Robyn Writes

Review: Mothertrucker – The Power Of Independent Trucking

Bravely sporting the most uber-macho of band monikers is four-piece Mothertrucker: the imagery in the name soliciting an inevitability of a sordid aural pummelling that rings mostly true across these six solely instrumental compositions. Although Mothertrucker are a bunch of certified bong-fiends, this isn’t just a selection of groove-laden fuzz delivered by a troupe drooling crusties. Instead, the group’s progressive intuitions provide a selection of tracks that twist and mutate from bleary-eyed bludgeons into moments of startling clarity and purity, all the while admirably sidestepping the pitfalls of tedium that purely instrumental acts are at constant odds to avoid.

With vocals defiantly absent, it’s left to the guitars to take precedent and construct an engaging narrative, which they do with a certain aplomb. There are some truly crushing riffs on display, soaked through with last night’s dirty bongwater and lathered in fuzz. ‘Duff’ is a plodding stoner feast, with strings tuned so low at times they seem to be dragging on the ground – until the guitarist steps on a frazzled effects pedal that transports his instrument into the stratosphere in a series of soaring guitar lines. The post-rock indebted ‘Vigo’ lays in stark contrast to the rather uncompromising chug of ‘Duff’ and the metamorphic sprawl of ‘Reef’, eschewing delicate nuances and melodicism that betrays their macho-inclined namesake. Winding its way towards a somewhat transcendent finale, ‘Vigo’ commands a stunning and affecting resonance, the sheer emotional impetus contained in each instrument’s sublime delivery is certainly commendable. In a recurring musical theme of transformation, closer ‘Crypt Stalker’ mutates from delay-ridden twinkly guitar lines into a sordid and rollicking monster in which squalling guitars tear at the aural palette like a knife through a canvas. By the time the closing death-throws are reached, the track is unrecognisable from the skyward trajectory implied by the Explosions In The Sky guitar work, marking out the intro as a lucid daydream in opposition to the grit and violence of the track’s finale.

Despite songs lengths that reach toward the seven minute mark, there is no instance of the music getting bogged down in tiresome repetition or stalling due to lack of worthwhile ideas. Mothertrucker’s are undoubtedly progressively minded, always aiming to take their songs toward musical pathways you’d least expect yet refrain from the often enticing pitfalls of long-windedness and over indulgence. The EP is a perfect example of a progressive instrumental band getting it right, maintaining interest through inventive musicianship and an abundance of dynamism that challenges expectation – music that aims for the epic but doesn’t mull about in getting there.

4 out of 5 high fives!

Review: Panic! At The Disco – Too Weird To Live, Too Rare To Die!

It’s always been hard to quantify Panic! At The Disco. They’re not really a rock band. They’re definitely not pop-punk. Based on the current definition of ‘pop’, looking at the typical chart fare, they certainly don’t fit in with that either. However, whatever they are, I don’t think anyone minded when Ryan Ross left and they stopped doing that Beatles rip-off shit. And after the work of genius that Vices and Virtues was, it seemed almost impossible that they’d be able to top it.

But they did.

Admittedly, Too Weird To Live, Too Rare To Die! didn’t seem it was going to be a huge hit at first. Lead single ‘Miss Jackson’, was a huge departure, even for P!ATD, sounding too similar to Fall Out Boy’s ‘My Songs Know What You Did In The Dark’ to be a coincidence. It didn’t quite have P!ATD’s usual charm, either, and stands as the weakest song on the record. Thankfully, following single ‘This Is Gospel’ seemed far more promising, with a blinder of a chorus and a very fun video, carrying just the right level of quirkiness that we’ve come to adore P!ATD for. However, Too Weird To Live, Too Rare To Die! is far more mature than any of their other records. Fuelled by a love of 80s synthpop, tracks like ‘The Vegas Lights’ and ‘Girls/Girls/Boys’ won’t fail to get you dancing with their tales of Vegas style hedonism, whereas ‘Nicotine’, my personal favourite, is every bit as infectious as ‘Camisado’ or ‘Time To Dance’. Everything goes on this record, and any ill-founded doubt that may have been in place over the lyrics after Ross’s departure are firmly blown away, as P!ATD get deep as well as sexy. None of it is particularly complex, but in this, lies its brilliance, much like its predecessor.

