96 Bitter Beings "Return To Hellview" (2024)

This entry in the journal is less "review" and more of a footnote for myself and any of you reading who are fans of CKY. Former band-mate Deron Miller, also of Foreign Objects, split with the group in 2011, leading him to form 96 Bitter Beings. The project fels like a branch of the same tree, this release enforces that notion with authority.

 

Selecting some of the best tracks from An Ånswer Can Be Found, Infiltrate Destroy Rebuild and one off Volume 2, Deron stamps his mark on these classics, re-recording them in modern glory. The performances are tight, production bold and chunky, instruments don't shy from being heard. He and his band mates really do them justice.

Carrying the energy and charisma of its originals in stride, extra layers of synths can be heard on a few tracks. Occasionally sprucing up some passages with additional harmony, the added creatively is mainly reserved for the end of songs, fills or transitions that get a redesign. Its fun to spot the differences, they don't spoil a thing.

I can't help but feel I might gravitate to these re-recordings when in need of some CKY nostalgia. They are simply really well done and Deron's voice is key to that. His performance glues it all together and gives this project a seal of authenticity.

 

Rating: 7/10

Hundredth "Rare" (2017)

 

Opening with shiny crimson acoustics, Vertigo croons on contrasting vibes. Its initial Ethereal glaze rubs against a pacey rhythm section. Thunderous baselines rumble, as lively kick snare grooves set a cruising tempo. Swells of overdriven guitar erupt, reveling in their haze of noisy reverberation. Singer songwriter Chadwick Johnson glides in, calming with breezy harmonization, soothing in his softly presence.

Its a chemistry that persists throughout, as this Shoegazing, Alternative Rock hybrid flickers with fondness for a cascade of influences that inspire an inclusive wall of sound production. Forever sounding like a beautiful fever dream, hints of Grunge, Britpop, Post-Punk, New Wave and Dream Pop emerge in subtle suggestions.

Almost all tracks sail with riveting energy. Ebbing and flowing into colorful lulls, dragged by pounding percussion, leaving room to breath and rebound into epic swells of lead melody and momentous guitar riffs. A consistent experience, yielding a monotone expression. Across its forty five minutes its deeply explored yet spinning the same structures in rotation. Fortunately with such blissful energy it rarely tires.

Early on the music feels uplifting and charged with warmth yet as the record reaches its mid point, both lyrics and emotions tilt to darker subjects. Its a subtle shift, a dreary dourness creeps in, the sprint slows. It feels like the same beast yet moodier, as melancholic acoustics drift in and a vulnerability in Johnson's presence grows.

Rare's merits reside on its songwriting and vision. Initially seeming to fit into a familiar umbrella of genres, the record takes on its own memorable character. I do prefer its opening half, the speedy pace a delight that fades into its brooding counterpart. Overall, Rare is a wonderfully engaging set of songs that don't try to rewrite the rulebook but focus on what works and wrap it up into an inspired aesthetic indulgence.

Rating: 7/10

Code Orange "The Above" (2023)

My own unrivaled excitement for this release has manifested into a glum disappointment tainting The Above. Their previous outing, Underneath, set high expectations. The glitched out dystopian mania shook up a violent foundation, breathing new life into a genre where fresh territory is hard to find. Partially recoiling from such brutal intensities, the band intermingle a reinvention of 90s nostalgia.

Most prominent, their typical approach to Hardcore brutality seem skewed towards Nu Metal. The most aggressive riffs deploy the dissonance and syncopation flavors of that era with a subtlety that blunts its edge. Trademark manic spurts of chaos groan with the downtrodden vibes of a once ridiculed genre. Their tight technical execution absent in favor of this loose, dirty, moody aesthetic inspired by past trends.

Subtly woven in, the texture of Grunge and Alternative Metal has its moments too. On The Above, the band weave through a fair set of intensities and ideals but little about the record feels like a cohesive vision. More so, an exploration of loosely connected ideas drawing from the decades various styles. Some songs step into radio rock friendly verse chorus exchanges, others meander through an arsenal of riffs.

