HOFFEY “Love Is Wild” - Single Review

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At some point, everyone has experienced the same type of relationship. The one that changes you. The one that alters your brain chemistry. The one that rises so high above everything else that it eclipses your sense of self. That sort of passion is the fuel burning at the center of HOFFEY’s new single “Love Is Wild.”

Based out of Vancouver, Canada, Jordan and Erika Toohey met when they were studying music abroad in Sydney, Australia. While their relationship initially centered around writing and performing songs together, the two soon found that their bond went far beyond music. Now married and releasing songs together as HOFFEY, the duo’s debut single “Love Is Wild” was released on July 27th.

Just in time for your mid-summer playlist, “Love Is Wild” is a dynamic song that captures the feeling of infatuation that comes with a new relationship. Beginning with a scrambled version of the instrumental, the track quickly warms up to a boiling point within seconds as the drums kick in and Erika starts singing words of commitment and love. With Jordan placed just under her in the mix singing the exact same lyrics, it gives the song a borderline pitch-shift effect that makes it feel as if the words are simultaneously being sung from both the male and female perspective. 

As they mirror each other’s words of devotion the rhythm warbles beneath the duo until they reach the chorus. Suddenly Erika takes the spotlight and the beat reduces to its most minimal components. As she sings the track’s namesake, the song explodes into a vibrant explosion of light and color that's both dancy and engaging. Evoking the best parts of MØ, Diplo, and Banks, “Love Is Wild” is an exciting electronic single that bottles up the feeling of intoxication into an exotic and affectionate three minutes.

Stream “Love Is Wild” on your platform of choice here.

July 2018: Album Review Roundup

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Overall, July turned out to be a fairly light month for new releases, but even with a lesser quantity of music, we had no shortage of quality tunes. With a few long-awaited follow-ups, a wondrous live album, and some brand new discoveries (as always), the peak of Summer still gave us plenty of new music worth raving about.


Mom Jeans. - Puppy Love

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If you, like me, find it hilarious that a band would price their albums at $4.20 and $6.66 on Bandcamp, then Puppy Love is an album for you. With song titles like “Jon bong Jovi” and “now THIS is podracing” it should be immediately clear that Mom Jeans are going for a very specific brand of self-aware pop-culturally-obsessed millennial humor. Picking up where bands like Modern Baseball and Dads left off, Mom Jeans are four awkward 20-something white dudes writing hyper-realist slice-of-life songs that remain as cutting and confessional as they are affable and goofy. Some bands write songs about love, and others write songs about death, but even the most romantic among us recognize that in the grand scheme of things, those emotional highs and lows are few and far between. Mom Jeans make music about what happens outside of those extremes, the unexciting and unglamorous (but very real) moments that make up a majority of life. The space where you’re killing time, eating Cheetos, and talking to your dog. Puppy Love is an album of songs about the moments that happen while waiting, and, in a way, isn’t that more true to life than anything?

 

Future - Beast Mode II

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At some point, everyone must question why they like Future. While most of us can’t claim the same level of drug use, money, or extravagance, Future exists to show us that these (supposed) benefits of fame come at the price of one’s happiness. Catchy phrases aside, Future’s portrayal of excess in the face of obliteration is both haunting and engaging. Like a car crash you can’t look away from, his escape into women, drugs, and money feels like something more than the typical rapper’s playbook, if only because these topics are undertaken while on the precipice of oblivion. This dichotomy makes him relatable and enigmatic, even when rapping objectively-despicable bars like “I left her sitting at the Loews, oh / 'Cause she wasn't touching her toes, no.” Lines like these are not necessarily something the listener identifies with, but serve as more of a cold and unforgiving vignette carried out by Future’s persona. Plus, it doesn’t hurt that no matter what he’s rapping, Future is always accompanied by a beat that’s hard as bricks. 

 

Bongripper - Terminal

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If you’re an outsider to the genre, your reaction to finding out there’s a Stoner Rock band called “Bongripper” might be one of disbelief. While I’ll admit that their name seems painfully-on brand, there is also a band called Weedeater, so I’ve found that it’s best not to judge a book by its cover. Bongripper’s Terminal is a 43-minute album cut into two pieces “SLOW” and “DEATH,” two arcs that sway with heavy guitar, crashing cymbals, and enough bass to rattle the fillings from your molars. It’s slow-moving, dark, and sludgy instrumental metal at its best. 

