Fashionism – Smash Singles LP

Fashionism
Smash Singles LP
Sorry State Records
Released: April 20, 2018

Fashionisms Smash Singles LP is an essential collection of recordings for the lovers of not only power pop, but also clever and intelligent lyricism. This record boasts material from the first four Fashionism singles, which are now hard to come by, with the addition of a couple previously unreleased tracks. Fans of Fashionism will find this record treads mostly familiar territory. For first timers, the Smash Singles LP is a good way to be introduced to one of the more interesting bands of the last decade.

The songs found within the grooves of the Smash Singles LP celebrate the clever nature could have been heard by The Boys or even by the sharp wit of The Adverts. This is largely thanks to vocalist Jeffery McCloy masterful weaving of punchy lyrics that tell a story with a sound that combines the infectious nature of Bay City Rollers like glam rock meeting the sensibilities of The Purple Hearts.

This hybrid style effortlessly combines the intense energy of punk with intelligent social criticism largely lost by the chorus of grunts and growls of the spikey studded cast. While their songs are very socially aware, Fashionism do not deliver their messages as a blow to the head. Rather, they do so via bubblegum styled tunes to bounce about with and be subtly influenced by.

Many of Fashionism’s songs defiantly beg for the nostalgia of times long past. Songs like “Subculture Suicide” lament the painful and frustrating demise of traditional subcultural identity. While others like the new track “Weekend” remains steadfast in the Fashionism tradition of being unapologetically socially critical of shameless social media inspired vanity.

Others hits on this record include my personal favorite “Where Have All The Rock n’ Roll Girls Gone.” This one pays homage to New Town  Animals hit “Rock N Roll Scene.” Another is “Stop, Drop, Rock n’ Roll.” It’s a song that demands dance while McCoy rapidly name drops pop culture references from the McCoys “Hang on Sloopy” to ? and The Mysterians “96 Tears.” Fashionism also have a silly side with tracks like “One Shot.” It’s a song about being delightfully addicted to coffee. This one is fast and melodically furious– not to mention catchy as hell.

This record is well worth getting, particularly, if the Fashionism singles have eluded your capture. This super-group is made of members of The Tranzmitors, The Jolt, The Orange Kyte and New Town Animals. Their sound is deviously infectious and upbeat. It’s good for those familiar and for newcomers alike. Above all, it’s a gem, so go get it.

For More Fashionism, check out their Bandcamp!

Back in the Day: Jeffrey McCloy of Fashionism

(Left to Right) Jeff McCloy , Josh Nickel , Alex Angel and Robin Schroffel.

Fashionism are easily one of the most exciting bands to come out of Vancouver, British Columbia. For a little over 3 years, they have been blasting out infectiously hi-energy power pop meets glam punk songs with catchy lyricism commenting on the changing importance of subcultures, wondering where the rock n’ roll girls have gone and the need for an early morning espresso. This group boasts members from many celebrated bands including Tranzmitors, The Jolts, The Orange Kyte and Newtown Animals—as well as the newly formed Night People. They are Jeffrey McCloy (vox) Josh Nickel (guitar) Robin Schroffel (Bass) and Alex Angel (Drums).  On July 18, Fashionism is set to play a stacked gig with Royal Headache and Needles//Pins at The Colbalt in Vancouver. Before they kick off, I chatted with Fashionism frontman and former Tranzmitors McCloy. We discussed his anglophile inspired lifestyle, subcultural inspiration, Fashionism’s singles, playing in Calgary, Alberta with Suicide Helpline and world domination.

NixBeat: Hi Jeffrey. To kick things off, how did Fashionism form?
McCloy:
Hi Nick… Joshy and I got it started together, it was conceived in between debating the cultural significance of records that nobody has ever heard. We had the name Fashionism before we had a band.