Reba Meyers gets to offer more of her voice, sometimes accompanied by string sections, yet the step into new territory feels off. Mirror is a redeeming experiment. Its unusual Trip-Hop beat seems to aid the songs swell of emotion. Other than that, the record offers little I wanted to come back too. Its angsty downtrodden inspirational origins did manifest with uniqueness. It was just not too my taste sadly.

 Rating: 5/10

Olivia Rodrigo "Guts" (2023)

 

Two years on from Sour, Olivia matures, returning with welcome yet familiar tuneful dances of vulnerable self expression. Guts possibly signals the expression of having enough to bleed these pained relationships she divulges in detail. Among its twelve tracks, we experience the flip side, highs and lows, loves and heartbreaks, all in broken sequence, letting each song take form with its own identity.

Like last time around, mature, expressive and palatable singer songwriter bites get wedged between chirpy, catching hooks and pop sensibilities. Often teenage in nature, Olivia has no difficulty finding relatable words with an essence of youth and soft touch of rebellion. Not my preferred picks yet her vibrancy so clearly on the pulse of those young years, one can take a step back into those spaces faded by age.

A notable 90s Post-Grunge, Alternative Rock aesthetic rears its head on occasion. My favorite track, Pretty Isn't Pretty, bolsters a gorgeous shoe-gazing guitar lick. Underneath a luminous baselines marches with a delicate assemble of subtle instruments coloring its calmer moments. The tone is wonderfully balanced, fresh yet nostalgic, she yields her voice to whats asked of the instrumental. Stunning song!

These revived sounds kick off the album back to back. All-American Bitch and Bad Idea Right? get there Pop Punk kicks on with fun and cheeky expressions. The later reminding me of Devo's Whip It in an obscure way, must be that tight overdriven guitar riff! Every time an energetic song arrives, it always comes with a complimentary sense of specific inspiration from the 90s and 00s alternative music scenes.

The soft and vulnerable cuts found between are my favorites. When the guitars fade and airy synths rise, alongside moody pianos and tempered strings, Olivia opens up with endearing stories of personal woes felt in her voice. It strips out the attitude and quirk of catchy hook writing, saying similar things but from direction experiences. This is where the guts of the record lay, their pacing between other sounds is apt.

Lastly, the record ends with Teenage Dream, reflecting on artistic and cosmetic atrophy. A tender track exposing her relationship with the massive pressures of fame and public opinion. Its quite saddening considering how heavy such thoughts can weigh. Feels like an potential premonition, a self fulfilling prophesy. Hopefully getting it off her chest wont make that so! This album was remarkably gratifying, just as good if not better than Sour. I'm left knowing I will keep coming back to this one.

Rating: 8/10

Narrow Head "12th House Rock" (2020)

 

Wedged between two fine outings, their sophomore effort 12th House Rock fits awkwardly, an anomaly drifted off a fine trajectory. Narrow Head embark on another bash of Grunge revival, shedding the shades of Groove and Nu Metal that perhaps steered them to greatness. With groans and gristle they lean into the textural oddities adjacent to the 90s scene. Reveling in hazy guitar overdrive and other fuzzy distortion effects, both guitars and vocals get a variety of tweaks over a thirteen track course.

On review, this aesthetic dwell is an unsurprising focal point. With their vocal hooks and guitar riffs lacking a spark heard before and after, many songs fall flat on arrival. It leaves ones attention attuned to its many off kilter flaws. On a handful of songs this textural rebellion is its main character, leaving a bitter taste as much fails to resonate.

The potential success of a lacking originality simmers. This revivalist pursuit wears its influences like wounds on occasion, cutting bold and obvious, jarring when a lack of gravitas persists. Hard To Swallow thumps hard, reeking of Helmet syncopation yet Night Tryst sparkles bright, despite utilizing a blatant Smashing Pumpkins blueprint.

For all its nostalgic tint, when components don't quite click, whats left is an infuriating fumble of forms. Enjoyable but barely engrossing, the ideas sought after became more audible than the music itself. Narrow Head didn't sell me on this, thus falling short on many fronts. Not awful but I couldn't get pasts the rotating cast of 90s pitfalls.

