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Review: The Split Seconds LP

What does it mean to call a band “punk” in 2016? What is conjured in our minds when we think of the punk scene and the music that soundtracks it? There has always been more to punk than screaming, safety pins, and dive bars. If you require a history lesson in the rich evolution of punk, look no further than DC’s own The Split Seconds’ LP, released back in July.

The band’s website states the group was formed in order to combine “the energy of late-70’s punk with undertones of 60’s pop and garage rock”. Never have I read a more accurate description of a band: the perfect encompassing of the basis of what we know today as punk rock, while still allowing the progression of writing and producing to put a new glossy coat of paint on it. Good musicians can borrow from their musical heroes. Great ones can utilize an understanding of the roots of their genres while offering something new to its future.

Right from the first track, “Center of Attention”, The Split Seconds lay the foundations of punk before you: the harmonies of 1960’s pop acts with Dick Dale-esque guitar riffs. This opening reminds us all that punk hasn’t always been about mosh pits and indistinguishable lyrics. A generation and a half ago, people actually used to dance at performances of bands like The Clash. As this record continues I found myself unconsciously dancing along to arguably pop-based rhythms, but with the core of punk at its heart.

Following along with their homage to the progression of punk’s history, vocalist Drew Champion’s voice allows you to follow the path from melodic to aggressive. Never altering his unique style so much that it appears an afront, Champion allows the music itself to influence his sound, and marries the two together exquisitely.

My favorite track is certainly “Come to Mary”, a song about a cheating guy who loves his girl but can’t seem to treat her right. The bass line, which is really at the forefront of this song, matched with a familiar lyrical content and strong vocal harmonies places the inception of this song somewhere in the mid-1990’s. It’s easy to taste the notes of ska-punk in the chord progressions, and could easily be the song that Letters to Cleo’s cover of “Cruel to Be Kind” responds to.

My concern for The Split Seconds is where they go from here. Whether it was intentional or not, this LP is an exercise in punk rock basics, and from it they can build anything. Perhaps the hugeness of possibility can potentially breed something wild and a far cry from the songs they’ve created so far. But if they are the punk rock historians they appear to be, The Split Seconds will continue to give us new lessons in the genre’s beloved and long-forgotten roots.

Review: Jeff Rosenstock’s WORRY

Jeff Rosenstock’s WORRY. is thematically and sonically similar to the plethora of albums under Bomb the Music Industry. That consistency continued with Rosenstock’s solo work on 2012’s I Look Like Shit and 2015’s We Cool? and has been further honed with this release, creating a fun and meaningful album. Tracks cover a myriad of topics: from detailing political and societal problems, such as the deaths of unarmed young black men at the hands of police, to the gnawing of social media and the difficulties of sustaining love amid the stress of life. At its essence, WORRY. is about overcoming adversity and the survival of love, as Rosenstock puts it, “in an environment of competition, greed and hatred – and the resulting exhaustion and complacency”.

The album starts with “We Begged 2 Explode”, a piano ballad bemoaning changes in life, love and friends as we grow older and celebrates the loyalty and increased recognition that Rosenstock now receives.  This is followed with vivacity on “Pash Rash” where Rosenstock, who got married while writing WORRY., sings of longing to see his love again and having a sense of direction while still having doubts as “the sky is always pitch black”.

“Festival Song” is a catchy punk rock singalong that criticizes the music industry and corporate festival culture that many artists are forced to play into. On this track, Rosenstock sings “They wouldn’t be your friend if we weren’t worth something” and “But this is not a movement/It’s just careful entertainment/For an easy demographic/In our sweatshop denim jackets”.

Rosenstock’s voice exudes a unique tension. “Staring Out The Window At Your Old Apartment” begins relatively subdued as Rosenstock melancholically sings, “Staring out the window at your old apartment/Imagining the old you stumbling through/Tacky renovations that the landlord wanted/To cash in on the boom/And you don’t know where to go now”, but Rosenstock’s vocal tension builds and makes the payoff all the better as he belts “The city don’t care if you live or die/It’s just gonna grow and it doesn’t care why”.

