MC5 were one of the most radical bands of the ’60s. Their first album, the live Kick Out the Jams, committed some of the most energetic and aggressive performances of any musicians to record. The band, which formed in Detroit in 1964, influenced how everything from punk to metal to hard rock has sounded over the past half-century. For that alone, they deserve a spot in the Rock and Roll Hall of Fame.

Their live album Kick Out the Jams opens with singer Rob Tyner encouraging the audience to join the “revolution.” Even if the revolution didn’t happen while they played,  the band meant what it said. The members all had ties to the White Panther Party (their “manager,” John Sinclair, was a founding member) and performed concerts in protest of the Vietnam War. They even played at the infamous 1968 Democratic National Convention in Chicago.

While MC5 may not have been the first band to say the word “fuck” on an album, they definitely used it most effectively. The song “Kick Out the Jams” starts with a rallying cry by Rob Tyner to “Kick out the jams, motherfuckers!” Those famous words complement the relentless proto-punk assault found on the rest of the album.

MC5’s first studio album, 1970’s Back in the USA, predicted the affection for late-‘50s and early ’60s rock ‘n’ roll that punk groups like the Ramones celebrated years later. The 11-song album is only 28 minutes long (this was 1970, a time when 28 minutes would have been about normal for one track by other underground artists) and features short covers of Chuck Berry and Little Richard songs. Their live performances were even closer to punk; onstage, the band encouraged audiences to join them in political protest, all the while creating some of the most abrasive music of its time. Many punk bands cite them as an influence. Guitarist Wayne Kramer’s drug charges are even mentioned in the Clash’s “Jail Guitar Doors.”

Aside from his vocal talents, singer Rob Tyner was known for his awesome hair. Tyner had one of the largest afros in 1969. When coupled with the eclectic fashion of the late ’60s, all the members created a strong image on and off stage.

More than 50 years later, the group’s surviving members (guitarist Wayne Kramer and drummer Dennis Thompson) continue to perform. The band has reunited a few times, though each reunion had been cut short by the death of a member. Kramer, along with British singer-songwriter Billy Bragg, worked together on the Jail Guitar Doors Initiative — named after the Clash song that referenced Kramer — which provides instruments to inmates. In 2018, Kramer spearheaded the MC50 tour that included members of Soundgarden and Fugazi, among others.

MC5 – (Motor City 5) Motorcity is burning 1969

South Of Reality, The Claypool Lennon Delirium’s epic sophomore album might be just the antidote this sick world needs. Music so potent it could repel an asteroid impact from space, these seasoned warriors of psychedelia have crafted timeless songs that may as well be chiseled in stone. The monolithic dream team’s new record was produced by Les Claypool and Sean Lennon themselves, and engineered and mixed by Les Claypool. Grab your goggles and a month’s supply of Kool-Aid because you’re about to go for a ride on a rock n roll rocket ship, and frankly you may never come back!

Listen to “Blood and Rockets- Movement I, Saga of Jack Parsons – Movement II, Too the Moon”

From The Claypool Lennon Delirium’s new album, “South of Reality”, available everywhere February 22nd, 2019

Lone Justice their second album “Shelter” finds the band abandoning the cowpunk image of their debut in favor of a more polished ’80s sound. What they came up with is rather a mishmash of material that only points the way for Maria McKee to don a solo outfit and carry on alone. Shelter falls into the trap of a record company dictating how a disc should sound no matter what might happen to the group producing it. There are strong cuts here — most notably, “I Found Love” (a real ’80s-sounding product), “Wheels,” and “Dixie Storms” (which foretells Maria McKee’s future in music) all have something to recommend them. The rest falls into the trap of songs produced to fulfill obligations.

There’s lots of talk about which LJ band or album was better. The original band may have been the best, but really, when they were live, how could anyone take their eyes off the girl fronting the band!? When the electric got plugged in and the vibe hit her, there wasn’t anything like her. She said once she had a big voice from screaming over the band. What she does is so far from screaming! She just has some kind of voice!

Lone Justice was a group not unlike Big Brother & the Holding Company, who had a great female lead singer and focal point along with competent sidemen. Once the record execs ventured to guess that McKee would sell more on her own, they urged her to jettison the band, which she did after Shelter. Such is life in the record biz

Clocking in at a mere 40 minutes, Ought’s third studio album Room Inside the World earnestly delivers with strategic, unexpected song development and passionate, yearning lyrics. This is not a one-note album.This record champions the Canadian outfit’s ability to embrace a multitude of sounds, bridging the gaps between several similar, yet very different genres. While some songs are naturally rock ’n’ roll, others are pure post-punk, digging into Joy Division-like vocals and progressive bass-driven blocks. Room Inside the World takes you for a winding, unpredictable ride, one that ends much earlier than you’d like, leaving you wanting more.