Rating: 5/10

96 Bitter Beings "Camp Pain" (2018)

 

Yes, that 96 Quite Bitter Beings, CKY's best known song! Taking on its classic name to signify his artistic intent, Deron Miller went solo a year on from when his former band mates produced The Phoenix. Often credited as the brain child of Camp Kill Yourself's unique persona, my impression of CKY without him was an adequate one, yet with Camp Pain you firmly hear the creative source in action once again.

Although this record wanders into a few odd curiosities, acoustic tangents and Cavalcade Of Pervesion's odd sample snippets interchanging with a synth jam, its mostly a rocking set of songs. They firmly strike the charm that made CKY so charismatic and unique compared to other metallic Rock groups of the time.

Its oddities muddies the pacing, along with a brilliant cover of Micheal Jackson's classic Beat It. Not the first metallic cover, yet they nail it with attitude. Wedged in the middle, it breaks the albums tone as mood is suddenly shifted, rather than being a little icing on top nestled at the end of its runtime like a cover might normally be.

Not to dwell on its inadequacies, Deron's guitar style pairs wonderfully with starchy synths that boldly punch in tuneful contributions, as do his mingled lead and rhythm riffs that ebb and flow with groove and melody. Megadextria nails their early tone, vocals harmonizing with a breezy pace not found to often across its thirty minutes.

Deron's singing comes across a little rugged and aged in patches, not landing like it once would. The Whipping Hands is another track echoing former glory with memorable choppy, galloping melodic riffs, yet not firing on all cylinders. Ultimately, Camp Pain is solid, yet somewhat mixed in the shadow of legacy. It's well worth a listen however, plenty to be enjoyed between compositions less fruitful.

Rating: 6/10

CKY "An Ånswer Can Be Found" (2005)

 

 

Fond for a touch of nostalgia and youthful memories, I thought I'd give this overlooked Camp Kill Yourself record another try. Released amidst the years discovering Extreme Metal and darker sounds, An Ånswer Can Be Found fell wayside among a group of friends who adored the CKY videos and soundtracks. With matured ears, one hears an intelligent craft through thoughtful songs falling mercy to its mid tempo pacing and calmly subdued temperament. Experimenting further with channeled guitar effects, their tuneful leads retain a distinct character encroaching on an electronic tinge.

The emphasis on a warm gooey vibes gives its mood a welcoming tone but sucks away some of the sporadic energy previously associated with the band. Frequently do its unique melodies ride upfront, exchanging harmony with Deron's competent singing. In doing so, its chugging guitar grooves drift by, plodding along with murky intent and lacking intensity. This chemistry is why I think the record once went amiss. Now I rather appreciate its balance, which gives illumination to their melodic expression and especially the slick, gorgeous, often brief, guitar solos that dazzle upon arrival.

When the guitars shift into tandem mode, the classic CKY grooves croon again. Their dynamic sway, traversing rhythm and melody simultaneously, sounds ripe on Deceit Is Striking Gold yet elsewhere it lacks the spark. Again, another addition to the initial disappointment, a muddied step into a refinement of sound that matured in its lack of bombast and explosiveness. It comes across soft yet has quite an endearing comfort as one gets to know the better malf of its songs. A fun listen! Perhaps An Ånswer Can Be Found is one that would grow on me with more exposure.

Rating: 6/10

Puppy "Pure Evil" (2022)

Sophomore albums can be tricky and after soaring high on their debut The Goat, the trio return with a mixed bag of treats. As the Pure Evil name suggests, one can find a through line of esoteric themes prying into witchcraft, occultism and nightly mischief. With the tone of their music, the lyrics comes across with a toying playfulness as they avoid all the cheesy exaggerated tropes usually associated satanic oriented music.

Opening with the sludgy, brooding Shining Star, the band establish the doomy aspect of the records tone, only to curtail it swiftly with The Kiss. The song alone is a masterpiece unto itself. Capturing rays of sun through shapely, hazy riffs, a summery Smashing Pumpkins magic is birthed again. Its quite the contrast as a uplifting song peaked by groovy pinch harmonic riffs and a delightful gleaming guitar solo.