Songs like “The Fuzz” and “To Be A Ghost…” deal more directly with social issues such as police brutality with “I’m tired of circling amongst apologists/Who love ignoring the reality/Of unarmed civilians executed publicly”.  Some artists’ mingling of personal and political themes seem disjointed, but none of these topics seem shoehorned on WORRY.

“I Did Something Weird Last Night” is energetic and light-hearted and encapsulates themes of social angst mixed with with love struck protaganists all contained in WORRY. See a perfect example in Rosenstock sings, “Are the two of us both imagining/Seven-hour round trips into each other’s beds?”, but caveats this newfound love with “Because nothing intangible remains sustainable/Hope is a scheme/Will I ever see you again?”.

One of my favorite tracks on the album, “Blast Damage Days”, details the difficulty in retaining meaningful relationships in the age of instant gratification and pervasive distraction. Rosenstock’s uniqueness comes from this ability to balance the onus of society with the love and hope that make life beautiful. I think what’s so great about this track is that Rosenstock brings back the xylophone and synth sounds that made bands like BTMI and ASOB so great.

The second half of WORRY. is comprised of erratic but enjoyable jumps through several genres, including punk, ska, and hardcore with short energetic tracks. Rosenstock’s frustration over impoverished apartment living and miserly landlords comes out in “Bang On The Door” and “HELLLLHOOOOLE”; his manic ferocity comes out in “Planet Luxury”.

WORRY. is a strong additional to Rosenstock’s already impressive body of music. Tackling a wide range of topics and musical styles, it is an album that reveals more upon repeated listens.  The ability to parse disparate topics with such mastery and intensity is part of what makes Rosenstock unique in today’s soundscape.

See for yourself what’s in store with WORRY by Jeff Rosenstock which is out now on SideOne Dummy Records!

New EP Release: Canada’s The Classy Wrecks “Songs for the Extinct EP”

You might remember The Classy Wrecks by their song Too Old to Party which we featured on our summer compilation this year “Bummer Summer Vol.2” . They are a Ska/Rocksteady/ Reggae band from Toronto, Ontario. This week they had their album release party for their first ever EP “Songs for the Extinct.”

If anything is an indication by their first EP, it’s that this band is has it together. Throughout this EP you’ll hear everything a band with experience and expertise should be putting out. The Classy Wrecks have tight timing, fun and intelligent writing and a high quality recording with near perfect orchestration.

The Classy Wrecks were founded in the springtime of 2016 and are definitely the classiest band in town! Bringing their combination of poppy hooks and rock-steady rhythms to every song, they ensure that you will be happy and singing along.Their first EP, Songs for the Extinct is now available via band camp for digital download and CD.

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Dissecting the touching anthems of Chris Farren’s “Can’t Die”: A Review

Over the last few weeks I spent some time listening to Antarctigo Vespucci and Fake problems to understand Chris Farren’s first LP release Can’t Die. Admittedly I have never heard about him or his projects until I was told I had to listen to this album. If you haven’t heard of Chris Farren you’ve likely seen or heard some of the projects he’s had his hand in. Let’s face it Farren’s all over the place in a good way. Besides his involvement in solo and other music projects and producing on the side, Chris Farren created the popular Fresh Prince pun shirt “The Smiths” that you’ve probably seen copied in merch booths and stores over the last few years.

With taking into account of Farren’s past band projects, and this being his first ever LP under his S/T solo project Farren takes no time in attempting to break away from past sound. The record starts with a glorious anthem for the album and title track. Throughout this album Farren is showing listeners an anthem for emotion and if this was a musical he’s started it off with an anthem for his first off broadway debut…..“Can’t Die”.

