Placeholder
“Nothing is Pure”
(Better Days)

A few months ago when Totally Crushed Out interviewed Coastal, we knew that they would be a band that was on the precipice of breaking big, particularly in their brand of revivalist emo. Now armed with a new name (fuck lawsuits, amirite?) and a new full-length, the rebranded Placeholder is sure to keep the momentum going.

What’s great about Placeholder is that they have their sound down pretty well. Their songs are structured incredibly well and the lyrics are nothing, if not simultaneously heart wrenching and honest. Check “What this Means,” “Resent,” and Sunny Day-esque “Written.” These songs are concise, straightforward, and above and beyond most bands’ debut records.

For me, however, the stand out track is “Stay Correct,” which recalls the Get Up Kids’ “Four Minute Mile” aesthetic. It’s catchy as it is raw. It’s chilling how brutal this song is.

Placeholder wears their influences very clearly, but that’s not a bad thing. They’re obviously not going to reinvent the wheel, and there’s something to be said about a band that just writes good fucking songs. If you know what’s good for you, you’ll give “Nothing is Pure” a shot.

— Ryan Pangilinan

Chuck Ragan
“Covering Ground”
(SideOneDummy)

When I had just turned 21, I went to a Hot Water Music show and drunkenly staggered over to Chuck Ragan at the bar, who was just trying to order a drink, and told him that Hot Rod Circuit was one of my favorite bands. I think he knew I meant Hot Water Music. But he laughed and replied, “Me, too, man. Me, too.”

The reason why this oft-repeated anecdote is included in this review is because it’s a good reminder of why Chuck Ragan and Hot Water Music are still popular: they’re approachable and will humor a drunk kid.

A lot of Hot Water Music’s aesthetic, and by extension Ragan’s, rests on the fact that it’s very much proletariat. It’s working class punk rock. This has become even more evident on Ragan’s latest solo effort, “Covering Ground.”

Backed with fiddles, harmonicas, and harmonies, songs like “Nomad by Fate” and “Valentine” are the kind of tunes that can bridge generations. Your dad likes Merle Haggard? Make him a mix that includes a track from this album. Of course, this isn’t a new discovery, but I like to drive that point home.

Conversely, Ragan’s songs are mellow and safe and, naturally, is the antithesis of Hot Water Music, however, when you listen to the lyrics and the melodies, it seems like the most organic direction for Ragan, whose HWM songs have always had a little bit of soul in them. This idea is prominent on “Come Around,” which begins with a short walking bassline before the rest of the instruments kick in.

If you’re a fan of his past solo work, this will certainly appeal to you and of what Ragan has released so far, it’s definitely one that I would recommend for people who haven’t been exposed to his work before.

— Ryan Pangilinan

Waxahatchee
“American Weekend”
(Delta Queen)

Katie Crutchfield’s ascent to being one of the most prolific songwriters in today’s DIY punk scene continues with her second release under the Waxahatchee moniker, “American Weekend.”

Truthfully, I like the songs on this recording a bit more than on her earlier split. The songs are still stripped down and recorded to tape, but as a full-length, there’s more dynamics in the tunes. Songs like the caustic “luminary blake” are off set by poppier numbers like “be good.”

I feel like this is one of those albums that you’re going to like or not. There’s a vulnerability that Crutchfield shows on this record that, while is present in PS Eliot, resonates throughout the entire recording. It’s very bittersweet, but I feel like that’s what makes it so appealing. The genuine nature of Waxahatchee is what sets this project apart from other acoustic troubadours (yo, Chris Carrabba, I’m looking at you) and I’ll continue to listen to this while my copy of “Swiss Army Romance” was discarded to the record store’s buy back program long ago.

— Ryan Pangilinan

(Dave) Hause Party

by Ryan Pangilinan

For many people, Dave Hause is largely known as the frontman of Fat Wreck’s punk-by-way-of-Americana band The Loved Ones. But for anyone who has seen Kid Dynamite’s documentary, “Four Years in One Gulp,” Hause is also one hell of a storyteller, so it’s no wonder why his last few releases have been particularly fleshed out with lush narratives. This is true of his debut solo album, “Resolutions” (Paper + Plastick). Hause’s weathered voice unites each track on the album, which recalls a myriad of American pop music influences such as blues, folk, gospel and old fashioned rock & roll.