My Offer and Wasted Little Heart continue on, subtly darkening the path, the later offering up some beautifully crafted moments of space for a chunky guitar palm mute to inhabit with its delightful texture. Its from this point on that Pure Evil starts to wain as the moody, brooding side of their sound takes a stronger presence. With less flash and flair from the guitars, the tone increasingly focuses on its own colorful gloom.

 

This feels emphasized by the vocal harmonization of Norton and Michael, the duo have an interesting chemistry built on honesty and a strained sincerity which excels when the music is bright and colorful. Being slightly off key and raw, they provide an exciting contrast but as the record shifts into a darker string of shadowy, nefariously themed songs, its potency ends up drained and sucked into the rainy tone.

Despite this, there are plenty of exciting riffs, evoking nostalgia for 90s Alternative, Grunge and Metal, always standing on there own legs. Sometimes their ideas don't quite land. The tempo pivot on Wasted Little Heart throws hails to Thrash Metal but doesn't go anywhere. They try a similar trick on Spellbound and land it wonderfully with an epic but brief wailing guitar solo. Its a minor blemish but there are a few two many musical ideas that don't seem to follow up on the shown potential.

All in all, for this listener the theme wasn't enough to spark some magic out of the gloomy tone this record explores. When luminous and bursting with energy the music is captivating. Its dreary side, although wondrous in patches like the dreamy, ethereal, acoustic gloss of Dear John, gets a bit tiring. The riffs stale, the existing chemistry gets stretched. Far from terrible but a half step back in my opinion.

Rating: 7/10

Poppy "Flux" (2021)

 

Not one to stick with a sound for long, Poppy moves on from the eclectic aesthetic extremities of I Disagree and metallic framework, now plunging deep into the 90s with a wash of warm hearted Grunge, Pop Punk, Alternative Rock & Dream Pop! This nostalgic lens that quite a few bands lean on these days serves up a huge advantage in terms of variety. Flux capitalizes on this fortunate position, sounding like its from an era but not being cast to one mold as many of its inspirations would have been.

The tracks Hysteria and As Strange As It Seems highlight this perfectly. Both resurrect dreamy Shoegazing guitar tones and the hazy production tricks of My Bloody Valentine's acclaimed Loveless without burdening the listener through a whole album of its dreary ambling nature. All songs have their shade of influences, in different degrees, from a moody Her too the amped up head banger Lessen The Damage.

The variety is where the magic is at. Originality not a concern as her usual collaborators and album producer Justin Meldal-Johnsen provide some amazingly written songs and gorgeous guitar tones in many flavors to flesh out the record wonderfully around her voice. The track arrangement is smooth too, shifting in temperament and intensity to keep things exciting and brief at only thirty two minutes.

I'm not sure that Poppy herself holds much of the dazzle. Her performances don't seem all too defining. The instrumentals make the songs more so than her singing. Her softer range is endearing but when reaching for more energy she lacks a strong character as the nostalgic lens has her singing in the shadow of anothers style. Themes and lyrics are locked in well, hooks and timings ripe but its missing a shine.

 Flux has been fun and refreshing, a spirited journey back into the 90s. With a broader sense of ideas to draw on it excels without doing anything remarkable or unexpected. Being keen on this era it was all to easy to get sucked but after many spins it firmly resides in that space where I'm not sure if these numbers will stick. So for now the record goes into shuffle, awaiting to see if its resurrection will be rewarding.

Rating: 7/10

Chevelle "The North Corridor" (2016)

 Impressed by this years Niratias, I thought I'd step back five years to give the Illinois Rock outfit another try. The North Corridor is their eighth and lacking the context of their evolution, it really comes of like a plagiarist execution of Tool in their prime. Aggressive grooves, atmospheric incursions and psychedelic echos of Lateralus and 10,000 Days dominate just about every song here. Enjoyable, if its your cup of tea.

With every spin it passes me by, a competent set of songs yet lacking a sparkle, mainly as every break out moment lingers in the shadow that other band. Getting past this lack of originality, the influences are interesting. Obviously the Progressive and Alternative Metal flavors run strong but the record is rife with harsh syncopated grooves. Bludgeons of chromatic palm mute chugging, backed by its dense, warbling baselines fire inline with pounding drum strikes frequent many a song with these simplistic slabs of primordial dance. Often it serves as a jump of point for the rest of the music to evolve, delving into bursts of psychedelic, reverb soaked lead guitars to wail into the distance alongside other progressive tangents.