The album continues in the 2nd Track “Human Being” with a simple back beat and catchy licks/hooks. In this track you can hear the raw emotion in this perfectly produced track as he bellows to his fans, “if i could be around you all the time/i’d be content to just stay in every night” And the chorus that beckons “I just want to feel like a Human Being”—-connecting to the listener that even though we are occasionally hermits, it’s the people around us that keep get us out of the home or lonliness. For me this song speaks to a piece of artwork that hangs right by my front door and preaches to me “I Will Never Forgive Myself for Every Pretty Day I’ve Spent Inside”. Songs and art like this keep in our minds the motivation for what stops the hermit tendencies.

“Say U Want Me” is by far my favorite track of the album. You hear Farren’s use of hooks, soft spoken and simple lyrics and moments where he says the simple but well said things like “I need you most when you’re not around me, I wanna be your everything.” With all of these pieces brought together, caped with an outro hook we are given a perfect pop tune.

In showing Chris Farren’s true range, for every beautiful emotional pop tune there’s songs like “Brighter”, the short techno track of “To Insecurity and beyond” that reminds me of Jeff Rosenstock meets Postal Service. “Still Beating” shared with us a different side of Farren’s writing. Although we have his hooks and pop melodies, he writes powerful poetic lyrics that do not rhyme or are broken patterns of rhyme. He is almost poised to change his sound mid album showing a different side of his repertoire. After this song we hear two tracks that are quiet and different in nature. Tracks like “I’m Not You” and “Flowers” are weaker in construction and somewhere fall flat. I was predicting a drastic change after the 6th track but I feel this is too drastic. These songs are touching and hit the heart just the same as the rest, but the execution just isn’t as powerfully presented as his others.


The last three tracks of the album offer three quick anthems. “Everything’s My Fault” is written exactly the way of a post punk emo tune. I could easily see bands like Simple Plan or NFG do this song in another life. “Don’t Be Cruel” is exactly what I needed out of the end of this album. You have that techno use and beautiful messaging as shown in “To Insecurity and Beyond” but finally done somewhere else in this album!

Evoking all the sadness and grief out of the rest of the album, Chris Farren takes in all that and breaks our hearts with the last track. Remember that tone of a musical we brought to your attention earlier? This aura rises again in this last track—almost offering an attempt at reprise that wasn’t necessary. We’ve all lost someone close and together with Farren we are broken into a sense empathy during this album from beginning to end. The need to bring something back up as things do in a reprise is unnecessary since we connect so strongly. Farren does this whether we like it or not, almost in a therapeutic sense.


Farren’s album is a near perfect way to mark a post-mortem Summer. Take a pretty boy with flowing locks from Naples, Florida. Mix that with the energy and emotion of your favorite emo band of the turn of the 2000’s and you’ve likely gotten close to Chris Farren’s “Can’t Die”

Can’t Die is out now on SideOne Dummy Records. You can find Farren on the road through 2016 with the likes of Modern Baseball, Jeff Rosenstock, AJJ, and Brian Fallon just to name a few.

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AJJ ‘The Bible 2’ Review

My first formal introduction to AJJ was during an interesting year. It was 2014-15 and AJJ was still known as their former, “Andrew Jackson Jihad” and I wasn’t married yet. A close friend just got into Rabbinical school and one of my favorite folk punk bands, “Andrew Jackson Jihad” just came out with their 5th album Christmas Island. The albums of 2014 were among some of my favorite and tapped into my post-hardcore emo records interests. It’s been nearly 3 years since that release and in that time I’ve been looking forward to a follow up release. This past month AJJ released their 6th album, The Bible 2.

AJJ’s bandleader and lyricist, Sean Bonnette cited the name change as part of a seemingly rebirth of the group, ” It is definitely a shedding of baggage.” Bonnette and AJJ are known for their highly confessional lyrics and less than conventional arrangements of music. For The Bible 2, the group arranged most of their tracks during sound checks and between show dates in their tour van. They abandoned a drum kit for a synthesizer. Cleaner vocals for a drowned out lo fi vocal mix. They teamed up with the same audio team that did Christmas Island and that is clear with some of the songs.

