Nationally acclaimed post-punkers Priests take their sound to unfamiliar territory on their latest release: The Seduction of Kansas. After making several album of the year lists with their 2017 release, Nothing Feels Natural, Priests work hard on Kansas to not only dive deeper into their aesthetics, but also to push their sound in a new direction.

Eschewing the comparitively subdued sound found on Natural’s title track, The Seduction of Kansas heightens the group’s punk aesthetics while also utilizing the band’s proclivity for unique instrumentation. Moving from a straight-up snarling punk opener on “Jesus’ Son”, the album enters somewhat experimental territory on its title track. Vaguely politically charged, the track oscillates between discordant verses and a synth infused, harmonious repitition of the line, “I’m the one who loves you.” The result is at once attention grabbing and musically impactful.

Heavy throughout the release are explorations of political subjects with a depth that only DC residents would get into. Perhaps the best example is the track “Good Time Charlie”. Inspired by the 2007 drama Charlie Wilson’s War, which used 1980’s US foreign policy in Afghanistan as its subject matter, the track contains lyrical nuggets like:

Like all great pornography, this story is touching
It’s somethin’ that I wanna see
(Black and gold tile, champagne flute)
Good time Charlie
(Sauna water dirtying the birthday suits)

After “Charlie” comes an an energetic semi-spoken word track “68 Screen”, and a bass heavy Riot Grrrl number “Control Freak”, as the group careens gracefully towards the album’s conclusion.

Making a follow up album to a widely acclaimed debut release is always difficult, and fans and critics tend to expect the band to explore new territory while also staying true to their original sound. On this score, and many others, Priests succeeds with flying colors.

-Mike Dranove

A big trebly sound with fuzzy edges greets the listener on “Landmine”, the opening track of Spooled Up’s Strange World EP. The name of the game is speed, and it feels like Spooled Up is throwing energy at the listener, providing just a single verse/buildup into a chorus before arriving at an instrumental breakdown. All of this a mere one minute into the track.

The dizzying, engaging twists and turns of the first track are replicated throughout the release, and always seems to be rooted in 90s sounds. Just as the frenetic energy of the first track moved into a heavy instrumental breakdown, the second track, “Scab”, goes from being a straight up Pavement indie lament to fuzzy Guided by Voices bounce pop.

The 90s is strong with this release, and every track is defined by vague emotional detachment and subdued lo-fi effects. In short, a recommended listen for any fans of 90s indie.

-Mike Dranove

Pen Palindrome sets the stage for catharsis with a series of soothing, subtly sad loops on Live @ Third Rail’s opening track, “Pavement". Taking her time, Palindrome’s airy vocals creep in with the words, “I can feel you. In my childhood home I still feel you.” After some skillful wandering, Palindrome dives deeper into her sound on the quintessentially indie track “Anna I’m Sorry”. Painting simple strokes on the bittersweet canvas that she has created, Palindrome sings “Anna I’m sorry, we couldn’t work it out,” and the result is convincing. The rest of the release is a series of similar, successful tracks, closed out by a nice III chord feature on “Song for Mozart”.

The word indie has changed quite a bit over the years, but applying the description to this release seems appropriate. There is real music being made here, a great achievement.

Standout tracks: Anna I’m Sorry, Song for Mozart

-Mike Dranove

Sporting the “melodic punk rock” tag on Bandcamp, six year old American Television provides a satisfying mix of punk and sentimentality on their latest release, Death Defier. A mere two tracks, the release’s size reflects the character of the band’s songs, simple, to the point, and effective. There is emotion in the music, something that is always welcome as many amateur groups are only willing to grapple with emotions superficially. The hooks are nice, the lyrics are relatable, and the chord changes are twinged with a hint of emotion. In short, there is honesty and a decent amount of work put into the music, can’t ask for much more.

-Mike Dranove

Alecia Renece‘s Matter EP is simply superb. Renece has a tremendous voice, commitment to poetic lyricism, songwriting versatility, a sweet, sweet penchant for harmonizing with herself, and, to top it all off, professional quality mixing and mastering on her tracks.

The voice is probably what makes this release so satisfying. The voice is good. Like, really good. Renece moves seamlessly through notes, mostly hitting them spot on, giving them love and attention. And really, the voice says it all about what’s going with the release in general; it’s saying, very simply, Alecia Renece’s “The Artist” LLC is not the real estate equivalent of some dirty groundfloor unit with paper thin walls in a building built before they discovered lead was bad; rather it’s a woven vinyl floored penthouse with marble countertops right next to that Italian place I went to on Valentine’s day at Waterfront.