NixBeat: In a previous interview with beatroute.ca that was published on April 26, 2017, Josh stated “Subculture gave an identity and a space to people that were disenfranchised or looking for some sense of belonging. It had strict rules because it had to.” I was wondering if you could expand on the how identifying with a subculture is important and what rules Josh was referring to?
McCloy:
I never saw my relationship to subculture as one limited by rules, however, I will say that I made aesthetic choices with intent. This is what I suspect Joshy is referring to in that you made choices on how you wished to be perceived by others. In a way it’s like a simplistic micro versions of orientalism, you understand what you are by knowing what you are not.

NixBeat: You have a striking Mod style. I was wondering (if you do) why you personally identify with this sub-culture and how does it influence your daily life?
McCloy: 
I am a shameless Anglophile and I am perfectly happy with this. I grew up in Canada in a one generation removed family who were all from England and Ireland. It’s not always good to have me answer these band related type interviews for it is very easy for me to derail into very un- rock ’n’ roll territory— like me collection of Brown Betty tea pots. I will say I am very influenced by a number of British subcultures and mod, especially the 79 revival incarnation was indeed one of them. My personal fashion choices without a question pull from a mix of mod, skinhead and I guess you could call it 80’s football fashion or casual. As for how things influence my daily life? The football fashion shockingly also dictates my weekend schedule to get up at a disgusting hour to watch the morning matches. However, the drink and pub culture that goes along with many British subcultures has very little effect on my daily life. I grew out of 80’s North American skateboard/punk culture, so I train-wrecked when I was really young then dropped everything and haven’t really drank or gotten wasted for over 25 years now… I take that back, I do spend a lot of my social time with friends in the pubs. I just don’t drink. Hmmm…I may want to re-evaluate this plan.

NixBeat: You have quite the record collection. How has collecting records influenced your musical direction?
McCloy:
I don’t think collecting records has influenced my musical direction. Collecting records has mostly just impacted the wall space in my home and my personal financial stability. However collecting records has been the way by which I came to love and fully embrace music and everything that goes with it and without a doubt this has impacted my musical directions.

NixBeat: What about collecting records is important to you?
McCloy:
I feel connected to things through records. I realize this kind of logic is sort of hippy dippy however I am not sure how else to explain it. The records bridge the gap between time and space. This is why someone in 2017 could hear a record like the Jam All Mod Cons and feel a connection to it the same way someone did when it first came out. The record exists without the limiters of time. Records are important to me because it’s a way for me to be part of the story of that record just from having it and being a fan. Ok, I just read that answer back and it’s totally ridiculous but I can’t be bothered to come up with a new answer.

NixBeat: Have you come across any new finds that you are pretty excited about?
McCloy:
I get good records all the time, however, Joshy always makes me feel inadequate with my rarities because he deals in crazy KBD big money punk rarities. My money goes equally into my sewing studio, home recording studio, my obscene wardrobe and also record collecting. At the last record fair I found the Procession LP which is a cool psyche pop record from the late 60’s, I did get that Aces (post Menace) 45 recently, a really clean copy of the Crunch Let’s do it Again and the Boston Boppers Did you get what you Wanted. The new Jesus and Mary Chain records is getting a bunch of spins lately and I recently got Fear of a Punk Planet by the Vandals on LP which I had been wanting for years.

NixBeat: After spinning Fashionism records at my DJ nights, I can’t help but notice a theme of discontent with throwaway culture. I was wondering if you could tell me about what influenced the track “Subculture Suicide?”
McCloy:
Glad to hear Fashionism tracks are getting spun at dj nights! As for Subculture Suicide it’s just pointing out that we are seeing the social shift where subculture (At least the way they existed over the past 50 years being intricately linked with music and art) are no longer the predominant way by which identity and community are established. This by no means suggests subcultures are dead or only limited to older generations. However, their social significance has changed. If you are coming of age today you have more options to create community especially in the virtual world. So in the first question when you quoted Joshy in saying “Subculture gave an identity and a space to people that were disenfranchised or looking for some sense of belonging” Subculture Suicide does tap into that sentiment but also observes that in some cases we are seeing these subcultures run their course.

