I stumbled upon Thee Rakevines yesterday, and they’re quickly becoming one of my favorite bands. Their tracks have a strong garage-rock vibe, but they’re also pretty eclectic. In other words, there’s no pigeonholing this group, which I love.
The first track on their Spotify playlist, This is “Thee Rakevines,“ is called “In a Time of Covid (I Need Fuzz),” and while what the world needs now may be love, sweet love (apologies to Burt Bacharach), it also needs this song. The cool (and appropriate, given the title) fuzz effect on the vocal reminds me of a lot of my favorite grungy song from the 1990s, including “Cannonball” by the Breeders. There’s also a blistering guitar solo. The sudden ending feels like hitting a brick wall and demands multiple listens.
The second song on the playlist is called “Damaged,” and it sends the clear signal that Thee Rakevines are not a one-trick pony. This track is mellow and almost jazzy, and a sublime vocal from Byddia Lewis (who reprises vocal duties later in the playlist on “Sticking With You”) is somehow both the polar opposite of the distorted vocal in “In a Time of Covid” but also its perfect counterpoint.
I’m hearing strong hints of Nirvana in “Just the Way that I Am,” and there’s a cinematic Spaghetti-western feel to “Another Time (Another Place),” a song that would feel right at home on the soundtrack of an underground 1960s film — or anything by Quentin Tarantino. The fade-out in “Thinking in Pictures” reveals the cool organ riff that undergirds the entire song — so don’t skip ahead when you’re nearing the end of that one!
The punk influence on Thee Rakevines is undeniable. Most of the songs (with the exception of “Thinking in Pictures”) are well under three minutes long. Nonetheless, the band draws on a wide range of musical influences, incorporating 60s garage rock, 90s grunge, psychedelia, and jazz into an amazing debut playlist. Weighing in at just under 23 minutes, This Is “Thee Rakevines” is definitely worth listening to in its entirety in a single sitting.
The latest offering (after a seven-year hiatus) from the reclusive electronic music producer known as N Pa is a haunting track titled “Nothing In Your Eyes.” Instrumentally, the song has a frosty feel. The opening guitar riff and synth pads, provided by Glaswegian guitarist Gloom Is Okay and N Pa respectively, envelops the listener in a sonic snow globe while the pleading vocal from singer Marcie Joy provides a flickering spark of warmth and hope: “Give me one warm thought, Just one warm thought. I’ll make it last through colder nights, I’ll make it last through lonely times.” The pathos in these lines is palpable, and the remainder of the song swirls cinematically with drums crunching underfoot and an icy synth line from Android Invasion lingering in the air like frosty breath. All told, a two-minute odyssey into the darkness of a love gone cold.
If you fancy yourself a historian of all things punk, then you’re going to need Ian Glasper’s The Scene That Would Not Die on your bookshelf. Published by Earth Island Books, it’s the fourth and final volume in Glasper’s loving, meticulous, and exhaustive chronicle of the UK punk scene(s) beginning with 1980. Following The Day The Country Died: A History Of Anarcho Punk 1980-1984, Trapped In A Scene: UK Hardcore 1985-1989, and Armed With Anger: How UK Punk Survived The Nineties, Glasper’s latest tome covers that last twenty years of punk and ends in the present day. It’s a history that bears witness to the dawn of social media and the early days of music streaming and finds contemporary musicians continuing to play the music they love while anxiously pondering its future in the shadow of Brexit and COVID-19.
First and foremost, The Scene That Would Not Die is a reference book. Explaining his decision to list the bands he profiles in alphabetical order, Glasper notes of his previous books that readers tend to “cherry-pick their chapters” and that “very few read the book from front to back.” Yet even though the book reads like an encyclopedia of bands whom — despite decades of dedication and, in many cases, by design — you’ve never heard of, the entries call out to each other like voices in the night as musicians cite their influences, jump from one band to another, or straddle multiple bands at once. What emerges is the story of a community bound as much by a love of hard-driving guitars and heavy, pounding drums as by a suspicion of mainstream culture and the trappings of a consumerist vision of success.