Upon arriving back from an Australian tour, Hause took time out to talk shop with Totally Crushed Out about his solo work and why he’s okay with being the funny frontman.

Totally Crushed Out: Dave, I’ve heard some of your solo material and I feel that they’re a little bit more than just “The Loved Ones acoustic.” They are certainly steeped in blues, which is something that you don’t hear often from people who’ve come out of the punk/hardcore scene. Did you want to forge an independent identity as Dave Hause the solo artist vs. Dave Hause of the Loved Ones?

Dave Hause: It’s not that premeditated.  I think the nature of a band is such that you can make broader statements, communicate bigger ideas and almost reach more people if it’s done right.  That’s what I’d like to do with the next Loved Ones record. As far as playing solo, it’s a more intimate affair, I can use that medium to write and play songs that resonate on a much more person to person level.

I know you did some dates on one of the last Revival tours, but you also opened for AFI. How was the reception for the latter?

It was actually amazing. I got a call from them to come play some shows and they offered me a lot of money to do so, which was really generous.  They’re old friends, and so I was pretty fired up to get paid to play and to hang out with them for a few days.  As I started to walk up on stage to play I suddenly realized “You idiot!! You’re about to play to 2,000 AFI fans with an acoustic guitar!” and almost panicked.  Their fans were so great, really into it and I had some great, weird shows.  

You recently released the 7” on Paper + Plastick, are you going to follow that up with another solo recording or will you be diving into a new Loved Ones record?

My debut full-length record, “Resolutions,” comes out today, February 1st, on Paper + Plastick. I’m almost done writing the new Loved Ones record and we’ll track it in the spring.

One of the last times I saw you, was when The Loved Ones toured with Gaslight Anthem and you were chiding the Seattle crowd and cracking wise. In many ways, it seems that humor in punk rock is all but lost these days. What keeps a smile on your face?

My attitude is to not take myself or other people too seriously, especially at a rock and roll show.  It’s supposed to be fun, and while we are doing something that is important to us and to the crowd, we aren’t removing rubble off of crushed folks in Haiti or curing cancer. We’re making up songs, singing them and having a good time.

You’ve also completed a tour of Australia and New Zealand. What was that experience like?

Incredible.  The Bouncing Souls and Hot Water Music are some of my best friends and favorite people, so to go down there and open for them in paradise was one of the best touring experiences of my life.  I loved it.  

The Loved Ones has been around for a while now and certainly you, as an individual performer, have been around the block. Do you feel like you’re at a point now where you’re comfortable enough to tour when you want to and not out of necessity, as many bands are apt to do when they are starting out?

We’re making it up as we go. Once the Loved Ones record is done, we’ll tour the world on it because we love to.  When it gets stale, we’ll take time off.  My record comes out today and I’m planning on touring a ton on it, then jumping into Loved Ones mode. The dumbest thing for a band to do is break up because they’re burnt out.  Just rest, regroup, reassess, and come back to the thing that works instead of torching the whole thing.

“Resolutions” is out now on Paper + Plastick. Dave Hause’s tour dates can be found on his Myspace page.

None More Black
“Icons”
(Fat Wreck)

When Jason Schevchuk announced that None More Black was reuniting as LaGrecia was breaking up, I was cautiously optimistic. I have generally enjoyed everything that Schevchuk has done and LaGracia’s only album was no exception. Still, None More Black has been one of my favorite Org core bands and I’m always going to want to hear something that they put out.

With its Houdini-illustrated cover, “Icons” is an interesting bag and is probably the most aggressive record that Schevchuk has done since Kid Dynamite. “Backpedal” was the first song that I heard and due to how poppy it is, it’s a misleading song. Most of the songs on the album, like the opener, “Mr. Artistic” and “When Mickey Died” have these killer guitar parts and some cool gang vocals.