NixBeat: Also what are you drawing from with the newest song “Back In The Day?”
McCloy:
I am exactly of the age where you sit between the rise and fall of various social movements. Not quite old enough to have been part of the first wave of musical movements in the late 70’s and early 80’s while also being slightly older than the youth movements that took form in the early to mid 90’s. So if you are between 40 and 50 years old right now, you kind of got to be part of a string of musical movements all in stages of transition and evolution or decline. I find that people of this age group are the truest of fans and champions of the underground because they embraced these movements when they were really un-cool at least in relation to anything in the mainstream. You basically embraced punk and all of it’s offshoots after the major labels had bailed. The subcultures fractionalized and people were just part of the underground and were the weirdos before grunge and pop punk opened it up to the masses. Blah blah.. that didn’t really answer your question. This does though, by the later 2000’s you saw a lot of people from that first wave of punk start coming out of the woodworks and making claims about how things were better back in the day, give me break ok… blah blah blah….No one is denying that this musical movement wasn’t essential in setting the stage for the next 30 years of musical movements. However, we can all just bring it down a notch with all these people who all of sudden started decided they cared about going to shows again. It’s ok we can all do the math, you hooked up with someone got married in the early 80’s had a couple kids did that parent thing then the relationship fell apart after the kids left for collage, now you are single and in your mid 50’s early 60’s so you are going to show again. It’s great that you are older and going to rock’n’roll shows again just don’t bore me with stories of your youth and how important it was. I love hearing about rock ‘n’ roll debauchery and mythology but don’t try and sell someone on it’s importance. It should be said that things are not great just because they happened, they are great because of their relationship to other events or non-events in the context of history. The point is that “Back In The Day”… only means anything because of what followed.

The slightly lighter and more fun answer to the previous question would be that I love lyrics that tie themselves into other songs. The song was written to have no changes as such and just shift in key as the song progressed, kind of like something by The Fall. We absolutely did not accomplish this, but I do quite like the song.

NixBeat: Finally, what inspired “We Got It Wrong?”
McCloy: The idea behind this song was to have something similar to Cast of Thousands by the Adverts and once again like our attempt at something like the Fall this was not achieved. The lyrics for this song for sure came out of the courses I was taking in school that semester. I was just pointing out that the social constructs which establish how we determine our social norms came from a place of ignorance. My favorite line in the song is “If faith can be turned on and off than it’s already lost”. I went to this lecture once and the delivery almost felt like a Python skit. The lecture was about the spread of Christianity to the new world and was referring specifically to the Spanish and the English showing up and planting flags! There is actually a great Eddy Izzard skit about Imperial expansion from one of his comedy shows in the mid 90’s I think it was called Dressed to Kill… Anyways I love the way he says “Flags” I always imagine that my face looks like his when he says “Flags” in a sort of Frankenfurter kind of way. Sorry I rambled a bit there… The lecture pointed out that if one can have a belief system and then be shown a different one and be able to switch belief systems just like that, the switching of beliefs could go both ways. What I mean by this is that the expansion of Christianity was based in the notion that these pagan(non-Christian) belief systems could just be substituted out and replaced by Christianity. This was actually a pretty big philosophical debate in the west during the time of Imperial expansion. The suggestion that there is just a place in the mind where “faith” resides and you could just swap one for another…well this creates a problem when the Christian world is trying to hold it’s own against the Ottoman’s, the Chinese and India. What if you could just swap out Christianity and stick in something else…Anyways the balance of power shifted after the Industrial revolution but there was a couple hundred years where it was anyone’s game. Just to be clear everything that I babbled about is not covered in that song, but it sort of is.

NixBeat: Fashionism just played Calgary with Suicide Helpline. How did that show go?
McCloy: That band was something else, they were like a collision of 70’s glitter glam and ska, very odd but very fun to watch.

NixBeat: Are there plans to tour the United States soon?
McCloy: I imagine we will make a couple trips up the west coast this year, assuming the political climate between our two countries doesn’t totally erode and the borders shut down. However we do have a trip planned to the other side of Canada and we are doing a Scandinavian tour next spring!