It’s worth noting that Brendon Urie’s vocals have never been more accomplished than on this record; while he’s always been an incredible singer and a true frontman, he’s given free reign on this record to experiment with a number of different styles and he never seems out of his depth. It seems that adding Dallon Weekes as a permanent member of the band was an excellent decision too, as this record is funky as. There’s basslines here so filthy that you need two showers straight after listening to them. Spencer Smith is as solid and skilled as ever – despite the album’s heavy electric influence, there isn’t an overreliance on programmed drums, and it’s impossible to listen to the album without noticing a clever fill or a pounding and commanding rhythm.

While Panic! At The Disco might have always had the free reign to do what they want, Too Weird To Live, Too Rare To Die! is more bold and brilliant than I ever could have imagined. Ten tracks is all they need to steal your heart. Don’t be afraid to let them.

5 out of 5 high fives!

J-Pop Sunday – Jero

We’re back from a brief hiatus (I went to Canada, it was lovely, thanks for asking) and today, we have a crash course in the genre of enka! Featuring a rising star in the genre, Jero.

Ladies, I’ve found your new J-Music crush.

Quick Guide:
Stage Name: Jero (ジェロ)
Real Name: Jerome Charles White Jr.
Years Active: 2008 – Present
Genre: Enka
Choice Tracks: 嘘泣き (“Uso Naki”/”Fake Crying”) (2010), 海雪 (“Umi Yuki”/”Ocean Snow”) (2008), ただ・・・涙 (“Tada…Namida”/”Just…Tears.”) (2011)

First, a quick rundown of what this “enka” stuff is. Taking shape in postwar Japan and rising in popularity during the 1960s, modern enka (not to be confused with the original 19th century “enka”) is typically a sentimental ballad littered with throwbacks towards traditional Japanese culture and styles – Female enka singers will typically perform in a kimono and the gents will be dressed sharply – and the music will often feature traditional Japanese instruments such as the shamisen. Not to say that the music is restricted to traditional instruments; modern guitars and synths will make an appearance. Themes in enka often include emotional topics such as love, loneliness, bearing through troubled times, death, and hardship. You can also expect random references and comparisons to nature in the lyrics. Although, it’s perhaps easier for you to listen rather than have me explain. As such, here’s our first track: 嘘泣き. That’s “Uso naki” or “Fake Crying” to you and me.


I couldn’t quite figure out the storyline here…

Now, onto Jero himself. As you might have guessed, he’s not originally from Japan. Shocker, I know. Hailing from Pittsburgh in the USA, the young Jerome discovered the genre thanks to his Japanese grandmother and fell in love with the genre, promising her that he’d one day be a famous enka singer. As he grew up he continued to study Japanese and after graduating from university in the US, Jerome became an English teacher and computer engineer in Japan. Soon, after participating in a number of talent shows and singing competitions, Jerome was spotted by a talent scout and signed by an agency. His first single – 海雪 (“Umi Yuki”/”Ocean Snow”) – released in 2008, reached number 4 in the charts. With hints of hip-hop culture blended seamlessly into the song, “Umi Yuki” brought a new – younger – audience to the world of enka.


“Umi Yuki” – Featuring handy random English subtitles halfway through!

My final choice track is 2011’s ただ・・・涙 (“Tada…Namida”.) “Just…Tears” is a powerful track, in which feelings of sorrow coming straight from the heart can be heard both in the lyrics and in Jero’s voice itself. It highlights just how good a singer Jero is – such emotion flows from his voice with only a piano for accompaniment for the majority of the song. Additionally, it’s a song that allows me to highlight that enka is serious stuff for grown-ups.


As always, filming in black & white means it’s emotional time.