 

Deafheaven - Ordinary Corrupt Human Love

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It begins with a piano. Soon a lone guitar seeps into the mix, accompanied by the sound of waves. A cymbal is brushed, and the keyboard warms itself way up to a melody. Finally, a bass enters the fray, synchronizing all of the instruments into one swirling and kaleidoscopic soundscape as a female voice begins to read a passage from some unknown text. As that reading comes to a close, a wall of screamed vocals are telecast from some distant satellite, freezing the listener in their tracks with a spine-chilling pang of haunting beauty. This is the first track of Deafhaven’s Ordinary Corrupt Human Love. Taking the familiar style of black metal shoegaze the band has become known for, Deafhaven’s newest album adds on a bewitching mix of post-rock and dream pop to the proceedings, resulting in something that’s entirely unique and unlike anything they’ve ever done before. Utterly enchanting and possibly one of their best.

 

The National - Boxer Live in Brussels

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When I first tried to get into The National years ago, the group’s 2007 album Boxer was often cited as the best entry point into their vast, decades-long discography. While I gave the album a handful of spins on a few separate occasions, it never grabbed me in the way it seemed to resonate with most fans. It wasn’t until a fateful meeting soundtracked by 2017’s Sleep Well Beast that the band finally clicked for me. I’d later go on to find out that I’m more of an Aligator man, but I can see now that Boxer is a much more reserved, complicated, and poetic album than I initially gave it credit for. The National’s live re-recording of the album breathes new life into these classic alternative songs, adding lush instrumental flourishes, raucous solos, and unexpected vocal deliveries, all of which make the songs feel brand new yet still familiar. Truly a testament to how well this album has aged and how, much like a fine bourbon, The National only get better with time. 

 

Denzel Curry - TA13OO

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Despite being one of the most commercially-successful genres in 2018, the hip-hop landscape has never been more volatile than it is right now. Phases, idioms, and styles change overnight, and (consequently) the artists that chase these fleeting trends often make a big splash, then fade away into obscurity just as soon as they were found. With trap falling out of favor and SoundCloud rap on the rise, Denzel Curry sits at an interesting intersection between the blown-out Floridian style of hype rap and something much more special. I guess you could call it “conscious” even though that too has fallen out of favor, but Denzel Curry’s long-awaited TA13OO speaks for itself. Unlike anything else in the genre, TA13OO is an absolute achievement and the sort of release that some artists spend their entire career chasing. Released as three EPs over the course of three days, TA13OO is a three-act decent into darkness that integrates genres, topics, and styles rarely ever touched upon in hip-hop. There are chilled-out Outkast-esque tracks like “BLACK BALLOONS” as well as unimaginably-hype songs like “SUMO,” all of which have impeccable flows, engaging beats, and well-conceived messages. The fact that Curry can handle such a wide variety of sounds with such proficiency and artistry is a testament to his skill as a creator.

 

Wild Pink - Yolk In The Fur

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As is a recurring theme with these monthly reviews, one of my favorite albums of July was given to us courtesy of a band that I’d never heard of until the day their album came out. I entered Yolk In The Fur with zero expectations, and once I hit play on the dreamy “Burger Hill” I was instantly mystified by the track’s otherworldly moodiness. Every element of the song takes it’s time to enter, leading to a song that journeys at its own pace in a sort of spiritual quest for metaphysical connection. Walking the listener from hazy emo to colorful heartland rock, Wild Pink shows absolute mastery on every front. A considerate, reserved, and well-thought-out world-building release that swirls into your ears and works its way down to your soul.

 

