01.28.12 - goodbye brave little abacus

james gentile photo graphy

record of the year 2011

SIT RESIST - LAURA STEVENSON AND THE CANS

I was first exposed to this perpetually underrated songwriting through the first bomb the music industry release album minus band. The song FRRREEEEEEEEE BIIIIIIIRRRRRRD!!! FRRRREEEEEEEEEEEEEE BIIIIIIIIIRRRD!!!! caught my attention in a way that I couldn't describe. It wasn't till my obsession forced me to scour the liner notes when I realized that the x factor that made this song different than the others was an unfamiliar name, Ms. Laura "LSteve" Stevenson. For me, the release of sit resist means more than the songs which it contains, it speaks to the constantly inspiring relationship I've built with these wonderful people since I first wondered why Freebird stood out. Shortly after I entered college, the cans debuted "a record" on quote unquote records. This wasn't anything like the previous releases of qur, there was something familiar about this, but the use of simplicity was not. it was minimalistic, and refreshing, descriptors I rarely pair together. The recording was lo-fi, but not in the way that people usually set out to create, you can so clearly hear the sincerity. I think this is what causes most people to latch on to the music, and one of the many reasons I've grown to love these characters. My band first played with Laura and the Cans, alongside The Brass and Sean Bonette of Andrew Jackson Jihad, in support of Bomb the Music Industry's release of their album Scrambles. At this time, it made no sense to us as to why we would play with any of those groups on an individual basis, let alone on such a beautifully unique bill. Not to mention that the first time I listened to Scrambles, I started bawling somewhere around the wonderful contribution of Laura to the track Sort of Like Being Pumped. These were the harmonies as a first year music student, I would die to write. The stark difference of Jeff and Laura's voices, just made so much sense. Just as their split seven inch did when they released it later that summer. I can't think of how many times I played that seven over and over after purchasing it from Laura after they played the very first set of my first fest (8). I introduced myself and reminded her that we played together at their first Boston show, and she'd been across the whole gosh darn country with bomb and andrew jackson jihad since then. She was glad to be reacquainted as I struggled to express what that set or her music made me feel. I couldn't describe it, still sometimes I can't, as I affirm that they are a perpetually underrated band. The opening track to the bomb/laura split halloween 1 + 2, opens sit resist in a way that i find to be so appropriately re-recorded, as it really shows they leaps and bounds they had made since a record. Somewhere along the line, my band was in the studio under the production of Mr. Jeff and he mentioned that he was gonna play pretty regularly with the cans and that they'd be looking for some dates up our way pretty soon. This same night was the first time that my best friend adam played me brave little abacus's - masked dancers. I sat in the roxbury loft of Mr. Steve Foote as I heard I see it too for the first time, though I had heard a demo on a cd that adam had handed me after the scrambles release show. That was one of three tracks that I played endlessly. I can recall giving him sarcastic responses like "10 minutes.. really?? what are you guys a jam band or something". This is pertinent to my tale because this was when our lives both seemed to radically shift as though we suddenly shared the same aspirations. Of course we both aspire to be punk rock stars, but it just made so much sense to the both of us to book a date for the cans each. That weekend was such guilt free fun, and to this day still some of my favorite cans sets, that contain my earliest memories of the songs on sit resist. I couldn't help but feel like a groupie when I showed up to my third cans show in a row at "the castle" at brandies university. The night before, I'd convinced them to play pixies "wave of mutilation", they agreed- only on the condition that I brought my guitar and sang along with them. This being my favorite song at the time, and the cans being a contender for my favorite band, I couldn't be opposed to the idea. Fast forward to October of '10, I break my wrist just weeks before attending