LOCAL Album Review: The Hussy - Galore

Longtime fixtures of the recently booming garage-punk circuit here in Madison, self-described “trash-rockers” The Hussy deliver what we’ve come to love while simultaneously expanding their sound on the fourth LP Galore (released June 30, 2015).  The most noticeable change is the addition of bass, which the former-duo incorporates through the entire album.  Their stripped-down aesthetic is further bolstered by layers of guitars and effects, percussive elements, and on some tracks creative instrumentation such as violin and lap-steel guitar.  Make no mistake however, this is still a band and a record built on no-bullshit charming scrappiness.  Even while delivering some of their most immediate, hooky material to date, the DEVO-esque cheeky pop is balanced perfectly with an aggressiveness and abrasion reminiscent of early grunge bands like Mudhoney.  Bobby Hussy continues to be one of the more exciting guitar slingers going, with fuzzed-out progressions and a ramshackle (though very proficient) soloing style that cuts through the mix like a lawnmower.  The boy/girl vocal dynamic is also on full display, with impressive harmonies and defiant, carefree lyrics delivered with a grin and a middle finger.  

Galore digs its claws into you right of the bat with standout opener Asking for Too Much.  Acoustic and electric guitars mesh together and Bobby cooly laments from a deep sea of reverb in a track that has all the makings of a garage rock classic.  Things only get better with follower Take You Up.  Bob plays the crooner for two verses, channelling the deep post-punk type of drone of Ian Anderson or Peter Murphy.  Punctuated by a vocal-less chorus centered on guitar interplay, the track finishes with a soaring wall-of-sound bridge. 

Following a very solid pair of snotty punk bangers in EZ/PZ and Made in the Shade, guest musician Justin Aten’s violin takes center stage in the exquisitely somber downtempo dirge Darkness.  What begins as a sparse psychedelic arrangement of delicate guitar arpeggios and Heather’s mellow brooding gets the garage treatment during it’s second half.  Like a breaking wave the track explodes into a noisey whiteout as guitar distortion kicks in and Aten wails away on the violin in such a way reminiscent of John Cale’s viola work with The Velvet Underground.  All the while the detached monotone vocals continue, washed all but out of the mix as Galore’s side one comes to a shoegazing close.

With such a high standard set by Galore’s first side, side two tends to sag a bit as repetition sets in.  Several tracks have the feel of a band that is still struggling to capture the intensity and passion of their live performance in a way that makes for a consistently satisfying at-home listening experience.  These tracks ride purely on the guitar work, and for the most part Bobby makes it happen with an absolutely in-the-pocket performance.  Through memorable riffs and volatile soloing, he commands his distorted, livewire sound like a rock n’ roll cowboy wrangling a mad stallion.  J Mascis is the very apparent influence on his style, and there is no doubt that this display would earn a nod of approval from the legendary Dinosaur Jr frontman. 

Closing track My Bad plays like a Vivian Girls-esque neo-shoegaze as Heather’s ethereal vocals float delicately over a raging sea of feedback and distortion.  The album ends with noisey psychedelic freakout that features Bobby’s most extensive soloing before gradually giving way to pure static.  It makes for a grinding finish, but fits the album’s tone awesomely.   

Overall Galore sees The Hussy craft an incredibly listenable record that not only maintains but builds upon their established identity as a band.  Some of the more straight-forward numbers leave a bit to be desired, but at its best the album delivers brilliantly ragged psychedelia without any sense of indulgence or pretension.  It isn’t until the final track that any song hits the three minute mark, but every song is packed with dense instrumentation and production that absolutely hits its mark as almost a grungy version of Pet Sounds.  Galore is not only satisfying for those familiar with the band, but has the authenticity and execution of an album that any rock fan can appreciate.  This is the kind of record that you immediately put on a second time, while you anxiously wait to see what the band does next.

To purchase your copy of Galore, swing by Mad City Music Exchange or visit Southpaw Records

*Catch The Hussy on night two of TurkeyFest; Saturday October 24 at Crystal Corner, as they play their first show back in the states following an extensive European tour!!

Throwback Track of the Week: Melvins - Revolve

Grunge pioneers the Melvins built their legacy on defying all preconceptions of what a metal band is.  They are fronted by a big dude with a ridiculous afro, their album covers feature the likes of swans and fruit baskets, and their love for all things absurd absolutely shows itself in the music.  The riffing is as good as you’ll hear anywhere and the heaviness is unrelenting, but everything has to trudge its way through knee-deep sludge. 

On 1994’s album Stoner Witch, they deliver their take on straight up classic rock with Revolve, which sees them at their most melodic and accessible.  The weirdness is still there; with lyrics that hardly make sense when they are even intelligible and an unforeseeable downtempo, whispered bridge section; but overall this thing just flat out ROCKS.  A dynamic start-stop rhythm opens things up for some gnarly riffing, the chorus is nothing short of gargantuan, and the guitar solo is well placed and one of their best executed.  As things lead into the aforementioned bridge it’s hard to not crack a smile at how satisfyingly overblown it all is.