Quick Hits

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  • Meek Mill - Legends of the Summer: The recently-released rapper completes a celebratory victory lap of four hard-hitting gym-playlist-ready rap songs.
  • Dirty Projectors - Lamp Lit Prose: Post-post-breakup tunes that trade the behavior of a vindictive ex for a wide-ranging swath of collaborators and guest features.
  • Wet - Still Run: Beautiful, heartfelt, and deeply-human rock made for ordinary people experiencing abnormal feelings.
  • Between the Buried and Me - Automata II: The sequel to an album of the same name from earlier this year bearing similarly-proggy metal, but in more digestible chunks than usual.
  • Wiz Khalifa - Rolling Papers 2: Wiz Khalifa used to smoke weed. He still smokes weed, but he used to, too.
  • Real Friends - Composure: Scrappy and happy pop-punk from the fearless Illinoisans.
  • DRAM - That’s A Girl’s Name: A surprise-released three-track of breezy summer tunes courtesy of hip-hop’s most adorable frontman.
  • Chance The Rapper - Four Singles: Chance The Rapper doesn’t release singles, he releases enough songs to constitute an EP, all of which are just as wholesome, fun-loving, and vibrant as we’ve come to expect.
  • The Internet - Hive Mind: An hour of bumpin’ funk and vibin’ bops to lose yourself in.
  • Ty Segall & White Fence - Joy: Expansive guitar-based throwback tunes that hop from one idea to the next with wild abandon.
  • Trash Boat - Crown Shyness: Equal parts melodic and hard-edged, Crown Shyness is a hardcore album with pop-punk sensibilities that bleeds emotion like a fresh wound.
  • Frontierer - Unloved: Bombastic and technical metalcore that attacks the listener with explosive ferocity, firey aggression, and destructive anger.
  • Like Pacific - In Spite of Me: An unfaltering sophomore album bearing heart-on-sleeve pop-punk made for screaming out the windows of cars at night while doing 60+ on the highway.
  • Phantastic Ferniture - Phantastic Ferniture: Effortlessly-charming and charmingly-effortless indie tunes made for slackers and chillers alike.
  • No Better - It Felt Like Glass: A pop-punk debut album that scratches vocal chords, strains emotions, and swings wildly as sentiments escape from its soul and work their way up its diaphragm. 
  • Clearance - At Your Leisure: Fittingly titled, this sophomore album revels in 90’s influence, latent malaise, and sunny post-punk.
  • The Coup - Sorry To Bother You: The Soundtrack: The absurdist, political, bizarre, unexpected, and unapologetic soundtrack to the most-needed film of 2018.

 

We also saw singles from Lil Pump, Childish Gambino, Minus The Bear, Joyce Manor, Death Cab For Cutie, Asking Alexandria, Foxing, The Story So Far, IDLES, Charli XCX, Animal Collective, Mac Miller, Interpol, Dj Khaled, The 1975, Tyler, The Creator x A$AP Rocky,  Blood Orange, Pond, BROCKHAMPTON, Yoko Ono, Nicki Minaj, Foxing, Metric, Smokepurpp, Yves Tumor, Guided By Voices, and Waxahatchee

 

Rewind

Finally, here are a handful of albums that came out earlier this year that I missed until this month.

  • Let’s Eat Grandma - I’m All Ears: Mind-expanding, soul-searching, and heart-crushing electronic indie that wanders from room to room of your consciousness.
  • Barely March - Marely Barch: Much like Mom Jeans, Barely March offers self-deprecating and hyper-personal tales of breakup, recovery, and nerdy faults.
  • 03 Greedo - God Level: Releasing as much music as possible before a 20-year prison sentence, 03 Greedo is crafting extremely-proficient rap songs that are sharp as a bowie knife.
  • Naked Giants - SLUFF: Unapologetic rock music that explodes to life in concert.
  • Just Friends - Nothing But Love: Remember ska? It’s back in Pog form.
  • Dream Wife: Dream Wife: Middle fingers extended and sex drives turned all the way up, Dream Wife delivers unabashedly-wild and in-your-face rock from down-under.
  • Gladie - Everyone Is Talking About You: Lovely heartbreak and beautiful self-destruction recorded to emo-tinged indie.

Small Town Junkies: The Music Industry Is Dead. - Review

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Schools play a vital role in our culture. Sure, they teach basic skills like reading, writing, math, and science, but they also serve an important function as the first line of defense in our society’s moral compass. School is the first time most children figure out who they are, how to interact with others, and what’s right and wrong. While most kids learn by doing, there are also a certain number of platitudes everyone has instilled in them from an early age. Treat others the way you want to be treated. Sharing is caring. And, of course, “don’t judge a book by its cover.”

While these principles serve as revelatory words of wisdom in our youth, they sort of just fade into the background once we reach adulthood. Call it jaded, or heartless, or just chalk it up to a sad by-product of caring less, but these tenants that seemed so important in childhood quickly become eclipsed with different concerns like fitting in, making money, and capitalistic self-worth. 

And I’m not just pointing fingers here; I’ll be the first to admit I wish I considered these phrases and their implications more often. I’ve recently caught myself judging a book by its cover not only in life, but in my hobbies too. From music and video games to TV and movies, sometimes I’m just looking for an excuse not to like something. Whether its a TV show with an impenetrable mountain of episodes, a viral video that’s a few minutes too long, or an album with a cover I don’t like, sometimes it’s easier to just write some off before committing to it. This is all to say that I judged Small Town Junkies before I’d heard even one song, and now I wish I hadn’t. 