I think the part about “Icons” that I enjoyed the most is just how gritty the band sounds while maintaining a certain level of sheen. It’s one of the best qualities of None More Black.

— Ryan Pangilinan

Forgetters
“S/T” EP
(Too Small to Fail)

For being a band for about a year, Forgetters already carries a large reputation. Made up of Blake Schwarzenbach (Jawbreaker, Jets to Brazil), Kevin Mahon (Against Me) and Caroline Paquita (Bitchin’) Forgetters’ self-titled debut sounds nothing like the trio’s previous bands. While all of them have embraced the pop-punk sheen in the past, the band concentration is that of a garage punk band.

At four tracks, “Forgetters” is brutal and concise. Schwarzenbach’s unmistakable vocals carry the songs and match well with Paquita’s melodic basslines. The EP’s best song, “Not Funny” has the potential to be on mixtapes around the world.

Coming in at 13 minutes, “Forgetters” is a short affair, but pleasant nonetheless. As the band continues to gain traction, it’ll be interesting to see what they can do with a longer EP or a short full-length.

— Ryan Pangilinan

P.S. (I love) Eliot
By Ryan Pangilinan

Without trying to drop too much hyperbole, Alabama-based P.S. Eliot’s “Introverted Romance in Our Troubled Minds” is one of my favorite debut records of all time. It definitely made the top of my best of 2009 list for Redefine. The band’s lo-fi EP, “The Bike Wreck Demo,” showed a lot of promise, but “Introverted Romance” is something that is indicative of the band’s sound: easily digestible powerpop with smart lyrics.

Lead by former Ackleys members Katie (vocals/guitar) and Alison (drums) Crutchfield, P.S. Eliot is rounded out with guitarist Will Granger and bassist Katherine Simonetti. Following their most recent tour with Football Etc, Katie Crutchfield was kind enough to answer some questions that has been burning in the minds of at least two of us here at Totally Crushed Out.

Totally Crushed Out: How did PS Eliot come together for its current line up?

Oh man, that’s kind of a really long story. Maybe I’ll just tell the beginning and the end. Basically Allison and my old band played a show with our buddies the So So Glos from New York at a time when that band was sort of on the fritz and they just sort of blindsided us with motivation, unknowingly. They were brothers and best friends and had no inhibitions about what they were doing. That sort of assurance about leaving stability and comfort behind to travel and play music is what we founded the band on, I’d say. They were in Birmingham for a week or something and when they left we were all like ”we need to be doing that!” So, we started P.S. Eliot with our friend Katie. We’ve since had like three other people play bass and added Will on second guitar. Musically, we’ve evolved a lot from the beginning to now. We’ve been a band for two-and-a-half years and in that time our individual tastes and initiatives, musically speaking, have progressed a lot.

The songs on the Bike Wreck Demo have a raw aesthetic to them and I’m guessing they were recorded straight to tape. Was there always that idea that the songs could have a cleaner sound for what would become the Introverted Romances LP?
 
Not really. I knew that I didn’t want it to sound as crunchy and raw as the demo but I was originally kind of put off by how it sounded. We actually didn’t put a ton of thought into how the LP would sound, partially out of naivete I’m sure. Our friend Matt Whitson in Birmingham has become the go-to guy for recording DIY bands so when we were ready to start recording he was our obvious choice to do it. I didn’t really think about how different it was going to sound. I don’t think I ever thought of us as this contrived, fuzzy-sounding band, which is probably what we were to most people, realistically, prior to the LP. When we listened to the initial takes during the session, I remember having a streak of panic in my mind like “is this how it’s going to sound? this doesn’t right!” I realized almost immediately that the LP recordings tapped into another realm of our tastes and interests, like it doesn’t have that fuzzy sounding goodness that the demo had but it does have this shiny Big Star clean sound that we also really like. It’s two different realms but we like them both, basically. It was purely accidental but I’m happy with how it turned out.

 
To me (so correct me if I’m slightly wrong), there’s a clear line of influence from a lot of the old K Rec/Kill Rock Stars bands like Bikini Kill and the earlier Built to Spill EPs, as well a smattering of some Lookout bands, which had more emphasis on releasing records of substance. What is it about contemporary indie rock/pop-punk that has put more merit on the band’s physical appearance versus what they’re offering as artists?