Pete Loeffler's presence upfront is massive, a tug of war between emotive spoken inflections and throat wrenching screams that strain and shout with quite an impressive intensity. He punctuates the music well, often orchestrating the musical shifts with his conduction. It is of course a performance treading in the foot steps of Maynard Keenan. Practically every idea executed feels complimentary to the Tool back catalog, on one track where he deviates, Punchline, singing like Trent Reznor.

In all its similarities, Chevelle execute with classic, making engaging music with much to offer. Riotous yet contained landscapes of aggression and frustration. My issue with The North Corridor is its dull production. Everything feels distinctly grayscale. The guitar tone seems brittle and rough, the bass warble is massive but lacking charm, it feels a little brute force. The drums are decent but on some tracks seems a little out of balance in the mix. Ultimately, all its elements are present but just seem to teeter on the demo quality edge with its rough aesthetic and dull tone.

Rating: 6/10

Milk Teeth "Go Away" (2017)

My recent disappointment with the bands self titled album brought my eyes to Go Away, a four track EP I overlooked that plays counter part to Be Nice. It too is a step away from the glory of Sad Sack & Vile Child but this direction is one I can vibe with. Its a similar theme of reckless self indulged emotional reflect, lively and unhinged.

The tone is way better suited to a coarsing Pop Punk energy. These thrashy vibrant power chords resonate with a 90s Green Day loudness, a sound I am admittedly not all that familiar with. Their lyrics float of these crashes of thunderous energy with a punchy resonance. Lines like "I'm drinking just because its there" and "Maybe these choices will backfire on me" cruise through the choruses with a catchy knack.

Pumping basslines and slamming aggression from the drums give the whole thing a real kick in the right direction. Lilian and Nearby Catfight have fantastic build ups in the end with some creative lead guitar to see the songs out. A throw back to what they do best can be felt in the closing track, Big Sky, a slower, moody track with a big sense of atmosphere. These songs are driven and fun, there is little here not too like!

Favorite Tracks: Nearby Catfight, Big Sky

Rating: 5/10

Milk Teeth "Milk Teeth" (2020)

I was really excited for this record and by no fault of their own Ive found myself sorely disappointed. These English rockers had dazzled me in the past with Sad Sack and Vile Child. An energetic fusion of emotively charged Grunge attitude and punkish spirit graced this era brightly but that sparkle fades swiftly as the group take a renewed purist stride in the Grunge direction. Its a straight move into a slant of the genre that never really worked for me. This self titled album was unable to change that.

Relationship and personality woes dominate these themes with a continuously dreary tone of wallow that has conflict but no resolution in sight. Lightly distorted guitar tones switch between chords and hazy melodies that circle the drain on this unambiguous tone poised between uplift and self indulged misery. The music never shakes this slighted melancholy mood that drifts through its collection of short three minutes songs. Its a drone where little beyond simple song structures presents themselves.

It sounds harsh but Its simply my experience. They have traded in the explosive punch and wild energy I loved for a focused sound in the Proto-Emo vein of Grunge that never appealed to me. The lyrics feel endlessly sad without resolve. Because of this the music just fails to excite me in its unadventurous stance. No hate on the band of course, they are free to pursue whatever they like but this pivot has left me behind, this was really not what I was in the mood for, not the sound I gravitate too.

Rating: 3/10

Puppy "III" (2019)

With the years best album so far under their belt, The Goat, this surprise EP was quite the treat to feast on, I didn't expect new music so soon! The three piece band Puppy are one of my modern favorites, their fusion of nostalgic 90s Alternative Rock & Metal riffs is just my cup of tea. Its the songwriting however, that sets them apart from waves of bands that come and go, casting that rosy tinted look back into the past. Puppy take in a rich history of music, brandishing it with their own defining stamp.