The record starts off with two tracks that are well done, yet horribly produced. Maybe that was the intention but that intention is missing off the rest of the record where there’s a ton of melded influences and variant sounds. I tried to listen to this in my car and found myself playing with the mix constantly. Then goes into track 3 called Junkie’s church. A track that is totally derivative from Christmas Island’s, Linda Ronstadt. It could just be the band trying to connect the audience to something they did in Christmas Island but sorta falls flat. I feel that the song writing could have been better in this song. I know punk in general uses the same chords and is about the feeling of the song. I get that. This song hits both of those things but i think its just lacks feeling or intention and feels thrown in.

Somewhere in the middle-end AJJ finds the groove in this record, blending some newer found skills and the best parts that made AJJ of future’s past. One of my favorite tracks off this record are Terrifyer and White Worms. You find two tracks that mate folk punk, a raw energy and some complex themes.

By the near end of the record  you’ll find yourself at Small Red Boy. You also find yourself brought back into connecting earlier in the journey of the record when in the same track Bonnette sings the main chorus of track 5. A track that is a clear anthem of this record, or a reprise revisiting “no more shame, no more fear, no more dread”. For me I feel like it shouldn’t take 10/11 songs to reach your point of the record. So although the song is great and brings together a feeling shared earlier in the record, it still is missing something to connect the rest earlier in the record tracks.

For much of this record I find myself listening to a record that I wanted to hear out of Christmas Island. With that record I thought I was listening to a drowned out indie punk band that wanted to be AJJ and wasn’t as impressed with it. With The Bible 2 I find myself listening to a record that appreciates the artist’s past influences, but also tries some new things—forming an emotional roller coaster of a record. You find yourself listening to a record that sounds similar to the last one but tries to close off stories using those connections. It’s something I’ve rarely heard done right. I guess if I’ve seen it done at all I’ve probably viewed it as derivative and blah and moved on judging it more or less as a cop out and uninspiring. It’s a solid start to a new direction for a band finding a voice. If this is a arch that shows the direction AJJ is growing to become, I’m looking forward to a new AJJ record and how they take what they learned from the last two and make it even better. Church is in session.


AJJ will continue spreading the good word of The Bible 2 throughout the east coast/southwest with Diners and SideOneDummy labelmate Chris Farren, supporting his new album Can’t Die coming out September 2.
Fri Sept 23 – Champaign, IL – Pygmalion Music Festival
Sat Sept 24 – Cleveland, OH – Grog Shop
Sun Sept 25 – Cincinnati, OH – Midpoint Music Festival
Tues Sept 27 – Toronto, Canada – Lee’s Palace
Weds Sept 28 – Detroit, MI – Loving Touch
Thurs Sept 29 – Grand Rapids, MI – Pyramid Scheme
Sat Oct 1 – Chicago, IL – Double Door
Mon Oct 2 – Lawrence, KS – Granada
Tues Oct 3 – Omaha, NE – Waiting Room
Weds Oct 4 – Denver, CO – Summit Music Hall
Thurs Oct 5 – Albuquerque, NM – Launchpad
Fri Oct 6 – Flagstaff, AZ – Flagstaff’s Green Room
Fri Oct 28 – Gainesville, FL – The Fest

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PUP’s Sophmore Album Keeps the dream alive

It took about a month too long for me to write this review. In the beginning I struggled. I listened to the record every day twice a day for a week—trying to hone in on a few tracks or what made this record better than the rest. As a music reviewer/writer I prefer to write about why a band is great and showcase about 5 tracks why you can tell this album is better….I simply struggled over the past few delayed weeks to release this knowing that I needed to find my top 5 tracks. By week three I decided—-TOO MANY GOOD ONES!