NixBeat: Fashionism has released a number of singles; can listeners expect a full length record soon?
McCloy: There are actually a couple more singles coming out soon and all the records that are out of print will be released as a singles collection. However, we are in the process of getting a full record all sorted.

NixBeat: What does the future hold for Fashionism?
McCloy: World domination! The only answer any band should ever give to this question.

 

Fashionism have already released a string of singles and take it from me they are worth spinning. Need proof, check out my reviews of all the Fashionism’s records here.  For about Fashionism, visit them at their Facebook.

Fashionism — Back In The Day / One Shot 7″

Fashionism
Back In The Day / One Shot 7 “
Neon Taste
Released: 02.14.2017

For this reviewer it’s no surprise that Fashionism’s Back In The Day / One Shot 7” continues in the same vein as previous releases lamenting a nostalgia for the days when music was actually good. Of course like their other singles, this is done with infectious hi-energy punky power pop that makes you shake and shout. With this in mind, one can be sure then this single is not to be passed up.

Although this theme of nostalgia is indeed familiar, Fashionism’s approach is refreshing and addictively energetic, and this particularly found within the grooves of the A-side’s “Back in the Day.” Much like with their previous singles, Fashionsim demands something more from today’s rock n’ roll, while maintaining a defiant look toward the past. It’s a clever glance for inspiration that masks itself in romantic idealism with a powerfully catchy kick.

The B-side “ One Shot” is easily delightful. It’s a song about espresso and god damn has it got a good hook. At last the worlds coffee lovers have a power pop anthem that truly speaks to them and their caffeinated addiction. This is a track to bop to, while spazzing out to fits of the shimmy shimmy. In other words, it’s a musical version of a coffee inspired seizure meets the lustful nonsense of a love song.

The Fashionism Back In The Day / One Shot 7 “ the first release off of the label Neon Taste. This new record label is run by Fashionism’s own Josh Nickel. Neon Taste is also distributing the 1979 San Diego repress of Xterminators “Microwave Radiation” from Death Vault Records. So, be sure to watch this space for more Fashionism and other cool releases. While you’re doing that, dig this single by cranking the volume and annoying your neighbors since that’s quite the sensible thing to do.

Dig more Fashionism at their Bandcamp: https://fashionism.bandcamp.com/album/back-in-the-day-7

Fashionism — Subculture Suicide 7”

Fashionism Subculture Suicide 7” Dirt Cult Records Released: June 23, 2016

Fashionism
Subculture Suicide 7”
Dirt Cult Records
Released: June 23, 2016

Three singles in and Fashionism are still flawlessly knocking out catchy rock n’ roll anthems. Their style evokes a strong longing of nostalgia toward rock n’ rolls golden years while energizing their listener with highly addictive punk infused power pop. It’s a sound that twists the infectious nature of late 1970’s punky power pop with the hit making sensibilities of bubblegum glam rock.

The new single, Subculture Suicide 7” brilliantly continues on this trend by pumping out three songs of provocative high energy wrapped within a volatile twist. Fashionism jolts their listeners to remember when music was a dangerous thing that provoked passions and instilled a razor blade edged code to live by. The title track “Subculture Suicide” ” is easily for the forgotten subcultural romantics who have yet to succumb to the allures of a music inspired lifestyle threatened and rebranded as a cheap commodity. It’s a relevant track and will have any eager listener shaking all about.

“Stop Drop and Rock n’ Roll” stands out as the defiant track  celebrating the gs  relevantly upbeat and will have you shaking all about.  It’s a track perfectlory of all things that shake, shimmy and jive. It’s a song that is riddled with an electric feel of a powerful poppy nature and is easily addicting to the ears. Played loud and often this will have you uncontrollably bopping about.

“Nun of That” is ridiculously and sensationally fun. Provided that you willfully to surrender to feelings of sinful joy inspired by radical chemical imbalance of a ritalin addled mind, then this 1 min and 34 second song is for you. Pogo away.