my second fest. When I awoke from surgery, I wasn't allowed to take pain killers quite yet and the drugs were starting to wear off as I struggled to hold back my uncontrollable tears. The thought of not being able to attend fest crossed my mind, the pain was truly settling in as I sobbed to my mother about how this was potentially the worst moment of my life. She insisted that I would be fine, and assured me that I would be given painkillers soon. I asked for my Ipod and I frantically searched for something but not just anything would suffice. I played "a record", and sobbed, now for multiple reasons. The comfort that this record offered, was so hauntingly beautiful. The next time I saw Laura, was The Wild's set at fest 9 (the first of that weekend). I couldn't believe how excited she was to see me, and I wondered what I did to deserve such wonderful people in my life. It took all weekend to come around to tell laura and mike my experience in that hospital bed. As again in such a cyclical fashion, I was in Gainesville trying to describe what this music meant to me and I was at a loss for words. At this point, most of the songs on sit release were in full rotation and I knew them by heart. I saw them a handful of times between then and the release and every time they brought more progress. Soon they would announce that Don Giovanni Records would put out the still untitled record and shortly after that I downloaded the first single "Master of Art" on the lables yearly sampler. This brought me back to brandies as we discussed pursuing our individual degrees, and trying to find the beauty in the mundane institutionalized study of art history and music. Now the cans were amongst company that I saw fit, certainly some of my favorite artists. In February of 2011, I caught another 3 cans shows, reaffirming the cyclical nature of my relationship with them. February was a particularly rough month for me emotionally. Those shows were certainly sparing moments. The first night at the Great Scott in Allston, I stood at the side of the stage when the cans played "peachy" for one of the first times. Laura looked to me for confidence, as I saw the uncertainty in her eyes. It was something that slowly I started to understand as I realized how vulnerable she was playing in that bar, especially in sections where she isn't backed by her band. It brought me back to the words of freebird, and really what it means to be a girl with a guitar in a bar playing to please mostly drunk people. Sometimes its hard for me to fully realize stage fright, but in situations like these it is quite obvious. The next show was at the university of new hampshire with bomb, bla and billy raygun, where a good number of college students heckled to play songs that were inappropriate, knowing the band. Not to say that naivety was the whole issue, but lets just say some things happen when certain people go off to college for the first time. The performances were stellar both of these nights, but the atmosphere not so much. Though there was a rather adventurous entrance to hotel room 311 later, that I'd say spared that night. The toughest thing about these two shows, was the fact that I could see them on a steady rise, while the attention they deserved struggled to catch up. But what made things come full circle was the third night in their native Brooklyn,New York- As one of the most prominently billed acts on the don giovanni records showcase. It was here that I saw them in their element, playing for their family and friends, and a near full room who for the most part held onto every note they played. Though I ventured down solo, I returned with my friend liz pelly who had worked previously with joe, who runs don giovanni. Liz was someone whose ability to connect with people over music, I have always been envious of. Needless to say, I was nervous for this five hour car ride. As soon as we got in the car, she suggested that we listen that we listen to the advance copy of sit/resist that she'd gotten from joe. This was the first time that I heard this record. I sat there and soaked in each track, realizing how each of them spelled out such distinct memories for me. Every time I listen through I recall each one so vividly, the good and the bad. I truly am honored to know these people, and so grateful that they have played such a positively motivating and comforting role in my life, musically and personally.