Without running the risk of sounding cliché, I want to preface this as this record is no standard sophomore album. As a music listener and overall music nerd, I tend to rarely love the sophomore album of a band once I loved their first record. In strange contrast I also tend to fall in love with bands on their sophomore album before actually listening to a band. Some think, and I couldn’t completely agree until now, that the reason people haven’t quite grown to appreciate the sophomore album, is that you as a fan watch a band grow and change over time. And sometimes this change is one that clouds our judgment as fans when we hear a 2nd album. We don’t want it to be different than what we love! Without further Ado, I present the 2nd album by the Toronto based, garage punk band PUP,  The Dream is Over, a follow up their self titled first record.


Out of standard rules of review, I feel inclined to chat about their first record just for this short paragraph, then we will dive into the awesome that is record #2. October 2013—a year that brought us records like Chumped Teenage Retirement and Against Me!’s Transgender Dysphoria Blues and countless others, PUP was just releasing their s/t record to the masses. It was well received, hitting multiple blogs’ top album lists of the year and positive praise from the seemingly unknown youngsters’ musicianship and talent. For the next few years the band toured the world promoting their work.  In the scope of this 2nd album, you’d think that with all of Babcock’s health problems, and the apparent needs by a band’s sophomore record to change their sound dramatically, that PUP’s 2nd record would be unlike the first. You can see that there are areas where Babcock hangs back and lets the gang vocals step in, but when they step in you can see the chemistry of this band. But while I was quick to judge Babcock’s tamer vocals—I was presented with a track like Old Wounds which for lack of a better word, is a pretty modern hardcore track.


What did PUP Keep in their 2nd record:

-Ooohs and ahhhs (some stellar melodies)

-connecting personal experience and real emotion to their songs

-riffs galore

-punk as ‘f’

 Nearly 4 years (and 400+ shows) later, PUP received the words that would make project of their next album complete. Singer/guitarist Stefan Babcock walked into a doctor’s office only to discover that he had a small cyst on his vocal cords. This reminds me of my first run in with PUP as a live band. It was only shy of 2 years ago as part of their promotion of the first S/T record, at DC (for which I will proudly be in attendance at their SOLD OUT show next week as they make their return to the nation’s capital). There’s something about any band and their success—what makes them more successful than the rest…this my friends is their live presence. PUP beats clobbers their competition offering a live show that leaves themselves (and at least one punk music writer/fan) sweaty, exhausted, and nearly out of voice by night’s end.


Top Tracks(full stream of the record below):

    • If this tour doesn’t kill you I will
    • Sleep in the Heat


    • The Coast
  • My Life Is Over and I Couldn’t Be Happier
    • Familiar Patterns

    Full Album Stream

    We as people are constantly afraid of change and if you alter what we know we automatically, as part of the human condition, revolt against said change. Some change is good, and in this case PUP’s sophomore record shows change is stellar. PUP‘s The Dream is Over is out now on Side One Dummy Records and PUP is currently on tour supported by PKEW PKEW PKEW and Roswell Kid.

    Review: Orenthal ‘Rising’ LP

    There’s something about a new record that constantly will plague you. You take the LP, disk or what have you out of its jacket and soon the butterflies come. Will this record be beat the rest that year? Will it just completely blow chunks? Or will it at least do one thing—rationalize that purchase you just made at your local record store/bandcamp page? Our minds may change through the year or that week and soon we’ll love it or love it till we hate it. If there’s one thing for certain, it’s that music is there for us even when we least expect it.

    Before I reviewed Orenthal and their new, and first ever LP Rising I dug deep. Lit some candles and hung out at my apartment that overlooks the glory that is DC in the Autumn. First I set the mood by listening to a few random tracks and sat down to hang out with the band from NY and this 10 track record.