The Subculture Suicide 7″  is further demonstration of Fashionism’s awesome ability to deliver some stirring hook filled tunes. Each track comes across as lyrically inspiring and has a sound that one can move and groove to.  Only thing missing in this discography is an LP. For now though, one will have to be happily content with dropping the needle on the Subculture Suicide 7”. So, don’t waste any more time and be sure to dig this.
—Nick Kuzmack

For more Fashionism, check out their bandcamp: https://fashionism.bandcamp.com/album/subculture-suicide-7

Check out their first single from Hosehead Records

FASHIONISM – QUIT LOOKING AT THE TIME

FASHIONISM
QUIT LOOKING AT THE TIME 7”
Zaxxon
Street: 08.22
Fashionsim = Tranzmittors + The Cute Lepers

What’s not to love about Fashionism’s high-energy, punchy, power-pop–meets–1970s-era–glam punk numbers? I mean, to suggest that the Quit Looking At The Time 7” represents anything but an infectiously good, solid two tracks that superbly show off Fasionism’s ability to blast out up-tempo and catchy-as-hell lyrics would be a notion of total absurdity.

Dig the full album review published @ SLUG Magazine!!

REVIEW: FASHIONISM – SMASH THE STATE (WITH YOUR FACE) EP

Fashionism
Smash the State (With Your Face) EP
Hosehead
Street: 01.20
Fashionsim = The Boys + Tranzmitors + The Modernettes

Vancouver, British Columbia’s shameless agitators, Fashionism, have finally come out with their debut EP, Smash the State (With Your Face). Fashonism exhibits a rich duality of glam-punk and power-pop that is somehow compressed into the confines of a 7” rock n’ roll record.

Dig the full album review @ SLUG MAG!!

Suicide Helpline: Living In The Future

Suicide Helpline are the perfect band for the modern world. They are unapologetically honest and critical of society’s moral and social decay. This awareness is reflected in the quality of their lyrics and music. It’s a style that effortlessly blends the attitude of late 70’s punk by mixing it with post-punk sensibilities and coupling the flair of glam, but with the infectious pick up of two-tone ska. Other groups that are link minded are The Clash, The Stranglers and Newtown Neurotics.

Suicide Helpline released their latest album Re:Generation in June 2020. Much like their previous release Pink Jazz in 2016, this album continues their deceleration of punk-fueled rebellion against a world plagued by apathy and despair. Songs like “I’m So Sick Of This Generation,” Don’t Really Want To Die,” and “Live In Poverty” brilliantly demonstrate these ideals.

Unfortunately, it would seem Re:Generation found itself ill-fated to be released during the Covid 19 Pandemic. Like many groups worldwide, Suicide Helpline has been affected by the collapse of musical entertainment and the subsequent health mandated restrictions. The result is Suicide Helpline has not performed since March 2020. To find out how they’ve been coping since Covid 19 spread across the world I caught up with Logan and Kevin. We chatted about their new album Re:Generation, playing shows and life during the Pandemic.

NixBeat: Suicide Helpline started as a one band recording project. After releasing the debut album Ready To Die in 2013, the band took shape in 2015. What inspired the creation of Suicide Helpline?

Logan: It was part of a series of projects I was doing at the time, different bands doing different time periods of music. Suicide Helpline was obviously ’77 Punk, and it caught on the most with people I knew who were interested in live music.

NixBeat: Suicide Helpline boasts various styles of 1970’s influenced punk with the  glitter from glam rock, while adding some heavy post punk sensibilities. What are you all drawing from to create Suicide Helpline’s sound?

Logan: Well it was unintentional at first, the term “glam punk” didn’t come about until after our first album Pink Jazz was out. We were just trying to make honest original classic punk music, uninhibited by the ’90s. But we noticed some Bowie and things bleeding through though accidentally, which is my fault as a songwriter.