Of course at the center of it all (particularly in the video- see below) is notoriously irreverent frontman Buzz Osbourne.  Despite never seeming to really try, and proudly relying on seeing what he can “get away with”, by this point he had truly become (and continues to be) a master of his domain.  On Revolve he employs phrasing and a vocal delivery that meshes perfectly with his voice, which serves the bands sound as well as absolutely possible.  Hell, even his persona and physical appearance seems to perfectly accentuate the band’s aesthetic as a whole. 

Throwback Track of the Week: Alice in Chains - Them Bones

Alice in Chains 1992 sophomore album Dirt is an absolute classic, although not exactly an easy listen.  A de-facto concept album, much of the lyrics reflect vocalist Layne Staley’s desperate struggle with heroin addiction; as the music carries the themes of anguish, self-disgust, and volatile helplessness.  

Opening the album is quintessential track Them Bones, which delivers an immediate gut-punch via a primal, sickening howl straight from the depths of Staley’s tortured psyche.  Over pummeling power chords, Staley drones and drawls his way through his acceptance of his own mortality and the futility of life, culminating in the massive two-line chorus: “I feel so alone/gonna end up a big ol’ pile of them bones”.  Barely fitting into the 2:30 runtime is one of guitarist Jerry Cantrell’s best solos; effect-laden and soaring over the murk. 

Layne Staley’s story is one of the most tragic in rock and roll history, but like a cornered animal he was able to translate his darkest moments into pure artistic aggression; and as a result gave us some of the most emotionally genuine metal music ever recorded.  

Matt's Ultimate Thunderstorm Playlist [PART ONE]

[Note: This is the first of a series of posts.  Once completed, the playlist will be made available for download in its entirety]

They tend to be associated with “dark and dreary nights” trapped indoors; but to me there isn’t a more visceral experience during the summer than watching a thunderstorm roll through in all of its glory.  Few things are more enjoyable and awe-inspiring than taking in nature’s brilliant display of raw power as it reminds us how small we really are.  While it is sometimes best to allow the storm itself provide the soundtrack, I feel there is absolutely a place for a certain type of music in the experience.  This of course raises the question- what music generated by us feeble humans could possibly stand up to the powerful and all-encompassing atmosphere of a thunderstorm?  There’s plenty of mopey sad bastard music out there; some of which works alright, but for the most part is better suited for a prolonged, dreary rainfall than an outright storm.  On the other hand there has been many a rock band that has tried to replicate the energy and power of a mighty tempest, but when it comes down to it the safe, predictable song structures do no justice to the real thing.  As I began putting this playlist together it quickly became apparent to me that to find music that truly enhances rather than hinders the experience I would need to dig deeper.  Music for this purpose is all about mood and atmosphere- the most intangible aspects of an already intangible art form.  You know it when you hear it, which as it turns out is satisfyingly fitting.

Television - Marquee Moon

I remember, how the darkness doubled

I recall, lightning struck itself

Not every song on this list will directly reference thunderstorms in the lyrics, but I can’t think of a better way to kick things off than with the opening lines of Marquee Moon.  Nowhere else in music is the atmosphere of an impending storm better depicted.  As the song pushes along via the trembling pulse of its anxious bassline and jittery electric guitar meandering, there ensues a very particular moment when the vibe shifts from being ominous to powerful, to cathartic, and finally spirals back to unpredictability; and it’s probably my favorite 30 seconds or so of any song ever.  

Spiritualized - Electricity

While Jason Pierce’s Spiritualized is more widely known for droning, druggy psychedelia, he is more than capable of channeling his unique compositions into uptempo bursts of manic energy.  Such is the case with the aptly named noise freakout Electricity, which is the aural equivalent of jabbing a fork into a bundle of frayed wiring.  I’d prefer to never be struck by lightning, but should it happen it would be awesome to have this song playing at the time.

The Doors - Riders on the Storm

Alright, so I don’t exactly have many nice things to say about The Doors…but for this particular playlist this particular song is absolutely essential.  The drawn out organ noodling and Jimbo’s low, ominous pseudo-croon manage to really work within the context of rolling thunder and steady rain.  Surely they were aware of this based on the lyrical content and tacky sound effects, but I digress…this is as good of a thunderstorm song as there is. 

Silversun Pickups - Panic Switch

The aggressive buzzsaw guitars and rushed, stuttering rhythm combine to give this song an incredible sense of anxious, high-voltage energy.  Meanwhile the ethereal, oddly calm vocals seem to exist perfectly at the eye of the storm, surrounded by urgency and panic.

Cream - White Room

It gets a pass because it fucking rocks, but this is a weird song.  What’s with the intro?  The lyrics frankly don’t make any damn sense.  The choruses are nothing more than awkward psychedelic breaks.  The guitar is overdriven and wah-wah’d to the brink of destruction.  The missing piece however is Ginger Baker, who’s drumming emulated rolling thunder like none other; and brings everything else together to earn a place high on this list.

David Essex - Rock On

This mostly forgotten glam-rock classic has become a movie soundtrack staple for a reason- From its dirty, slinking bassline to the cryptic lyrics that arrive dripping in reverb from a million miles away; this sparse, airy groove is just begging for a backdrop of thunder and lightning.  