    If I had to pick out one thing I wouldn’t have expected from Orenthal, it would have to be their crossover talent. At times the album is a straight modern melodic hardcore record BUT WAIT the record will not have an a-typical smackdown breakdown, but instead greet you the listener with something different. Maybe it was a ska riff or an unexpected solo nay masterpiece. As a past songwriter I can relate to a local band coming up with new tunes. The NY group also is powered by two similar yet contrasting vocals—nearly harnessing in on that GANG vocal talents of bands like Oposition Rising or PUP. Orenthal has solidly come up with 10 completely different songs that keep you interested (and moshing in your seat) from beginning to end!

    Typically what we do at this point is rate our top 3 songs and say why we dug them. Agree with us? Comment below! Disagree? Comment below! Here it goes!

    Bruxism: A song that will get you stoked from beginning to end. I totally love how the riff in the beginning reminded me of jagged teeth almost like the song suffers from Bruxism. The mid chorus ska staccato is what kept me listening.

     Epic Fail: This was my first love song from this band. We actually featured this track on our 2nd compilation this summer. The constant guitar riff and consistent rhythmic sounds sliding through the verses and a harder hitting chorus adds to this song. This is a classic “modern hardcore” track. Something to be proud of and an easy song to introduce the badn to. The final riff at the last 40 seconds of the song RULES!

    Totality of being: You know I struggled with what my 3rd choice would be for a final song off this LP. There’s so many solid tracks. Then I gave my 3rd listen of the album and noticed a track I didn’t before—This last track of the LP. If I was to pick a perfectly poignant way to close off the record it would be this track. It beautifully destroys the record—in the best way possible. Although I was hoping to pick a less melodic track, I fell in love with the construction of this track. ISOLATE-MEDICATE-FAIL AND GRIND YOUR TEETH!  Sorry just like that part of the song.

    Rising is out now and available for download at https://orenthalmusic.bandcamp.com/


     Orenthal are 4 hairy dudes yelling about the world, our lives, and the way they are. An amalgamation of identity confusion, internal conflicts, and aggressive-passive-aggression trying to make sense of the daggers reality jabs you with everyday. Or some flowery metaphor shit like that.  From the streets of Buffalo, NY.

    Review-The Pandemic’s “Hard Headed EP”

    Ever miss that 90’s ska nostalgia? Well look no further than the seeming resurgence drowning listeners with 3rd wave bands, making them fall in love over-and-over again.

    At the top of this list is NYC band The Pandemics. This 3rd wave ska band is a force to be reckoned with. Their new EP Hard-Headed belongs in your record collection.

    Though only five tracks, this EP definitely packs a punch. The first song and title track is a nice swing-ska song that makes you just want to grab your favorite person whether it be your girlfriend, boyfriend, or even your dog and get up dance.

    The second song “Change Your Mind” is a faster paced song very reminiscent of faster Toasters songs. Just like the title of the song states if you aren’t sure if this band is worth your time this song will change your mind.

    Up next is “Chains”, a tune that has a melody that fans of Mighty Mighty Bosstones fans will find loving! This song is extremely catchy and reminds us that we should always be ourselves. Also makes you realize that staying young at heart is important.

    “Stop & Get Frisky”, comes out swinging from the first chord. It hits on a very important subject that most people will recognize (sadly) in today’s society: Police Brutality.

    “Timmy’s Song” marks the last track on the record—-alas creating the perfect ending. Just like the first song it is slower in style bringing elements of Jazz and swing into the song. This song makes me want to sit in a chair with a cigar and a whiskey and just think about what I just heard from this album.

    The Pandemics are a band that you shouldn’t sleep on. If they are coming to your area you should go out and see them.

    Review: Jeff Rosenstock “We Cool?”

    BTMI, ASOB, Kudrow, Jeff(rey) f’n Rosenstock.

    There’s no question as to why we love We Cool? the 4th official solo release of Long Island musical genius Jeff Rosenstock. Since the start of Bomb the Music Industry (affectionately called BTMI) Rosenstock has exhibited and probably will always have a 6th sense of DIY engrained in his blood. We distictly remember going to shows cash in hand to buy some merch…

    Photo Courtesy AltPress
    Photo Courtesy AltPress

    only coming out with a horrifically beautiful spray painted shirt.