Hailing from Streetsboro Ohio, Small Town Junkies is a multi-faceted music project helmed by David Stump creating emphatic alternative rock that’s so steeped in 90’s Love it would make J Mascis blush. After making waves in his local scene with “Vampire Summer” off Small Town Junkies’ first EP, Stump segued this newfound visibility into multiple projects including the group’s debut full-length, an acoustic album, a stoner rock album, and a highly-collaborative internet-fueled record. Now ready to drop his newest LP as Small Town Junkies, Stump’s 12-song The Music Industry is Dead. is set to release September 28th.

While Stump’s blown-out HDR-abusing aesthetic is consistent across his Bandcamp page, album art, and music videos, I jumped into The Music Industry is Dead. expecting something completely different than what I got. The record’s titular opening track wades the listener into the album with a self-deprecating, tongue-in-cheek sentiment as Stump sings “The Music Industry is Dead / I’d rather read a book instead” over a jangly guitar. Shifting from a low vibrato into a bright chorus, the song opens up like a county road in a moment that sets both the tone and mission statement for the remainder of the album. Content to spread ideas and connect with an audience, Small Town Junkies admit that there’s no money in what they’re doing, but that’s why they’re doing it. Stump and his band are chasing something ephemeral, something soul-affirming, something more

Third track “Never Enough” serves as the album’s lead single, a distorted and funky cut with a rhythm that sways back and forth at an extremely-headbangable pace. Alternating between chest-inflating southern rock verses and high-rising choruses, “Never Enough” centers around a groovy riff that leads to both an early-album highlight and an absolutely killer single. 

Once I’d made it even a few tracks in, I was able to see the brilliance that lied in wait behind the album’s multi-colored cover. Actually a wonderfully-apt indicator of the record’s vibrancy and maximalism, I quickly found myself regretting my initial judgment. 

After that early trio of songs, the album takes the listener on a voyage of childhood memories, long-lost love, and newfound hope. Both “The Haymaker” and “I Feel Fine” revel in memories of recess, cafeterias, and schoolyard fights, meanwhile “We Just Met” is an earnest recount of love on first (or second) sight that’s at once hilarious and heartfelt. From getting lost in the minutiae of caller ID and living room dates to the double-edged sword of being unemployed (which means having all the time in the world, but none of the money), the album is packed with clever observations and catchy choruses. 

The style and texture of Music Industry also change as the album ventures forward. “Not Alone” is one of the record’s most slow-moving tracks with a spaced-out and airy guitar that quickly ratchets up the distortion on the choruses for a borderline stoner rock effect. Much like Bush’s “Bomb,” the track builds beautifully into explosions of love and regret that swirl together into a void of nostalgia.

Album closer “We Made It” centers around an earnest slice of life tale about busking for ice cream. The song builds up to a gummy Weezer-esque chorus that’s guaranteed to get stuck in your head for hours. But it’s not over there, the secret song “Mean Pitbull” makes its entrance after several minutes of silence with a pang of blown-out guitar. Sending the listener off on a reminder of the joy that can be found in the simple things, the final song bears an endearing message of happiness wrapped around one of the album’s most well-crafted choruses. 

The Music Industry is Dead. has more cards up its sleeve than you might initially expect. Despite how harshly I judged the album based on its cover, I found myself emerging from the LP having enjoyed every second of it. Deeply personal, sometimes troubled, but incredibly well-put-together, The Music Industry is Dead. is an alternative rock release that’s guaranteed to take you back to the amber-coated memories of your 90’s childhood.

The Elephant Visual Album

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When I trace my musical history back to its origins, there are four or five key discoveries from my childhood that have gone on to become foundational cornerstones of my taste. I’ve written about many of them here from my first iPod and 2006 pop music to entire genres that I stumbled into by accident all thanks to people with better taste than me. I measure my life with music, and these events have all become part of my personal mythology; milestones that have gone on to inform not only my taste, but who I am as a person.

I was fortunate enough to grow up with a dad who cared about music. While that mostly relegated itself to me raiding his CD collection to rip classic rock albums onto my iPod, there were also a small handful of (then) modern bands that we bonded over as I began to show an interest in music. The shared section of our musical Venn Diagram has expanded over the years as my taste has continued to mature, grow, and spiral in unexpected ways, but the first “new” band my Dad and I found common ground with was none other than The White Stripes. 