“Disgraced in America,” from this Montreal post-punk band Ought’s album Room Inside the World, is a song led by Tim Darcy’s melodramatic, at times Bowie-esque and other times Ian Curtis-esque, lead vocals, which are so painstaking, impactful and heart-wrenching, they would make an enthralling a cappella track. The track also includes robotic keyboards, jangly, melodic guitars, crying horns and chaotic, dense percussion worth getting lost in.

From the album Room Inside the World, out now on Merge Records / Royal Mountain.

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How’s about a shiny new Chad Vangaalen tune for yr ears? “Friendly Aliens / Monopoly Arp” just landed in all the digital music listening places:

What’s the story behind it? According to Chad, “I wrote this song to remind myself that I need be easier on people and ideas in general. To be kind and patient.”

‘Friendly Aliens / Monopoly Arp’ (Release date: November 27th, 2018)

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The Citradels are self-releasing their ninth album “Fuck The Hits: Vol. 1”, changing up their recording process and musical style once again. The culmination of roughly 18 months work, the album intermingles 60s pop harmony and structures with synthesis and dense soundscapes.

FTH v1 is a collection of love songs for people who can’t write love songs. Lyrically, it is as simplistic or dark as the listener cares to read into. With a nod to conventional mid 60s pop structure, these songs clock in at around two or three minutes. Lush arrangements and traditional instrumentation is augmented with otherworldly, inorganic sounds and samples.

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“Fuck The Hits: Vol. 1” is a sonically diverse journey that will reward repeated listens.

releases November 28th, 2018

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The sophomore album from Connecticut fuzz-rockers Stove “s’ Favorite Friend” , finds them seeking refuge in art: The album was written and recorded after songwriter Steve Hartlett and drummer/vocalist Jordyn Blakeley had both recently lost loved ones, and the resulting songs reckon with “grief and the sometimes harsh realities of time passing,” per a press release. That search for catharsis plays out in “Stiff Bones,” on which Hartlett’s rueful yowls, Blakeley’s powerful drums and an onslaught of washed-out guitars push through upheaval to find peace. “When you try to play it off / as if your heart is truly soft / You gave away / and slave away / Alone is how you want to be / so lonely’s what you’ll feel with me / and everyone / not anyone,” Hartlett and Blakeley sing as one.

Band Members
Steve Hartlett, Mike Hammond, Jordyn Blakely, Alex Molini

“Stiff Bones” by Stove from their upcoming LP, ‘s Favorite Friend, out October 31, 2018 on Exploding in Sound Records

Mimicking Birds have a sound that covers all sorts of genres, ranging from anywhere between stripped down serenades to subtle synth soundscapes. Through these elements, the Portland folk-pop quintet creates something that works for both the coffee shop next door and a movie soundtrack.

In 2014, Mimicking Birds released debut album Eons and proved to the music world that it was an interesting and formidable contender to wrestle with. Through simple strums of a guitar, eloquently woven with singer Nate Lacy’s velvety rasp, the band showed a phenomenal ability to form a beautifully crafted story, both lyrically and sonically. Lacy’s vocals also created an angelic, yet haunting atmosphere comparable to the likes of Bon Iver and James Vincent McMorrow.

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Band Members
Nate Lacy, Aaron Hanson, Adam Trachsel

Released November 22nd, 2018

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Last year, beloved Atlanta alt-rockers Manchester Orchestra explored their softer side on an excellent sixth studio album, A Black Mile To The Surface. For Black Friday Record Store Day, they’re releasing a vinyl with six demo versions of songs from that record. The Black Miles Demos will be shoppable in the form of a 12” LP and will feature the following songs: “I Know How To Speak,” “It’s Amazing,” “The Gold,” “No Ears,” “Each Part” and “Amplified In The Silence.” Move fast if you want one: There are only 2000 limited edition in existence!

6 track Opaque Flume Coloured Vinyl featuring the demos for Black Mile. These are the initial, rough-around-the edges recordings, done with one microphone in some distant and often strange locations before they were continued to be worked on in Asheville, NC at Echo Mountain studio

“We’re a band that loves to use heavy, crunchy guitars,” says frontman Andy Hull. “We wondered how we could limit the use of that, so that when the guitars come in they can be creative and impactful. For Swiss Army Man [a Sundance hit the boys worked on] we had to make seventy minutes of music with our hands tied behind our backs. When you’re creating all the sounds you need just from the human voice, it allows you to rethink what is possible, and determine what is really needed. We wanted to make an album in a ‘ non-Manchester’ way if there is such a thing.”