    Those really were the days. We wish we could have the time to talk about every song. The tough job was at hand to narrow it down and here we are. We’ve narrowed it down to our top 3. So here we go….Let’s dissect the top 3 tracks we loved:

    “Get Old Forever”

    The first track off this album kicks off with those electronic drums that all fans of his older stuff might have loved, and then with no surprise there’s some analog added. It could be his love of music, the art or some sappy shit between. What this writer loves is how Rosenstock keeps to his roots and weaves together sounds pop punk and hardcore past along with a plethora catchy synth and chimes he’s known for using. We couldn’t think of a better way to start this release.


    “I got so tired of discussing my future….” this classic angsty track is exactly the kind of track this album needed to bring fans closer to both BTMI and ASOB that could ever happen again.

    “Hey Allison”

    I was really surprised to see this track as a single off the album. Don’t get me wrong it’s not a bad track. In fact I love how it’s characteristically similar to some late 80’s 90’s hardcore—a sound that influenced artists like Fucked Up! or Parquet Courts (Parkay Quarts). Verses that spit out quickly and a raw sound that brings everything to a point in less than 2 minutes.

    Honorable Mention:

    “Darkness Records”

    This record had a beautiful transition from beginning to end. Much like classical music or the changing of the seasons there was a arc, not really a narrative arc but a solid story nontheless.

    Jeff Rosenstock’s We Cool? is currently available on SideOne Dummy Records or itunes

    Review: Restorations’ LP3

    Ladies and gentleman I present to you the eloquent, poetic Restorations from Philly! The first time my ears ever heard this band it was probably stubbling upon their LP2 record on bandcamp. A record that still remains a personal favorite since late 2013 (released April 2013). With less than a week in existence, LP3 is already killing it (so to speak). I’m not sure what it is exactly but songs like “The Future” which kicks in with an almost hypnotizing lick but powers through with lead singer Jon Loudon’s poetic vocals. If there’s one thing I have to say about this record, it’s likely one of those few records that basically all fans of live instrumental music will enjoy. It’s a little bit catchy-a little bit raucous- and always a little bit meaningful. Recently they played DC twice in a week. Why did they do that you may ask….well it was to promote a music/art project called Call + Response. The project kicked off with a show at local art space/diy venue Hole in the Sky and was an unbelievable evening.  It’s a rare opportunity that various forms of art can come together for a common goal but they did it, this time to benefit creating a better artistic community.

    [bandcamp width=100% height=42 album=3941742490 size=small bgcol=ffffff linkcol=0687f5]

    Restorations is on tour now promoting LP3 around the country.

    Sat Oct 11 – Washington, D.C. – Call + Response
    Fri Oct 17 – Newark, DE – University of Delaware w/ You Blew It!

    Fri Oct 24 – Asbury Park, NJ – Asbury Lanes *
    Sat Oct 25 – Washington, D.C. – DC9 *
    Sun Oct 26 – Charlotte, NC – Casbah *
    Mon Oct 27 – Columbia, SC – Foxfield Bar *
    Tues Oct 28 – Atlanta, GA – Under The Couch *
    Weds Oct 29 – Tampa, FL – Pre-Fest
    Sun Nov 2 – Gainesville, FL – The Fest
    Tues Nov 4 – Nashville, TN – The High Watt ^
    Weds Nov 5 – Chicago, IL – Township ^
    Thurs Nov 6 – Newport, KY – Southgate House ^
    Fri Nov 7 – Pittsburgh, PA – The Smiling Moose ^
    Sat Nov 8 – New York, NY – Mercury Lounge ^
    Sun Nov 9 – Allston, MA – Great Scott ^

    * = Self Defense Family
    ^ = The Smith Street Band

    Top Tracks:


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    Separate Songs

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