top LPs of 2011 pt. 2

ALGERNON CADWALLADER - PARROT FLIES
philly kinsella worshipers have done it again, all while making this sound more of their own on their sophmore release. for those who worried about the loss of their second guitarist, and the interwoven dynamic that provided- have no fear. the first full length offering of this reborn trio is as full as ever, if not more. this self produced and release masterpiece may not have come up on the popular spectrum, but this group is certainly beloved amongst the org crowd. this group hit me around a time when cap’n jazz was one of my favorite groups, making it hard to decipher what they were striving for. was it a tribute? was it a hack? all I knew is that their debut, “some kind of cadwallader” was played over and over for some indescribable reason. what really makes their follow up beautiful though, is their ability to maintain a similar energy through the wielding of their own production. this band has always had such an expansive sound to me, and have managed to maintain that with the loss of a member. not to mention, that their live set is one not to be missed. as good luck guitarist matt tobey anticipated in this release with a statement to if you make it dot com, whether they are crowdsurfing or being crowdsurfed on, this group manages to pull off their intensely complicated song structures flawlessly. all adorned with a cut paper parrot, in continuing tradition of their first release, algernon remains a consistant fixture as they find their own roots within the kinsella realm.



SPRAYNARD - FUNTITLED
another three piece that totally caught me off guard this year was this group. after listening to the familiar sounds of cut and paste, i made a deduction simimilar to many other people i have related to. this group draws heavily from the fast paced, heartfelt pop punk, that has become a staple of the east coast, especially with the help of bands such as latterman and the bands that they spawned. sometimes familiarity is offputting and although their first release didn’t necesarily grab me, I knew upon being signed to asian man records, that their second release would be one that garnered great ammounts of attention. after missing them at this years smash it dead fest, just days after our mutual friend mitchell dubeys untimely death, i was quite devistated. mitch was someone who always inspired me to listen to music in a new light, to embrace old traditions whilst breathing life into it with enthusiasm. soon after, i was able to catch them at get better fest in keene, nh as the headlining act. It wasn’t till then, that I really got what this band was all about. After two full days of a sometimes monotonous breed of punk rock, spraynard hit me with their notoriously short and energetic set. at the close of the fest, as i stuck around to help some friends break down, i was approached by bassist mark. we had a really refreshing conversation, because for once someone in a band was interested in talking to me as an enthusist and not as someone who they saw as a stepping stone to the next peak in their career. its nice when you meet sincere people, that honestly love what they are doing, to the point that they just appreciate the people they meet, no matter what they stand for. in the next few days, they released funtitled on one of my favorite labels if you make it. that morning started the onslaught of my repetition, and it lasted throughout the entirety of the summer. great honest dudes, great energy, doing things for the right reasons, what more can you ask for?



ANDREW JACKSON JIHAD - KNIFE MAN
sean and ben are just two guys who can never seem to dissapoint me. on their third asian man full length, they take the aesthetic they approached with the hand of jeff rosenstock in their last record and push it even further. though there is musically not a whole lot of new territory, it is the energy and unique lyricism that carries this release as always. i’m really glad that this duo has become more comfortable re-approaching the full band context because these songs really do give this release the propper weight that allows the acoustic tracks to breathe. Songs like “hate rain on me”, recall such influences as defiance ohio and this bike is a pipe bomb, while the acoustic tracks really bring together a whole realm of popular music that is addressed in a folk context. the melodies are catchier than ever, and I’m really glad that there has been more liberty with overdubs in this release. because although the early acoustic albums still stand up, there is something that I love about the aditional statements made. whether it be the uniquely simple guitar solos or the kazoo acompaniment, i think these aspects really give this band a new life, with broader horizons. but what really makes this songwriting beautiful, is as always, these songs stand on their own and are a testament to the chemistry of these two empathetic humans.




FUCKED UP - DAVID COMES TO LIFE
fucked up has been a band that I’ve been exposed to for a number of years, but unfortunately haven’t really consumed until this release. i’d heard their praise coming from all corners of the musical world and i’d read and appreciated their statements on the music industry in regards to the south by southwest music festival. i will admit, that after downloading all 80 minutes of this release, i was a bit skeptical that it would grasp my attention in its entirety. but some of my friends whom i trust their musical taste the most, enlightened me to the operatic function of this album and insisted that i listen. it really did glaze over me at first, as one almost monotonous statement that seemed a bit too familiar for this aesthetic. but once i was able to actively listen, i heard something else. three simultaneous guitars, that I didn’t really hear until I used headphones for the first time. then, these grandiose and sometimes overbearing walls of guitars were given a new individual regard. what i initially took as a basic chord functions, standard in rock music, were seen in their atomic element as 4 individual parts that all served a purpose in this epic. once i understood this, as well as the record’s breath in four movements, it all made sense. though it can easily be mistaken for a pretentious act, fucked up knows just what they are doing. it’s not necesarily an acquired taste, but you need to understand the artists intention before it can resonate, and I can certainly appreciate that.



AMPERE - LIKE SHADOWS
15 songs in less than 15 minutes, seems like a gimmick right? wrong. Though this release is certainly one of the most intense releases that I believe hardcore has seen all year, it is also the one that seems indescribable. So I implore you to just listen, and this might make sense.

top LPs of 2011 pt. 1

GOOD LUCK - WITHOUT HESITATION
in a world where three pieces often seem barren and hollow- good luck stands to prove this as untrue. their sophomore lp shows that they have much to offer since their last full length, into lake griffy, which since soon after its release has been played constantly by my friends and myself. i often worry about bands living up to their first release, especially when I have so much invested in their first recorded sentiments. but as i was getting ready for the fest 10, they announced that alternative press was hosting a stream of the album. in quite a giddy state, i listened to the opening notes of “all good people”, which to me is holds ground against the opener of griffy which is a favorite of mine. matt tobey, is a character whose playing and lyricism certainly resonates with me and his character shines so brightly throughout this album. unfortunately i wasn’t able to catch their set at fest, as I'd seen them over the summer and hadn’t seen dillinger four in a few years. but, in a conversation with my friend bryan who was running merch for bomb the music industry, i mentioned that i knew picking up this record was definitely one of my highlights of fest and it was only saturday. mid sentence, i see matt look up - locking eyes with me, and with the completion of my sentiment, he reciprocates with the nicest most sincere smiles i’ve ever seen. my intention wasn’t for him to hear, but this was certainly an image that stuck with me as i dropped the needle upon my return to boston. the entire release exceeded my expectation and this band continues to give me that warm feeling that it always has. if only they knew how many wide eyed, ear to ear smiling singalongs i’ve had set to the soundtrack of their music.