NixBeat: When I’ve messaged Suicide Helpline through Facebook, your automatic message advertises imalive.org. Can you elaborate on what that site is and why you are supporting it?

Logan: It’s 24 hours and always has someone to actually talk to. That seems essential for someone looking for an actual outlet. We wanted to make sure that anyone looking for live support in an actual crisis had it, that is very important to us.

NixBeat: Suicide Helpline released Pink Jazz on April 25, 2017.  The cover art of Pink Jazz invokes the image of a hand that has been recently sexually stimulating a vagina.  Is that intentional and if so, what prompted this particular imagery?

Logan : The image was shot before the album title was chosen. I had the idea for the picture and then pitched it to the band as an album cover and we came up with the album title from there. Honestly though, it was only supposed to upset your parents like classic punk album covers always seemed to try to.


NixBeat: One of my favorite tracks from Pink Jazz is “Welcome To The Rest Of Your Life.” I found it to be a bit foreboding and describing a monotonous life of privilege. What are you drawing from for this track?

Logan: That was written in the middle of the White Guilt Crisis of the mid-2010s, which I think was a very important step for society. I wanted so badly to shut up, but that song is what happened instead. It ended up being a pretty honest and bleak portrait. I’m not proud of it.

NixBeat: And finally, another favorite of mine, what inspired the track “No Wars, Only Battles?”

Logan: Is it ok to say that war is ‘antiquated’? Is that acceptable to say in America?


NixBeat: On June 7, 2020 Suicide Helpline released Re:Generation. What was working on this album like and how has the reception been to it?

Logan: Releasing an album in the middle of the worst health crisis in modern history has been a terrible idea. We sold less than 10 copies of the album. Working on it was fun though, we recorded it before anything had happened and the sessions had a very ’70s feel to them, we recorded a lot of it live off the floor.

NixBeat: The track “I’m So Sick of This Generation” seems pretty straight forward song. It laments a certain frustration towards a specific generation. What inspired this song?

Logan: I’m really worried that this song brought ABOUT the health crisis. I think I wished the world away. I’m honestly really sorry if that’s the case. If I wrote this now, it would be called “I Really Miss My Generation”. Making this music video as four individual people trapped in their own houses was an adventure though.

NixBeat: The track “Live In Poverty” has a kind of definitive SKA pick up to it. It’s a song that seems oddly appropriate for many people dealing with the consequences of the Covid 19 Pandemic. What are you drawing from “Live In Poverty?”

Logan: Yeah maybe that is way more relevant now, but at the time it was merely about abandoning wealth and stability, in exchange for art.

NixBeat: A particular favorite track on Re:Generation is “Don’t Really Want To Die.” Despite the name of this track It’s got a kind of upbeat feel to it that comes heavily from its’ SKA infused with punk sound. What’s the background with this song?

Logan: This song seemed way too positive and upbeat almost, but I’m glad it’s included at the end of the album. It provides much needed levity to an otherwise very heavy downward spiral of subjects. And especially since we released this album during the health crisis, this seemed like a good choice.

NixBeat: Suicide Helpline has played with numerous groups over the years. Who has been your favorite group to play with and why?

Kevin: Opening for Stiff Little Fingers was surreal. Those shows still feel like a dream to me. Playing with Laurice was an absolute riot, it was inspiring to see him in his 70s still being his strange and wonderful self. Mad Caddies were a ton of fun, and it was a trip hearing from 90s-punk dudes in the crowd about how much our tights and makeup threw them off. Teenage Bottlerocket, Fashionism and The Jolts were some other highlights … I feel like I’m just namedropping now, but it’s a hard question.  

Honestly, some of the funnest shows were the Rockin’ 4 Dollars nights at Buckingham in Edmonton. They’d have a bunch of bands play short sets with covers, so we really got to let loose and the crowds were great. We did tribute sets as the New York Dolls and the Stooges, and also covered songs by NOFX, The Chemical Brothers, the Proclaimers, the Chats and Cyndi Lauper.