Red Rider - Lunatic Fringe

The intro to this song sounds like a werewolf mid-change, and the rest of the song doesn’t disappoint.  As the rhythm pulsates ominously and distant lyrics are howled into the void, it’s hard not to visualize dark clouds being sliced open without warning by lightning.

All-American Rejects - It Ends Tonight

I’m thoroughly guilty of dismissing them at the time, but in hindsight it’s a real shame that All-American Rejects got thrown in with all of the pretty-boy try-hards that infiltrated pop-punk during the early 2000s.  It Ends Tonight is Exhibit A:  Dripping with genuine, well-delivered angst without being whiny, this song internalizes all of the chaos and tension of a doomed relationship; using the unspoken metaphor of a thunderstorm to set up the explosive catharsis of finally letting go.  

   

Green Day hits US Stage for first time since 2013 - performs with Tim Armstrong, John Kiffmeyer

You wouldn’t have known it if you weren’t among the one-thousand or so people present, but last night in downtown Cleveland the stars aligned and for about five minutes everything was right with the universe. 

In preparation/celebration of their impending Rock and Roll Hall of Fame induction, Green Day settled into Cleveland’s House of Blues for a rare small-club gig.  Reuniting with original drummer John Kiffmeyer and performing under their original name Sweet Children, the band barreled through an incendiary “warm-up” set of their long-lost gems such as Dry Ice, At the Library, and Private Ale- tunes that haven’t been performed live in about two decades.  

At some point during the ensuing three-hour show, Billie Joe and company were joined by another surprising guest- none other than Tim Armstrong.  Tim or course was the frontman of Operation Ivy (and later Rancid), legends of the very same Bay-Area Gilman Street punk scene that provided Green Day’s original upbringing.  Despite having since been disowned by the Gilman Street community due to their commercial success, Green Day has consistently incorporated a cover the Op Ivy classic Knowledge into their setlists as a tribute to their early idols.  In a cathartic instance of things coming full circle, Tim burst onto the House of Blues stage- Gretsch semi-hollow slung down to his ankles as always- and together with Billie Joe launched into a scathing rendition of Knowledge, followed by the early Rancid song Radio (which the two had wrote together twenty-one years ago).  

This unexpected collaboration represents far more than just two living legends joining forces.  Although Green Day is still unwelcome in their old warehouse home at 924 Gilman St for being on a major record label, This display of awesomeness with a local king is another important stop on their long road to reconciliation with their own roots.


UPDATE:  Interestingly enough, some of the oldest readily available live footage of Green Day/Sweet Children is a concert performed at their Pinole Valley High School in 1990.  The show features very entertaining teenage versions of Billie and Mike playing many of the old songs that they resurrected last night.  For comparison sake, here is At the Library from that show:

UPDATE:  As of March 17th 2015, the inevitable finally came to fruition as 924 Gilman lifted it's fan on Green Day after 21 years.  The band performed a surprise concert at the venue (again joined by Tim Armstrong) to benefit DIY publisher AK Press, who recently lost their warehouse in a fire.  

Throwback Track of the Week: New Found Glory - Understatement

Ahh the early 2000s, when “pop-punk” was still cool, and had yet to become the temporary Hot Topic marketing institution that it seems doomed to be remembered as.  Or maybe we were just the perfect age for it; choosing to remember it through a nostalgic lens?  Whatever the case, those post-Dookie, pre-sellout “punk” albums of the late 90s and very early 00s will forever hold a special place in the hearts of us pre-9/11 tweens.  

Sticks and Stones was a perfect album for its time, hitting right at the pop-punk peak while simultaneously hinting just enough at the oncoming heavy breakdowns and obnoxiously angsty lyrics of an over-commercialized subgenre.  This album, and it’s lead song in particular, represent that very nexus.  It’s on this track that the kenetic musical energy meets the contrived whiny-voiced angst; but because the songcraft is so authentic, the momentum so perpetual, it all just seems to work.  

It’s still impossible to determine whether this was the pinnacle of pop-punk, or the beginning of its end.  Perhaps it’s simply meant to exist in that subliminal crossroads, for better or worse.  

Throwback Track of the Week: The Modern Lovers - Roadrunner (1972)

The Modern Lovers are not a band that immediately come to mind when one thinks of the influential rock groups of the past.  Instead, history has confined them to a long list of proto-punk bands that despite not showing up on any VH1 specials, had a massive impact on modern music as we know it.  Born out of early 1970s Boston, The Modern Lovers owed a lot of their sound to NYC legends The Velvet Underground.  Taking the generally grimy and dark tone of the Velvets; the Lovers did something very special- they made it FUN.  

Nowhere is this on better display than their early 70s standout Roadrunner.  The Velvet-esque edginess is all here, via the organ drones, pounding noise, and overall detached cool.  Unlike their forefathers however, the pace is quick, the lyrics are positive and irreverent, and the song just has a way of embracing life in all of its recklessness and absurdity.  This culmination results in a song that aggressively foreshadowed the upcoming punk rock movement, and remains fresh and exciting to this day.  Rather than wallowing in hipster smugness, this thing groves and moves like rock and roll truly should.