Luckily, because my dad loved The White Stripes, this meant I had the band’s entire discography at my fingertips. He owned their studio albums, B-sides, singles, live albums, demos, side projects, you name it. As a result, I have a worryingly-deep connection to (and knowledge of) Jack White’s musical catalog.

Around this same time, I was also taking guitar lessons. Aside from the standard “starter” songs like “Smoke On The Water” and “Pipeline,” The White Stripes’ “Seven Nation Army” proved to be low-hanging, easy-playing fruit for a 10-year-old Taylor. Between borrowing the CDs and playing the songs, I showed enough of an interest that my dad decided to take me to see the group on tour in 2003 for my second concert ever. 

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While I’ll admit that the 1.5-decade marination time of nostalgia plays a huge part in it, Elephant remains one of my favorite albums of that genre, this era, and my entire life. Hits and overplayed singles aside, there’s a lot to love about Elephant, and there’s a reason it remains the band’s most enduring release this many years later. 

Literally every track on Elephant hits. “Seven Nation Army” is an unparalleled anthem of the early-2000’s. “Hardest Button to Button” bears one of the best drumlines of the decade. “Ball and Biscuit” is one of my favorite songs of all time with its lumbering blues riff that slowly erupts into blistering guitar solos. There isn’t a wasted moment or an unpolished idea. Elephant is rock in its purest form. A feeling that can’t quite be put into words made by two people with two instruments. Perfect.

As eye-opening as Elephant was, sometimes your favorite albums can slide into the background of your life without you ever noticing. New music, other mediums, or life events can keep you from venturing back, and as embarrassing as it is to admit, this had absolutely happened to me with The White Stripes. It’s almost like taking art for granted. I’d listened to Elephant so many times, heard “Seven Nation Army” in so many different movies and TV shows and commercials that at a certain point it just kind of feels like “well, yeah, everyone knows this album is great, so what’s the point?” 

While my relationship with Elephant is ongoing, a chance encounter with a designer completely renewed my love for the record with a project that was crafted as lovingly as the album itself. Sometimes the classics are not only worth revisiting, but worth diving into on a microscopic level, and that’s exactly what Chandler Cort did with this beloved album. 

Creating what he calls a “visual album” Chandler transposed Elephant onto a 9-foot scroll that tracks the entire record second-by-second. Interpreting each instrument’s volume and the exact starting point for every word sung, Chandler’s creation is one-of-a-kind and unlike anything I’ve ever seen before in my life. There’s something to be said for standing face-to-face with one of your favorite records and taking in the entire thing as it towers above you.

While it’s impossible to translate the feeling of interacting with the scroll itself, I wanted to share this beautiful and original piece of art with as many people as possible. Not only was Chandler kind enough to let me share his incredible work on Swim Into The Sound, but he also sat down with me to talk about the process that went into making it as well as his personal background with the band. So without further adieu, I’m excited to present The Elephant Visual Album. 

Full-resolution PDF version of the Elephant Visual Album at the end of the article.
 

The Visual Album and Its Creator: An Interview With Chandler Cort

Much like Taylor, I have a very distinct memory of my introduction to the White Stripes. I came to the party very late, as my parents found it borderline impossible to break away from anything outside of the typical 60’s - 80’s hits they grew up with.

There aren’t many specific events in my life that I would refer to as “life-changing,” but hearing “Rag and Bone” for the first time in my high school art class was absolutely one of them. My obsession with the White Stripes began with Icky Thump and worked its way back to the very beginning of the group’s discography until I had completely immersed myself in everything they had ever produced. The White Stripes were something I listened to exclusively for months. When I wasn’t listening to them, I found myself watching interviews with the members, reading about their history, and completely immersing myself in the group’s mythology. I had never quite felt myself become so taken by a band before.

Six years later, the White Stripes are still one of my favorite bands, if not my all-time favorite. Jack and Meg White have taken hold of a very big piece of my heart, and I don’t know if that will ever be able to be eclipsed.

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The way the project really came about was kind of funny. I was in my first infographics class at Portland State University, and we were told to make a timeline for our first project. The professor made sure he kept things very open-ended, so we had the choice to do an incredibly accurate historical timeline, or we could do something more whimsical like a timeline of the Harry Potter Universe.