Not surprising, perhaps, is the fact that many of the bands featured in this volume are as dedicated to political issues as they are to their music; indeed, for most of them, the two go hand-in-glove. Veganism, anti-fascism, anarcho-syndicalism, and socialism are a few of the stances that the musicians profiled herein embrace. Nonetheless, as Justin Wood of two-piece anarcho punk band 51st State insists, the real joy of his brand of punk is that it’s “a little bit like a reset button that shakes you up from the consumerist negativity of our current culture and world.” What’s more, he adds, the punk scene on the whole “is a really broad church, and there is such a wide range of music within it… There is such a variety of bands, holding different views and politics, but all exist within punk, and this does mirror the broad scope of humanity in society; I think that even though this can be a frustration, it is probably human and it should be a nurturing and positive scene.”
The book also goes a long way toward replacing the shopworn Sid-Vicious-inspired stereotype of the punk-as-mindless-ne’er-do-well with an incredibly erudite and socially-conscious model. Take, for instance, the ruminations of Chris Dodd of Bad Breeding, who comes off as a cross between a scholar of Marxism and a character from a Don DeLillo novel when he discusses the future of not just punk but humanity as a whole: “For me, I’ve always seen a return to class analysis as the crucial tenet in pushing for radical deconstructions of the systems and frameworks that purport to govern our lives. This will become ever more apparent as the climate continues to rapidly evaporate and it becomes starkly obvious that our current economic mode runs counter to the existence of life on earth. There’ll be no time for navel gazing or liberal point-scoring when the earth is either ablaze or underwater.”
As the above and many, many other passages of The Scene That Would Not Die suggest, one of Glasper’s strengths as a historian is to let his subjects do the talking. When he does interject, it’s only to provide context so that the bands he’s chronicling can tell their owns stories, or to offer discographies and select-listening lists (including some very helpful URLs at the end of each entry). And while the ease of finding this music certainly signals the end of an era when to be aware of a band like Atterkop meant being neck-deep in a scene of like-minded individuals, the good news is that punk will never die. As unlikely as it may seem that punk can, in Glasper’s words, remain “relevant and meaningful to a risk-averse society in the face of such instant gratification,” the fact that the genre is always moving forward, “never past tense,” means that “as long as someone wants to stand up and ask ‘Why?’ or say ‘No!’ in a loud, angry voice, there will always be a place for this feisty subculture.”
Over the years, Scot Sax has produced a wide range of exceptional music. From the ultra-polished pop perfection of his work as the front man for Wanderlust and Feel to his more homespun recordings as Bachelor Number One and as a solo artist, Scot has always brought equal parts compassion and energy to his music. His 2018 album Drawing from Memory was certainly a case in point. A collection of original songs evoking the best of 70s AM radio gold, the album found Scot echoing much of the music that likely inspired his lifelong appreciation of the well-wrought tune. With this year’s Playback is a Bitch, Scot is digging deeper, taking risks, and coming up with a blend of tracks that feels at once familiar and artistically satisfying.
The new album finds Scot getting a bit funky (not for the first time in his life) but also a bit trippy and dreamy at the same time. The dreamlike quality takes hold immediately with the first track, “Roller Wakes Up,” a thirty-six-second intro that sounds like the feeling of gradually returning to the waking world from a deep sleep. It transitions naturally into the album’s title track, which is where the funk starts to kick in — but not all at once. “Playback is Bitch” actually sounds like a throwback to the Monkees for the first few bars before a short blues riff introduces a bass-heavy dance groove. The rest of the album follows suit, drifting sweetly and soulfully between groovy beats and trippy, dreamy sojourns, like the instrumental “How Come There’s No Wind In Your Kite,” which gives way to the percolating, trumpet-laden “Fell in Love with Myself Again,” a true highlight of the album.
Not surprisingly, songwriting is at the heart of the album, both in terms of craft and as an over-arching theme. When Scot sings in “Two Sweethearts” that he has “exactly two minutes” to get out his thoughts, it’s easy to imagine he’s describing the job of tunesmiths everywhere, the unrelenting compulsion to distill the essence of a heart full of conflicting, confusing, overwhelming emotions down to the parameters of a radio-friendly pop song. It isn’t easy, and it also isn’t a science. As the penultimate track, a spoken-word recording titled “Roller’s Monologue,” makes clear, it’s a work of heart. Yes, there are people in the world who can boil songwriting down to a formula and treat it like a business. But as songwriters like Scot Sax show us time and time again, there are also people who are “out there singing to the clouds” (as the track’s narrator insists), artists driven by their sheer love of music. In the end, that’s exactly what Playback is a Bitch is all about.
PS: Playback is a Bitch is actually soundtrack! For more info, visit the film’s FB page: Playback is a Bitch.