These nine tracks, a brief nineteen minutes, initially felt as demoed as its presentation would suggest. Its mixing, rough around the edges, with roomy drums and earnest singing gave a casual impression that would flavor my first few listens as a mediocre yet fun set of songs. The songwriting however championed once again as the ear worms grew, driving the hooks and melodies into the subconscious. Its riffs, arrangements and lyrics became forefront. It wasn't long before I was asking myself just how good this record is? Right now it fits perfectly into their catalog.

Without doubt there is a handful of songs here that given the treatment would fit snugly onto a proper album. They all however have a charm that feels exclusive to this rougher garage demo sound and I think the point is to inhabit this moment the band are living in. The raw vocal harmonies and chunky guitar riffs with gristly distortion tones create a youthful air vibe that resonates through the colorful guitar licks that occasional deploy a bit of rhythmic groove. Its everything I like about Puppy, just with a less polished edge which makes it fresh and interesting.

Rating: 7/10

Favorite Tracks: Agatha, Serotonin, Charms

The Smashing Pumpkins "Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun" (2018)

Long since their glory days of Siamese Dream and Mellon Collie, my excitement for a new Pumpkins project has been mixed with worry. The possibility of a resemblance to Billy's solo album Ogilala and an over bloated, insignificant album title overshadows the return of James Iha. I doubt he has little to do with the writing of the music but he performs on the wax and I was hopeful his presence would have an influence. The record makes its distinction as a band far from there hay day while rather fondly resurrecting the semantics of their glory years. Its opening two tracks sound like a time warp to the nineties as Corgan unites his emotional, melodic Alt Rock guitar flexing with his niche style of sung hook to captivate in the choruses.

Like a looking glass peering into the past, the rosy tint of nostalgia lays out a path that each song walks with familiarity to their back catalog. I don't think a single track felt new or unique but rather clever re-hashes of old ideas and occasionally slipping off the edge of tolerance with cries of "she stabs the anti clock" and Travels "its where I belong" sounding somewhat hollow. It is otherwise a cracking record with beautiful, glossy and scenic music composed of humble instruments playing to one anothers strengths. The voice of Corgan sits snugly in the middle singing his heart led lullabies and its forms with keen melody and a bit of guitar grit driving songs forward in various phases.

For all it does well something doesn't stick with this record. Its got a gorgeous production, everything sounding alive and of its moment, the string sections and keys add a serine warmth when they rise but despite all this Its strongest moments feel shades from former classics and its more "original" songs sound flat in comparison. Its been a tough one to put into words and Ive found what songs ill be returning to here again so I'll leave it alone on that ambiguous note.

Rating: 6/10
Favorite Tracks: Knights Of Malta, Silvery Sometimes, With Sympathy

Milk Teeth "Be Nice" (2017)

Here on the music blog I have covered all the previous releases from this promising young band."Vile Child" and "Sad Sack" were both equally impressive records that captured the spirit of 90s Grunge yet spun it with their own taste and character that spared them from being seen as a nostalgia act. This limited four track release unfortunately looses the spark of uniqueness as their noisy and textually adventurous aspects of the guitar work are stripped back for a crisper, cleaner recording.

"Be Nice" still has the foundation for the energetic grungy attitude however the climatic moments here are not working. The big howling Post-Rock leads that usual swoon away in these songs can be heard shimmering into the fold but lack a striking melody or aesthetic magic to elevate the song like they have done so before. The ideas are certainly present but going back to old songs like "Burger Drop" or "Trampoline" the gulf of emotional impact is massive. So much magic emerges in those old tracks which are far more inventive than these four which seem to be hedged in by the cleanliness.

 Not to dwell on negatives, the drumming is fantastic here, a ton of energy sprawling out across the kit with fantastic fills, rolls and driving beats that really pulled along the riffs, which again felt a little sterile given the clean production. The lyrical themes are decent, musing on relationships and commitment with life on the road. Its really not a bad record at all but I expected so much more from this group and thus disappointment. I hope an album is on the way but if they are gunning for a cleaner sound with less of that big and noisy guitar work I'm probably not going to be keen.