POLAR BEAR CLUB - CLASH BATTLE, GUILT PRIDE
i think everyone is familiar with that band that constantly puts out solid releases, but it always takes a few listens for anything to hit you or even stand out at all. polar bear club was constantly that band for me, while each release had those stand outs like “living saints”, accompanied by a rather unique video, not a whole lot stuck otherwise. even after seeing them last year, i couldn’t really say that their music would be something i’d find myself returning to repeatedly. but still, i jumped on this release as soon as i saw it was out, hoping that this would bridge the gap in my listening experience. i distinctly remember starting this album on an early commute to school this semester. the opening track “pawner” captured me immediately, taking what seemed to be more of a dramatic opening than i’d heard in the past. often, dramaturgic endeavors can be off-putting for me. but in this, i heard threads of what i saw their labelmates past and present pushing towards. Making what could’ve stayed a rather stagnant staple “hardcore”, dynamic and harmonious much like lemuria is doing for the label now and crime in stereo sought to do until their demise. the album in its entirety grabbed me unlike any of their others, and I think it stands as one of the most unique releases that bridge nine records has put out. though I was only to catch a few of their songs at fest due to pure exhaustion- they played most of the songs that I wanted to hear with such amazing attention-grabbing energy and the crowd reacted so positively. I really hope that this record continues to expose them to the crowds they deserve.



BOMB THE MUSIC INDUSTRY - VACATION
anyone that knows me, knows that bomb has been my soundtrack since i was in highschool. each album grabbing me in such an intensely unique way. first getting to know this band on the tail end of their support of their last jeff-only record, i’ve watched this band face the adversities of trying to make their music live up to the record as they made the switch from many programmed sounds and instruments weilded by one person with a vision. anyone that hasn’t witnessed an anxiously drunken bomb the music industry set, doesn’t have the insight that gives their more recent performances a proper contrast. To see this band grow from a rambling cast of interchangeable characters, to a cohesive group which offers such a beautiful statement of the sum of each individual member. anyone who complains that there is no “ska” on this record, doesn’t understand that bomb the music industry was never a ska band just as the clash were never a ska band. Its certainly hard when each bands release speaks to a certain part of your life, and forces you to recall those moments good and bad, to expect this to happen with each release. But as I’ve gotten to know these people more and more over the years, this release really speaks to my actual relationships with each member and the bitersweet memories I have watching this band find themselves to be widely recieved. This year, they have been asked to open for the Mighty Mighty Bosstones. Though my friends have been in this position before, this is something that never would’ve crossed my mind when my band first played with them at the Great Scott when I was a senior in high school. Its wonderful to see this band grow to see the reception they’ve always deserved, but I’ll always remember these moments that I’ve spent with these people and their music in a detatched sense seperate from their reception. Because there are few bands more personal to me.



DEAD TO ME - MOSCOW PENNY ANTE
In the past year, the sounds of dead to me haven’t been far from my ears for long. Up to the point that this record was released, their first two lps were in constant rotation and especially their little brother ep which was one of the most infectious releases i consumed this year. It’s one thing to appreciate a band, but when you find yourself constantly playing their songs again and again, its an unmistakable feeling. This was a band that I hadn’t seen live until this year, but their albums have been resonating with me for quite some time, and the studio setting was my only experience with them. One of the things that I found most striking about this band is that they’ve needed to reapproach their sound each time they lost a member due to personal reasons. Their last seven inch, was until this release, the only captured version of this current lineup and I have to say, I don’t think it stood up to any of their previous releases. So I was somewhat worried about the release of this record and it’s consistency specifically. Before its release, I read a number of reviews that stated that this record was delivered with a similar energy to 2006’s Cuban Ballerina, which struck me in a way that left me perplexed as to why i didn’t hear it until a few years after its release. With the addition of Sam of New Mexican Disaster Squad, VRGNS and No Friends, the group tastefully reflects the input of their original vocalist while pushing their sound into new boundaries.