And let’s talk about the poetry here, can we talk about the poetry? There are some great lines, like, “Premium cut, you’re favorite slice, I break myself to pieces baby baby so that you can have whatever you like.” And the diversity of songwriting styles, Renece brings the energy up on the eminently pleasing track, “You’re Welcome,” and brings it back down to feature those sweet vocal harmonies on “Longest End”. That’s all to say nothing of the opening track itself. Seriously folks, clench your bowels before listening, it’s that good.

This reviewer wasn’t hot on every track, but overall a great release, plain and simple.

Notable tracks: "Why you gotta go", "You’re Welcome", "Longest End".  

-Mike Dranove

The Replacements, $3 malt liquor, summer vacation, Cal Rifkin‘s music conjurs sounds and memories, a commendable accomplishment. All the ingredients for success are there and are intuitively executed. The driving, lo-fi rock sound, the sentimental lyrics, the secretly sick guitar solo, oh the fond memories that I’m sure it would evoke in me if I had any fond memories of high school and college parties. Rifkin has the basics down, and the result is music made with passion; music that can satisfy the short-attention spans of the inebriated; music that can engage you while also secretly helping you to achieve catharsis. To this I say well done sir!

-Mike Dranove

I didn’t know it was possible to make good music with even more reverb than Mogwai, but Bound does it, quite well I might add. Nuthin like a good ol fashioned post-rock buildup into climax to make an impact on your overloaded senses.  As Ronald Reagan once said, “One thing ’bout music when it hits you feel no pain.” And you gotta appreciate the thought and effort they are putting into the tracks; this is some primo sound design, expense not spared here. Seriously, I listened with headphones and I was basking in the tone quality. Even if you don’t love post-rock, check this out.

Stand out tracks: Current, Hold

-Mike Dranove

The Fuse Ensemble achieves full spookiness on “Mirror” from The Music of Gina Biver. The track features a discordant string/piano thing with Gina Biver intoning, “something looks back each time I move, oh demon mask, sad, turned down mouth” from American poet Colette Inez’s poem “Empress in the Mirror.” In all, the creative mixing and pleasantly random improvisation is able to get the spooky sound, or as the liner notes put it, “awakening new shapes and realities while the repetitive nature of the Biver’s electric guitar maintains an underlying continuing, eternal presence.”

I could see some cool audio/visual collab on this one.

-Mike Dranove

Sorry, but I had to put that in the title. Singer Gabby Franks sings it on “Baltimore” from Moon by Moon‘s self-titled and I thought it was really charming and funny.  The track has another hilarious moment when in the middle of it after Franks has been complaining about life in Baltimore for a solid two minutes she all of sudden says, “and i’ve only really been here for like 3 weeks.”  In all, this isn’t the most technically impressive release I’ve ever listened to, but it has moments like those that make it appealing.

Anyway, looks like the group is gigging around pretty regularly, you can check out their Facebook to learn more.

-Mike Dranove

At least that was my first thought when I was listening to “Making Space,” the opening track on Eli Lev’s debut release All Roads East. With my interest piqued, I checked out his website; turns out this guy is a seriously busy gigger. He has a whole slew of shows lined up and some impressive performances on his resume including at The Fillmore in Silver Spring, the 9:30 club, Burning Man, and a private show for Eleanor Holmes Norton.

And after listening to the rest of the album, gotta say dude has some chops. If you are into country, rockabilly, or folk, definitely give him a listen. He is playing tomorrow night in DC at Sauf Haus Beer Hall on 18^th st.

-Mike Dranove

Ok, so either someone in Tired all the Time SOMEHOW convinced (lord knows how) their coworkers to dance along to their new emo/post-punk song about their life and work being meaningless, or they rented out an office and got their properly dressed friends in and told them to dance as awkwardly as possible. Either way, I simply love the music video for "Bone Dry".

There’s no p***y popping or carefully choreographed mosh pits here, just real people dancing their cringey dances. And seriously, genuine human expression goes perfectly in an emo/post-punk band’s music vid; so real people doing cringey, no pressure dancing is just what this song needed. In all, some of the best new content put out by a DC band.

Check it out!

Steering clear of layered, feedback heavy chords, DC’s Flasher draws on the bouncier side of 80s post-punk to create a commendable, distinctly 21st century indie sound. Chord tones, as opposed to triads, are the preferred method of harmonic progression here, with the guitars playing an ancillary role to the hi-hat heavy drum beat backbone.

The result is an optimistic groove, but behind it all lies some surprisingly dark lyrics. Lines like “No Future, no faith”, and “listless entropy lull me fast asleep” back the otherwise upbeat single “Skim Milk”. This standout track maintains its commitment to chord tones instead of triads until the very end when the full chords burst through to full effect in an exciting finale. Catch Flasher at Black Cat this Saturday, June 23rd.

-Mike Dranove