Rating: 3/10

CKY "The Phoenix" (2017)

The legendary CKY from West Chester, Pennsylvania, also known as "Camp Kill Yourself", were a fond part of my youth. Soundtrack to the CKY movies full of skateboarding, pranks and tomfoolery, their songs were drilled into my mind as we watched them over and over alongside Jackass. I often return to their first two records and had the opportunity to see them live for the second time in a small and intimate venue recently. It got me hyped up for this record after having barely heard a thing from them in over a decade.

This is the bands first record without former front man Deron Miller who departed back in 2011. He's one of the original three and in his absence Chad Ginsburg has stepped up taking on the vocal role, performing the guitars, synths and continuing his duty as the bands producer. In Deron's absence their persona hasn't been tarnished, the music comes from the same place and Chad has the voice to fill his boots with a very similar vocal style that you may not of noticed had changed if you picked this record up unknowing to the lineup change.

The Phoenix is an album for the stage. Fun, lively and energetic, full of charisma. CKY continue to develop their unique sound while boldly showing their influences as flaming guitar licks emerge from their more traditional, grungy power chord grooving. With Chad in the limelight he takes the opportunity to show off his inspiring guitar skills with tones of wild, soaring guitar solos, blazing a trail of notes to try and keep up with as he quite frequently gets into the roll, especially on "Days Of Self Destruction" where the last ninety seconds of the song is dedicated to nothing but the shred!.

Many of the songs have similarities to their early classics, however they feel fleshed out with thick instrumentation that has synths humming between the cracks of bold audacious baselines that prowl and groove. The guitar leads stack up over the power chords with short lively melodies and Jess's drumming holds in all together with a subtle roll to gel everything together without being overly present. The sort of performance to impress when given due attention.

I love the density of this record. Without being overtly heavy CKY shine on the musicality that loads every passing moment with depth as everything has an intricacy. Although the song structures are rather formulaic and many sections repeat it always feels big and ambitious without being "heavy". Chad's Hard Rock and Funk influences definitely make themselves known here without taking away from their core sound. Its a very solid record with a few songs to match some of the classics.

Favorite Tracks: Days Of Self Destruction, Wiping Off The Dead

Rating: 6/10

Milk Teeth "Smiling Politely" (2013)

There's not much I could say Milk Teeth's debut EP that I haven't said about their sound already. I wanted to get through all the bands releases and was surprised to hear them establish themselves so clearly two years before Sad Sack. Perhaps I was expecting something a little more primitive, rawer, a prototype of sorts that you can often encounter on a bands first record. The flimsy album cover may of given me that impression, a 60's psychedelia inspired font for the logo and Poochie the dog with his surfboard, the third character from Itchy & Scratchy that Homer Simpson voiced. Its bland pink and white minimalism not much of an appetizer for the music inside.

These songs are as alike as whats to come, Grungy 90s tunes with a hint of Punk Rock and a mild measure of nostalgia. They would slip right in, so much so the song "Swear Jar" explains the "(Again)" appendix on Vile Child, where it was re-recorded. All that can be said is the production, aesthetics, have a little less polish, some roughness around the edges mostly heard in the guitar distortions. Every other aspect falls into place, enthusiastic drumming, passionate shouts and singing, quite interesting to hear the guitar chemistry so potent from the get go. Lots of grooving, moving guitars interlaced with moody effect soaked leads that have a real emotional weight to them. Solid debut, shame about the awful cover.

Rating: 5/10

Favorite Tracks: Wizzard Battle, Grease

Milk Teeth "Sad Sack" (2015)

Fresh faced and full of youth, Bristol based rockers Milk Teeth capture that early 90s Grunge scene energy with a refreshing measure of emotional substance and riveting aesthetics that you can sink your teeth into, excuse the pun. Released nine months earlier than their debut full length "Vile Child", Milk Teeth's second EP is probably my favorite so far. With just half the tracks we get six killer songs of distortion driven angsty introspection that doesn't let up with any solely acoustic songs. As a short record it flows perfectly and much that's to be said about the band and their aesthetic Ive said before. Id be repeating myself, as any song on "Sad Sack" could be switched seamlessly into "Vile Child".

