





When I was a little kid there were three bands that at various times occupied the top spot in my little heart; Pearl Jam, Rage Against the Machine and R.E.M. By the time I was finishing high school I had discarded all of these old favorites as sell outs and held up Operation Ivy as the pinnacle of music history. My conversion to punk was particularly hard on my relationship with R.E.M. All the hours I spent as a little kid jamming out to my Green or Automatic for the People tapes were dismissed as a youth misspent and reflected on with embarrassment. My dalliances with Pearl Jam and RATM were self-justified because at the very least they were still heavy as fuck, R.E.M. was just slow and boring and shitty. In the past two years as I become more and more heavily entrenched in this thing called adulthood I find that the tables have turned once again and R.E.M. is now my favorite childhood obsession to revisit. I blast Monster in my Bronco on the regular and unselfconsciously scream all the lyrics to What's the Frequency Kenneth? You may ask; "What does any of this have to do with Dead To Me's excellent new release Moscow Penny Ante?" Well, the point is I think I'm kind of over punk bands. They just don't get me excited anymore. Whereas three years I ago I would have been drooling over the prospect of a new release from The Have Nots, now I find myself yawning. I still prefer independent music but you have to bring something more to the table than three chords and a catchy chorus to keep my attention. Dead To Me is the only straight forward punk band that matters anymore, and their third release, Moscow Penny Ante brings the heat.
If you were new to Bomb the Music Industry and spun their newest LP Vacation for the first time you would immediately deduce that Jeff Rosenstock (singer/guitarist/creative force behind BTMI!) is in his late 20's, white and generally a miserable bastard. All of these things are probably true. Further listens would reveal him to also be a genius with melodies and an accomplished song writer capable of lyrics that can at times be profoundly moving. Those of us who have followed BTMI! since it rose from the ashes of the Arrogant Sons of Bitches, see Vacation as the logical next step in the evolution of the band. Every release since Album Minus Band has moved a little farther away from the poppy/ska synth sound that characterized early BTMI! releases and Vacation shows Jeff treading more closely to the punk perspective of Elvis Costello. 









I have been fascinated by Arby's new marketing campaign, "Good Mood Food." "It's goood, mooood, fooood." Sometime this winter some PR genius decided that the best way to sell crappy roast beef and curly fries was to have a "Can you hear me now" Verizon-guy-knock-off convince people that their lives are absolute shit and the only way to bring a little sunshine into an otherwise bleak existence is by killing the voices in their heads with empty calories. Every time one of these disasters prances arrogantly across my television screen I have to sit and watch it in absolute stunned silence.

Starter - Maine Crab Meat Fritters $9.00 - There were 5 of these things when the plate was dropped off but 2 were gone before I could get my phone out my pocket. They were a little light on the crab, but they were still fried crispy on the outside and gooey on the inside, i.e. fucking delicious. Probably not worth $1.80 a fritter and I wouldn't get them again but a good start none-the-less. That red stuff is ketchup, the white is tartar sauce, neither was notable or necessary.

Ever since I heard "Landslide Song/The Dig" on 2008's A Record I have been eagerly, breathlessly, slobberingly (?) awaiting a proper album from Laura Stevenson. In the interim 2.5 years she has teased me with a handful of delightfully tight, catchy songs spread across various E.P.s, splits and demoes. But nothing could have prepared me the sonic meal my eardrums were treated to when I finally had a chance to spin Sit Resist. Lacking any real recording quality A Record was nice but more of a demo than anything. LSatC's sophomore effort however is the shit . . . the fucking shit. The songs range from pop to ska to bluegrass all the while maintaining a cohesion united by Laura's bright voice and dark stories.
Let me preface this post by saying I've been to Po'Boys and Pickles a lot and as a result this is probably going to be less of a review and more of an unabashed love letter. I love this restaurant like a mother bear loves her cubs and am fiercely protective of it in the same way. Two weeks ago I was discussing my Friday night plans with a friend we'll call Roy. I mentioned that I planned on plopping my ass down at Po'Boys for an hour or so and scarfing down some delicious grub. His response was something along of the lines of "Oh that place on Forest Ave? Yeah it's OK, kind of expensive..." When I originally broached the subject I was expecting Roy to fall all over himself expressing his adoration for their blackened fish sandwich or their gravy fries or their milkshakes. In my vision we would triumphantly agree, hold hands and skip down the street together singing the praises of our culinary masters for all to hear. Instead his callous dismissal of something I hold so dear has been festering in my gut for half a month, if I had had a match and some gasoline I would have set him alight as penance for his shameful palate and thrifty ways. Then I would have warmed my hands on this burning corpse and invited all to gather round, witness the spectacle and delight in my tale of the time I ate a large dirty bird po'boy, a cup of red beans and rice and a side order of fried pickles in one sitting. This post is off to a great start, isn't it? On to the food!