Oh yikes, I mean I’d like to hope that people don’t do that. I feel like we are really lucky to be among this community that doesn’t really do the whole superficial hipster appraisal thing. I just feel like most of the people that I know who play in bands right now try (maybe subconsciously) to really contrast with the shallow commercial punk thing and really try to focus on artistic integrity and writing good music that they like. I would really hate to reference Joe Perry here (yes, of Aerosmith) but I saw an interview he did for PUMP (rent it) and he basically said that if he was an artist he would be playing at coffeehouses in Cambridge for no money, but he isn’t an artist, he’s a performer. That sums it up pretty well, I think. I try as hard as I can to alienate myself from the politics of all of it. If I get too caught up in what people are saying about my band or even worse, my physical appearance, then it distracts me from doing what made me/my band a conversation piece to begin with.
 
I read your missive about the B9 Board. Obviously, the people at the label can’t control what people say without either a) shutting it down or b) becoming completely dictatorial. I agreed with a lot of sentiments myself, but I feel like hardcore and punk these days is stunted in a way. Kids from when I was in high school could say some regrettable things, grow up and realize that they were being dicks. Now, I feel like the people who are saying some of this stupid stuff are in their twenties and should just know better. What is it about this forum that has allowed people to stay in a perpetual Lost Boy-period, so to speak?
 
I honestly couldn’t say. I have no empathy. I never really affiliate myself with people who think like that, not to sound snobby or jaded. I just have no benevolence for a lot of the stuff that was said. I’d prefer to isolate myself from it than analyze it under a microscope.  

When I saw the band last summer in Seattle, you guys were touring in two cars. Was that as hellish as I have imagined?
 
No way. We were actually in a van and a car and we shared gear on that tour. On our most recent tour we took two small hatchbacks and shared gear with the other band as well. It’s a little squished but you save a lot on gas!

[photo by Jacki Sullivan]

Now that you have a full length and a 7” under your collective belts, when can we expect a new record?

Absolutely. We’re going to start recording out new full length, “Sadie,” in a week. It should be out on Salinas Records probably in the fall. We’re really excited!  

On a personal note, my six year old is a huge fan of the band, to the point where she has repeatedly asked me for a guitar for her birthday (I’m trying to steer her towards drums). What bands would you recommend for her that she might like?
 
Oh wow, well when I started playing guitar I was 13 and my favorite band was Hole. As a result I spent a lot of my early show-playing/high-school-attending days emulating Courtney Love. If you want to steer her from that (high school was rough) I’d say you can’t beat Bikini Kill as a good intro-to-starting-a-band band, for ladies. Positive message, aggressive music, not terribly difficult to learn to play. That would be my best suggestion.

PS Eliot’s album, “Introverted Romance in our Troubled Minds” is out now on Salinas Records, as well as their newest EP, “Living in Squalor,” which is on Freedom School Records. They also have a website where you can read all the latest news. Photos lifted from their myspace and Salinas Records.

The Menzingers
“Chamberlain Waits”
(Red Scare)

(****/5)

The Menzingers, with their anthemic brand of punk rock, is a band that will always face some form of criticism in the same way that Against Me and Alkaline Trio have continued to experience a non-stop backlash from their latter-era studio albums. The immediacy that was present on The Menzingers debut album, “A Lesson in the Abuse of Information Technology” is still there, but the songs on “Chamberlain Waits” are melodic and well thought out.

“Time Tables,” for example, is a song that sounds out of place when compared to past Menzingers tunes, but it fits nicely on this album and segues in the Lucero-esque “Male Call.”

All in all, “Chamberlain Waits” is a very solid sophomore effort, thanks in part to their EP, “Hold On, Dodge,” which was a great way to transition from the bombastic record that was “Technology” to the polished sheen that “Chamberlain” has on its surface.

Listen to “I Was Born,” “Home Outgrown” and “Tasker-Morris Station” here

— Ryan Pangilinan