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Dwarves Return with “Concept Album”
The Dwarves return with a new eye-popping twenty tracks on an album entitled Concept Album. The rather unassuming title belies the thunderous creativity erupting from each of those twenty tunes as Dwarves Svengali Blag Dahlia teams with powerhouse contributors drummer Josh Freese from the Foo Fighters and Nick Oliveri, most famous for his bass playing with bands such as Queens of the Stone Age and Kyuss. It’s a thrilling trio.
“Feeling Great” should be a freaking single. It’s one of the best put-together cuts I heard on this album. Dahlia’s freewheeling sense of humor carries the day through the lyrics and his singing truly enjoys the moment as he has a raging band behind him. He’s got a great team beside him with Freese pounding out furious rhythms and Oliveri’s contributions coming through loud and clear as well.
“Terrorist” is a blast. Don’t go into this thinking Blag’s writing about Islamic terrorists. Instead, he takes our vision of what that word means and turns it on its head into a warped love song that I absolutely love. The payoff moment of the song’s key line makes it all worthwhile but, once again, Freese and Oliveri blast away clearly inspired to be working alongside this punk rock master. “Ages Ago” is one of the album’s best tunes. In the annals of “fuck off, you’re gone” love songs, this should rank high. His taut and unforgiving language finds a perfect musical setting in another of Freese’s and Oliveri’s whip-tight musical performances.
https://open.spotify.com/album/6zx6n3hhscN57tbd09epgN?autoplay=true
The Dwarves’ insane stab at surf music, “Dead to Me”, rollicks through another case of love gone bad. There’s plenty of humor in the tune, as usual, and the guitar playing is exceptional. The outlaw nature of “Nobody and Me” cannot be denied as the opening line “I’m leavin’ with the sunrise” further evolves into a steamrolling rock tune that the three band members exploit to its fullest potential. I love this tune so much it hurts.
But I love “Kill or Be Killed” even more. This is out-and-out aggression personified, take no prisoners, and yet highly musical. It isn’t an one-note musical exercise, however, as The Dwarves shift gears in the song’s second half with resounding results. “You Lose We Win” is a “band song” in the way that it’s about the band’s long-established identity and man, oh, man, it should go down like a house on fire in concert. It’s unapologetic as well, as it should be. It’s full-throttle punk rock with great “shout-out” moments from Blag that audiences will love as well.
“Come Unglued” is another exhausting but exhilarating blast of fun from the band. There’s no shift during this song where they vary the musical attack, but you won’t mind. Blag should burn out his voice singing the way he does here, but he never loses any energy, and neither do his bandmates. Ending it with a small bit where a young woman says she has a good Dwarves story and it’s pretty fucking good is a great way to sum up this album as a whole. It’s more than pretty fucking good though. It’s pretty fucking great.
Brent Musgrave
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Eric Schroeder Releases Album
If you’ve ever heard the music of Eric Schroeder before, you already know that melodic sting is often the backbone of his heady rock sound, but in his latest release Turned on the Stereo, which was released this year everywhere quality indie-rock is sold and streamed, it plays as great a role as the lead vocal does. The guitar is the star in the title track of this LP, much as it guides the grooves of singles “Parting (No. 2)” and “Stayed the Same,” and whether you’re a six-string buff or not, it’s an element that will engage anyone who catches a glimpse of this album’s most powerful moments.
There’s a lot more to Turned on the Stereo than just gilded guitar tones; after all, when listening to songs like “Mother Said,” “The Kind of Wound That Never Heals,” “Plan For Me” and the juggernaut “Never Go Away,” everything from the percussion to the vocal harmony itself is presenting us with a different layer of emotion. There’s scarcely a juncture in this record where Schroeder doesn’t sound deeply invested in the narrative he’s trying to get across, which is something I could only wish to see among his mainstream competitors nowadays.
At the center of every song on this LP is the magnetizing melodicism of the leading man, which despite flexing some legit muscle in past releases bearing the Eric Schroeder name sounds much more relaxed and on-point in tracks like “Do Done Now,” “Claire’s Song” and “Easier Way to Go” than it ever did before. There’s no hesitation on the part of our leading man here; if anything, I’m not sure that he’s come across quite as confident in his performance as he does in a couple of this record’s most climactic fever pitches.
As far as the production quality is concerned, Turned on the Stereo is a superbly tight album that doesn’t leave us guessing how richly textured and full a song like the title track or “Never Go Away” might sound in a live capacity, which is undeniably a tough feat to pull off. It’s perhaps not as evenly mixed as The Crucifixion of Eric Schroeder was, but I don’t know that he was looking to go super-polished in this instance; there’s a certain authenticity that comes with filtering fresh material through a raw, unconventional sound, and that could be why this LP stings as hard as it does.
Though I just started exploring Eric Schroeder’s complete discography a little closer this April, I’ve come to appreciate his approach to songwriting all the more thanks to Turned on the Stereo, which I deem the most mature offering he has released thus far. Schroeder isn’t working with major label assets by any means here, but he’s nevertheless turning in something that feels wholly compelling and different from what his contemporaries are producing in this first half of 2024, and that alone makes it a worthwhile listen for anyone who demands organic quality in rock anymore. Top to bottom, this is a terrific listen for those who love indie riffs and smoldering lyrical emissions.
Sebastian Cole
Artist Spotlight
The Skinny Limbs Unveil Galactic Soundscape with ‘Mozart for Martians’ EP Premiere
The Skinny Limbs have unveiled their latest EP, “Mozart for Martians,” which consists of five stellar tracks that revolve around the complex universe of emotions accompanying a long-term relationship’s end. This EP’s celestial soundtrack for heartbreak, rejuvenation, and reflection seamlessly blends indie-pop with lo-fi vibes and Japanese pop influences, transcending musical genres.
This eclectic mix creates a vibrant tapestry of sound, drawing listeners into a realm that is both familiar and otherworldly. The raw vulnerability in each track reflects band member Max Knoth’s personal journey through love, loss, and life’s unpredictable twists.
Lead single “Too Little Too Late” is a gut-punching anthem that blends poignant lyrics with a sonic fusion of Japanese pop and indie elements, capturing the EP’s emotional core. Meanwhile, “To The Limit” offers a celestial blend of melodies and evocative lyrics, portraying the feelings of confusion and frustration that accompany life’s hurdles.
The EP’s sonic journey is completed by the unreleased gems, “Monday,” a jammy reflection of Max Knoth’s tumultuous breakup week, “I Know You Care,” an older track reborn, and “For So Long!,” a groovy exploration of confusion, patience, and the search for clarity.
Produced by Connor Robertson, Jake Rye, and The Skinny Limbs, and mastered by Mike Cervantes (known for his work with Dolly Parton and MisterWives), this EP is a masterful blend of heartfelt storytelling and musical innovation. The production quality is top-notch, and the EP’s 18-minute runtime provides a concise yet powerful journey that will leave listeners craving more.