As the weather warms middle aged, pudgy white men and women in affluent suburbs across America are emerging from their winter slumber. Soon they will be taking to our roads and our beaches with an entirely misplaced notion of their own importance and athletic prowess. Monday morning office conversations everywhere will be dominated by Bob in accounting who wants you to know that he set a personal best in his 10K bike ride this weekend and is really stoked about the fun run he and the neighbors have planned for next Sunday. No one gives a shit Bob, shut up. Seriously. Shut up. Few practices publicly stamp one as an asshole surer than self identification as a tri-athlete. Are baseball games played in public parks? Are basketball games played in mall parking lots? No, of course not, that would be annoying and inconvenient to the public at large. Why then do we tolerate hundreds of out of shape white collar drones trudging and panting along our thoroughfares from Spring to Fall? We shouldn't. We won't. We can't. To this end I've put together a list of proactive steps you can take to rid your town of these menaces.
Things that are free are fucking awesome. Things that are free and loud are fucking awesomer. Au Diable Les Bananes is definitely awesomer (click on the link for the band's free download.) Lisabi is Brazil's answer to circa "Album Minus Band" Bomb the Music Industry. Their new album grabs you by the balls and swings you about its head like a knight brandishing a mace. "But Jesse," you say, "I am a female and that analogy confuses me, is there another way to describe how much you like this piece of music?" No there isn't, only balls. Seriously stop reading this nonsense and go download that shit! You don't even have to deal with any messy Portuguese! 
Few things in life help a shitty day like coming home and finding that familiar rectangular card board box lying in wait for you on the porch. A new record! Tear it open, quickly discard the riffraff and drop the needle onto that sweet yet subtly grooved piece of vinyl. Jack up the volume, ignore the feedback from the receiver and wait for the needle to find traction with that magical friction. What follows next is a wall of sound so loud, so dense and so magnificent that the stresses of the day melt into the crazed delirium of pure sonic energy; the walls shake, the dog hides, the neighbors swear and you relax . . .
Or you could find The Anarchy and the Ecstasy, the latest offering from The World/Inferno Friendship Society(WIFS) spinning feebly on your turn table as you fumble helplessly for some magical knob that will turn up the intensity on the recording and save you from a further humiliating confrontations with your bleak reality.
For the uninitiated WIFS is a loose collection of musicians based in NYC and centered around Jack Terricloth. Baroque-punk is the most common term used to describe their musical output (think the Clash meet the NY Philharmonic.) At their best they sound like a piano being beaten to death by an electric guitar as the drums watch in horror. At their worst they are in a word . . . boring. Anyone who has heard Me v. The Angry Mob can attest that the potential of this "band" is worth sitting through 5 songs a record that sound like chamber music. The Ecstasy and the Agony however doesn't have a track or even a moment that reaches the manic energy of WIFS at their best. Terricloth's verses are his normal fare, bleak stories of sorrow and violence that transport the listener/reader to the shadows of some gritty city street where the dredges of society lurk and eye you from the shadows.
"So, take it on the chin, shut up and sing. Like the veins in my arms, like the tattoos on your skin. One nights upon night, blank cassettes and cigarettes. Like lilacs off the tongue, this was supposed to be fun." - The Politics of Passing Out -
But the backing on The Agony and the Ecstasy brings the whole experience down. It isn't bad, it's is a fun listen, but there is no track that reaches the level of manic energy that is WIFS at their best. The record sort of meanders along on it's own path and time with no clear destination or urgency. The lyrics speak of desperation and violence but the accompaniment is lukewarm at best. A little bit more aggression, a lot bit louder and we could have a classic. Instead WIFS is content to fly over the world created by Terricloth when were you really want to be is lying face first on the street as some large fellow with an electric guitar and villainous glint in his eye kicks your teeth back down your throat. As Terricloth chants on Canonize Philip K Dick, OK:
"You can't change the system from within, the system changes you and that should make you panic."
A little panic would have gone a long way towards making this record stand out like Red Eyed Soul, instead it seems destined for a few weeks in the rotation and then relegation as an afterthought in the back of the collection.
Bonus - Download card ready to go. Sticker of the album art. Full lyrics in the liner notes!
6.9/10