NixBeat: How has the members of Suicide Helpline dealt with the Covid 19 Pandemic?

Kevin:
I moved to a farm in BC. I really miss practicing and performing, but we hadn’t jammed since March because of the restrictions, so I don’t know how much physical location matters anymore. I think, like all performers, we’re figuring out how to adjust to a world without sweaty clubs and sing-alongs. But we did the “I’m So Sick Of This Generation” video in total isolation as Logan mentioned, and he turned that into a really unique piece of art. So I have hope that we can work on more virtual projects in creative ways.  

NixBeat: The Covid 19 Pandemic has affected artists and venues alike. With many closing and artists unable to preform. How has the pandemic affected the music community in Edmonton, Alberta? 

Logan: It has disassembled our local music scene for the foreseeable future. All venues are closed and currently people are isolated to houses and unable to play music together. We’re hoping recorded music somehow keeps our small scene alive.

NixBeat: What’s coming up next for Suicide Helpline?

Logan: Well hopefully by the time this pandemic is over, music will have in some way restructured itself or be in the process of a brave new frontier, post-apocalypse. We’d love to be a part of the rebuilding, but right now, we have no idea what the future looks like.

For more about Suicide Helpline, check out their Bandcamp and FaceBook!!

Jordan Jones – “Self-Titled”

Jordan Jones

“Self-Titled”

Spaghetty Town Records

Released 08/02/2019

Jordan Jone’s debut release is a power pop masterpiece.  Within this records grooves are sounds begging, if not demanding to be heard. It’s the kind of music that flawlessly delivers a certain calm and charming sound sound that blends a kind of nostalgic sense for early 2000’s style of power pop rock n’ roll. This is due to Jones’ unique style that invokes The Booze twisting with the power pop delivery of the Biters, but channeling the romanticism of The Speedways

This invocation of power pop is clearly demonstrated in the opening track “Wrote You A Song For Me.” It’s a harmonious track that blends notions of hopeless romantic notions of youthful yearnings. It’s the tune that perfectly welcomes in the the records listener and keep them hooked.

Digging deeper into this record Jones reveals music that meant to tug at one’s heart strings.  This is the case with tracks like “My Somebody,” or the mellow “How to Be” and “Be My Baby.” These are familiar themes that largely characterize this album. That being said, Jones’ isn’t redundant in his delivery, and manages to leave a sound that lingers on.

My personal favorite track is “Rumours Girls.” It’s a tune that starts out with a punch and doesn’t quite get bogged down about being a hopeless romantic. Instead it takes a shot at rock ‘ n roll scenesters  emphasis on blind nostalgic romanticism for the culture of the 1970’s. This is pointed out when Jones sings about the folly of needing to look a certain way to fit in.

While the song   pokes at the material imagery, there is some betraying a sense of self-deprecation when Jones sings of his own appreciation for the retro style. Overall, it shows Jone’s ability to move beyond the trappings of romantic power pop with the touchings of social awareness.

This all being said, Jordan Jones is record is certainly near the top of the list of vital contemporary artists to be heard.  For me this record blends the subdued groovyness that gives power pop it’s rock n’ roll zesty flavor. It is a sounds boasting brilliance with a composition meant to be nothing less that welcoming to the ears.  

Furthermore, It would be amiss not to suggest that Jones debut album is among those who help inspire a much needed revival for power pop for this day and age. Other contemporaries in that realm are Fashionism’sSmash Singles LP” and The Speedways “Another Regular Summer.” To be sure though, Jordan Jones has something more attune to 70’s power pop rock n’ roll than it’s angsty punker sounding cousins.

That doesn’t mean it’s any less worth hearing, though. So, be sure to go out to your local record shop and pick this up. Jordan Jones is a diamond in the rough and truly deserves to be heard.

TOP 5 ALBUMS OF 2018

Every year I come out with a little list of albums that have been released throughout the year. This list isn’t meant as a competition. During the turbulent and transformative year of 2018, I have found myself constantly re-listening to these gems. They are remarkable works of very talented artists. All articles were published exclusively here at nixbeat.com, at Utah Stories, SLUG Magazine or Heatwave Magazine. Enjoy and Happy New Year!