Next time! The complete opposite of serious stuff for grown-ups. (Probably!)
More Jero:
Official Website: http://jero.jp/ (Japanese)

Twitter: https://twitter.com/jeroenka (Japanese & English)

Review: Next To Nothing – Stories We’ve Never Told

Since the fateful summer of 2002, I’ve been searching for the perfect pop-punk album. It’s been eleven years, and plenty have come close, but nothing has ever quite hit my high expectations (and need for sweet breakdowns). Could Next To Nothing‘s Stories We’ve Never Told be the ones to do it?

The short answer is, quite frankly, no. Stories We’ve Never Told does absolutely nothing to break the mould – or well, the first half, at least. That first half of the album is reasonably yawn-worthy, sounding like a collection of FUCT-era Fall Out Boy cast-offs, only without Fall Out Boy’s inevitable genius. Don’t get me wrong, it’s all very solid and decently put together, and there’s a couple of moments that elicit a smile; the guitar in the chorus of ‘Nothing From The Start’ is pretty clever, and the dual vocal approach in ‘This Is Not A Love Story’ is quite fun, but for the most part, it just does nothing to thrill.

Thankfully, there’s a bit of a turnaround by the time it gets to ‘Misery’. After a slow lead in, the band launch into an All-American Rejects-esque, heavily 80’s influenced riff-fest that’s actually rather exciting. Then it’s back to the generic ‘Read Between The Lines’ before ‘Take Me Back’ storms in, the pop-punk love story that all the songs on the first half of the record are striving to be. ‘The Summer You Left Me For San Francisco’ slows things down a little bit, with some passionate vocals, a little bit of synth, a lot of heart and some Acceptance-style guitar, and it’s arguably the best song on the album. Finishing on ‘Wish Me Well Into The Night’, a piano-led ballad, was an excellent choice, showcasing a talent that sadly isn’t revealed until too late. Lyrically, there’s a massive improvement too – there’s a lot of saccharine sweet moments that jar, but all of that’s forgotten in the beauty of the final track. It’s all still been done before, but Next To Nothing’s take on the formula finally starts to become their own by the end of it all.

With a little bit of faith and careful attention, Next To Nothing could be a contender. But at present, my quest for the perfect pop-punk record goes on. Wish me luck.

3 out of 5 high fives!

Review: The Slow Death – No Heaven

If you enjoy listening to “zero fucks given” punk whilst experimenting with how many beers you can ingest before you can’t see than The Slow Death are an essential addition to any soundtrack of alcoholic self-destruction. Eschewing tales of alcoholic excess, The Slow Death’s raucous and rollicking punk sound comes with infectious party vibes in tow, albeit the kind of party where you wake up with no trousers, covered in someone else’s blood with a convenient amnesia as to what the hell got you in such a predicament.

Sporting vocal chords blackened by infinite cigarettes and the burn of cheap whiskey, frontman Jesse Thorson is the epitome of gruffness- his voice straining in its ragged delivery, flecks of lung accompanying every gurgled holler. And whilst their riffs and chord progressions echo that of every other up-tempo punk band of the past thirty years, The Slow Death make a noble drive towards the anthemic. ‘I Need A Drink’ is every punk’s new drinking anthem – the caveman chorus chant of “goddamn I need a drink” a rallying call for a night of unbridled debauchery. Vocal purity is injected into the mix courtesy of Annie Sparrows of The Soviettes fame, her no less forceful vocal delivery sounding downright angelic next to the gravel tones of Jesse, giving those sing-along choruses on ‘No Heaven’ an extra boost. The furious pace slackens only once, for the measured motivational advice of ‘Raise Your Head Up’, where Jesse spurts the familiar “the world sucks but keep your head held high” shtick.

There’s very little on No Heaven that we haven’t heard before from various guises. This is simple four-chord major-key punk with a positive message tucked somewhere between all the allusions to filling your veins with as much alcohol as is medically possible. The Slow Death stick resolutely to the traditional punk formula and there ain’t a curveball in sight. Yet, the energy levels remain intense and The Slow Death are clearly intent on playing until their fingers are bloody stumps and voices are as ragged as someone on a diet of tarmac and sandpaper. Get the beers, put No Heaven on full volume and prepare to wake up naked in a puddle of your own vomit.

3 out of 5 high fives!