bright riffs about songs about being kind to the bugs (Bee Kind to the Bugs), the sweetness of “S’Why” with lyrics like “I feel you pushing me forward/To the place I wanna go/There is no melody sweeter” and the California pop of “Bluebird On My Shoulder”. It’s the sound of a band spreading its wings in a totally unexpected, totally welcome way. I mean, it’s all really good. Get on this train now. Culture City Rockers forever.

Also enjoying:

Rolling Blackout Coastal Fever – Hope Downs – Breezy, jangly Melbourne-based indie rock that I’m still unpacking.

The Carters – EVERYTHING IS LOVE – A few requisite bangers, a nice way to cap off Lemonade and 4:44 but nothing totally major I think.

Flasher – Constant Image – D.C. punks from ex-Priests member Taylor Mulitz and others.

Natalie Prass – The Future and the Past – Great songwriter, “Short Court Style” is awesome.

Hear/Here: John Prine, Courtney Barnett and Maps & Atlases

John Prine – The Tree of Forgiveness

John Prine’s first album of new material in 13 years is a great place to start with the legend’s career, as it kind of covers the ground of the sometimes funny, sometimes terribly sad songs he’s known for. Working with Dave Cobb (known for producing both Jason Isbell and Chris Stapleton) Prine focuses on the mundanities of everyday life, and some of those songs like the humorous “Egg & Daughter Nite, Lincoln Nebraska, 1967 (Crazy Bone)” and the tender “I Have Met My Love Today” is a gorgeous little love song that comes and goes in under two minutes. “Summer’s End” is probably one of the most beautiful, weightless ballads I’ve heard in a long time. It’s a record that’s a small gift, one that you’re welcome to have but did not at all expect. That’s the best kind.

Courtney Barnett – Tell Me How You Really Feel

Courtney Barnett’s output is usually a sure thing – which is why it’s strange her latest, Tell Me How You Really Feelis weirdly disappointing. It’s not bad, it just lacks the punch found on 2015’s Sometimes I Sit And Think, And Sometimes I Just Sit. “Hopefulessness” is a strange, dissonant opener that casts a bit of a pall over the record, while first single “Nameless, Faceless” is a fine midtempo rocker that’s hook doesn’t really burrow in, say, like the classic “Pedestrian at Best”. There are some great moments like “Crippling Self Doubt and a General Lack of Self Confidence” buoyed by contributions by Kelley and Kim Deal and the relationship ballad “Need a Little Time”. It has been home run after home run until now. It’s just a bit of a bummer to hear Barnett sound tired and and actually a little bored. Sure, she’s sang about it, but it’s never really felt like it until now.

Maps & Atlases – Lightlessness is Nothing New

Chicago natives Maps & Atlases first new release in six years shows them down a member and finding that their tightly constructed guitar and rhythm pieces turning up to something a little brighter and buoyant with synths taking more of a larger role in their sound. First single “Fall Apart” sounds just as slick and rubbery as singer/guitarist Dave Davison’s voice, while “Ringing Bell” has a mechanical riff with a punchy rhythm accompaniment that will sound great coming out of a car stereo. It’s an album where Maps & Atlases just *sounds* the biggest they’ve ever been. They’ve always had the chops. All that extra time produced something really great.