Reverand Beatman and Nicole Izobel Garcia — Baile Bruja Muerto  (2018) “Beat-Man says ““Everybody that comes to one of our shows will be saved and converted.” Audiences can expect to hear tracks like “Come Back Lord” and “Black Metal.” “Come Back Lord” is upbeat track with a pronounced organ sound. It’s the kind of tune that will evoke the dancefloor to shutter. In contrast “Black Metal” is a kind of dark bluesy ballad. A warning though, this performance is not for the faint hearted, but there will never be anything else quite like it. ”

The Speedways — Just Another Regular Summer ( 05.27.2018 )
“This album was composed by Mathew Julian with the addition of Dec Burns on the drums
. Just Another Regular Summer captures the nostalgic essence of Joey Ramone’s longing vocals by twisting it with an attitude worthy of the Exploding Hearts and infusing it with the hopeless romantic nature of Protex and the Speedies. The tracks on Just Another Regular Summer are performed with a kind of painful restraint but maintains a cool and passionate feeling. This is especially evident with the track “Reunion In The Rain.”

The Revox — In Mono (09.14.2018)
“All the way from Switzerland, The Revox embody the voracious spirit of sounds meant for the wild and untamed. They celebrate a style mixing the essence of the raucous Black Lips twisted with The Chesterfield Kings, but emphasizing the moody but primitive nature of Los Saicos. Their new record In Mono exemplifies their talent to blast out raw garage punk stompers through hi energy tunes of desperate rock n’ roll with dashes of fuzzed out psychedelia.”

Fashionism — Smash Singles LP (04.2018)   The songs found within the grooves of the Smash Singles LP celebrate the clever nature could have been heard by The Boys or even by the sharp wit of The Adverts. This is largely thanks to vocalist Jeffery McCloy masterful weaving of punchy lyrics that tell a story with a sound that combines the infectious nature of Bay City Rollers like glam rock meeting the sensibilities of The Purple Hearts. “

Los Yayaz — Born Dead ( 05.12.2018)
“Los YaYaz have blazed through the Salt Lake City music scene by combining the wild and primitive style of Los Yetis and Los Saicos with the intensity of The Sonics. This new record maintains their iconic blended style with all the trappings of repressed teenage angst and longing desperation. Their delivery is raw and if I didn’t know better I would have sworn Born Dead was some long lost garage-punk- unknown. “

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Honorary Top 5 Mentions

  1. Faz Waltz — Double Decker (03.21.2018)
  2. The Blankz— White Baby/Sissy Glue (07.13.2018)
  3. The Terror Surfs — Mutant Surfin’ Trash  (02.23.2018)
  4. Reverend Beat Man — Blues Trash  (04.05.2018)
  5. Wild Evel and The Trash Bones — Digging My Grave (11.24.2017)

Top 5 Albums of 2017

Every year I come out with a little list of my top albums that have been released throughout the year. During the highs and lows of 2017 I found myself constantly listening to these gems. It’s a healthy mix or power pop, garage rock and everything in-between. All articles were published by SLUG Magazine, Heatwave Magazine or exclusively here at nixbeat.com. Enjoy and happy new year!

  1. Suicide Helpline – Pink Jazz
  2. Fashionism – Back in the Day/ One Shot 7″
  3. The Jackets – Be Myself/ Queen of the Pill 7″
  4. The Woolly Bushmen – Ardunio 
  5. Mattiel- Count Your Blessings/ Whites Of Their Eyes 7″

Honorary Top 5 runner ups

  1. Jessica Hernandez & The Deltas-  Telephone/Teléfono
  2. Radio Hearts – Daytime Man EP
  3. The Schizophonics -Ooga Booga 
  4. The Darts US – Me.Ow
  5. Brain Bagz –  God Hates Bagz 7″