Each song has something that makes it tick, gives it an edge. The record winds down with the atmospheric, moody "Trampoline" which indulges itself in Ethereal reverb soaked acoustic chords before exploding into an extravagant riff with complimenting lead guitar amplifying the feels. "Vitamins" kicks it off with lively, pumping drums beats and feedback driven guitar noise between the crunchy riffs. "Melon Blade" tweaks the effects pedals to give the guitars an insular tonal sound that illuminates between the "crooked spoon" lyrics. Because the band tweak their distortions track to track, loading each one with all sorts of subtle, sometimes obvious noises and manipulations of sound, the songs become rampant with energy and there character is magnified as the riffs are brought to life with more than just a chord arrangement. That's there charm and on this EP its loaded from start to end.

Rating: 7/10

Milk Teeth "Vile Child" (2016)

Thanks to Youtubes wonderful auto play feature, my recent discovery of revivalist Puppy led me to another group, English four piece Grunge rockers, Milk Teeth. In similar spirit they capture the essence of that 90s sound, once again without stepping on toes. Most comparatively Nirvana may spring to mind in their more energetic songs but they stand on their own two feet with twelve tracks of angsty, emotional, introspective music that drifts between anger and melancholy with the craft for direct, moshable rock out songs and breaks for atmospheric numbers too.

The groups guitar tones are dynamite, a very inviting fuzz of overdrive with a tinge from various effects pedals, filling the airwaves with the warm buzzing of noisy power chord shredding. With slightly dissonant leads they cascade through wall of sound in the moments they break away with moving harmonizations. American singer Blomfield, presumably by accent, captures that youthful young adult mind with lyrics revolving around the internal struggle of thought and the need to fill the hole in ones head, her voice, soft, sincere and with a bite when the agression kicks in. On a couple other songs another band member takes up vocal duty with strained, thin shouts and screams, off note and seemingly awful they somehow work wonders with the energy of the music and despite there rough, abrasiveness are quite the spark where they turn up. Its a raw honesty that makes it work.

Kicking off with their most upfront songs the later half of the record tones down the aggression for more acoustic chords a Post-Rock like sections, giving ear to the raw chunky bass guitar rattling away below. The drums too are lively and energetic but didn't do too much to grab my attention, a sign to me they are doing just the right thing in each moment. The four a fantastic chemistry together, their aesthetic compensates simplistic song structures and the guitar leads continually climax the songs when they breakaway. I can't get enough of this record right now. Luckily they have a couple of EPs in the back catalog.

Favorite Songs: Brickwork, Burger Drop, Brain Food, Cut You Up

Rating: 7/10

Puppy "Vol II" (2016)

If a dose of 90s Alternative revival is your cup of tea then English rockers Puppy and there "Vol II" EP may just be for you, however to label them as a revival band would be a disservice. Puppy's style, sound, aesthetic and tone is uncannily alike to many acts of that era but theirs is a fresh and faithful artistic expression that nestles neatly between many names while still feeling like its own master. It kicks off with the most out of turn track "Entombed". Its slow and steady textural two note groove has echos of Groove Metal but its soft, welcoming distortion tone and singing style makes it very comparable to one of Metals brightest bands, Ghost.

The rest of the record embarks on a less metallic voyage, taking an emotional narrative that in many moments resonates like The Smashing Pumpkins. These are steady, easy going songs with simplicity in mind, a tight arrangement of riffs that flex between expansive chords and simple rock steady grooves. Acoustics intersect and with a lighter distortion the band effortlessly transition between subtle intensities, making for great craft as the songs flow soothingly. Its the singer who pulls much of the tone together, with a weaker, soft and gentle voice he comes with a meekness that exudes honesty in the emotions conveyed, making the instrumentals feeling complete.

Ending with a number devoid of percussion, a sombre acoustic guitar is intersected by soft harmonizing distortion guitar leads. It occurs to me that the short record, twenty minutes, starts in one place, ending in another. Kicking off with groovy metallic energy and transforming to quite a calm and soothing affair. Its all terrific, not much to flaw other than its short run time. The production is solid and everything feels cohesive on this five track release. This band has a promising future it would seem.

Favorite Songs: Entombed, Warm

Rating: 6/10