I remember going on break one day listening to Elephant, and thinking “it would be funny to do an infographic on the number of times Jack White goes, ‘WOO!’ in one album.” So that’s where it really kinda started. I refined my guidelines a little bit further and decided that I would track the main instruments: guitar, drums, and piano, as well as the vocals. 

The process for this piece is something I feel just as proud of as the actual work itself. All of my research for this project was done entirely audibly. I printed all of the lyrics to every song, and I would sit down at my desk every day, listen to the song, and get the second-by-second timestamps for every lyric, and then go back through, and repeat the same process for the guitar, drums, and piano. This means I listened to every song at least three or four times in full, not counting pausing, rewinding, and playing again to make sure the time signatures were as accurate as possible.

In addition to the individual instrument timelines, each song also got a “genre gauge” that I had designed too. Because Elephant is such a diverse album, I feel like it was very important to describe how each song was different in comparison to the others. Every song was ranked on a scale of punk, blues, folk, and pop, with the end result being a circular graph that represented the track’s sonic texture. 

This was then translated into a second graph that I constructed to help best visualize the album in its entirety. I’d guess this project took somewhere between 40-45 hours total. It was truly a monster, which can be seen in the final 9-inch by 9-foot print. I remember people telling me in class that I was doing was ridiculous, and that I was crazy for even attempting something like this, which honestly just kind of pushed me to do it even more.

A lot of my design work has been very music-focused, and I have done very intense pieces about other albums I love, but I feel like this one is probably the most accessible, and the most interesting. I describe this piece as a visual album because I feel like it is the most literal visual translation of an auditory piece. I’m so happy that this piece has received the reaction it has, and I’m incredibly thankful that Taylor was moved enough to offer me this opportunity, and I hope to be here again someday. 

Until then everyone, be good, and love what you listen to.

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Custom: Brace For Impact - Review

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Genres don’t mean a whole lot in 2018. Indie is an umbrella, everything is “alternative,” and nothing is truly popular. Genres have become overly-broad concepts used to categorize music in order to give new listeners a primer for what an album will sound like. One of the many reasons why the importance of genres has been lessened is that they rarely ever encapsulate an artist’s actual range. It’s rare that a band will be fully committed to one genre, in all likelihood they have a wide variety of influences, styles, and nuances that all exist somewhere between the inherently-broad lines of genre categories. 

Perhaps because of this grey area, it’s all the more refreshing when a band commits. I mean really commits. Custom is a rock band, full-stop. Hailing from Seattle, this quintet of musicians is committed to making straight-up Rock music with a capital “R.” No frills, no fuss, and no distractions, just rock. Custom’s fourth album Brace For Impact is nearly upon us, and it wastes no time jumping straight into the action. 

Within seconds, opening track “No Regrets” bowls the listener over with a shredding guitar riff that offers little time for recovery. Soon the bass and drums jump into the mix, laying down a hard-charging rhythm that paves the way for lead singer David Lyon’s entrance. Painting a picture of a carefree, hedonistic youth, the song works its way up to an anthemic chorus that sounds downright Bruce Dickinson-esque.

As much as Brace For Impact is steeped in “rock,” the band is able to tackle a wide range of vastly-different topics within the album’s 29-minute running time. Things get cerebral on “Drugstore Prophet” as the group tackles the dangers of the pharmaceutical industry in between powerful rolling choruses. Meanwhile “Lonely Girl” is a personal track that zooms down to a micro level depicting one person’s escape from depression, abuse, and personal strife. Similarly, “15 To Life” offers a four-minute vignette of a reformed criminal that climaxes with a sorrowful guitar solo and a vocal performance that drips with lament. 

The penultimate track “On Me” is a late-album highlight that also serves as the album’s lead single. Available as a free download from the group’s Bandcamp page, the song is an ode to the rockstar life featuring a dexterous bassline, fast-paced drumming, and a high-flying guitar solo. All of this is wrapped around a catchy chorus that evokes equal parts Asteroid and Buckcherry for a memorable and hard-drinking rock song. 

With hundreds of live shows under their belt, over a decade of experience, and soon four albums, Brace For Impact makes it clear that Custom is steadfast in their mission. Embodying everything about the rock and roll lifestyle, Custom's upcoming album is adventurous, boisterous, and most importantly: fun. It’s rock music that explodes with life from its first seconds until its last notes. It’s everything the genre was built on, and that’s sadly a rarity in 2018.