Tropical Gothclub – Tropical Gothclub

With a name like “Tropical Gothclub,” it’s hard to pin down just what to expect. But Dean Fertita’s first solo outing (after a career in multiple bands as well as playing backing musician to many famous names, some of which are Sound Selections alums) is a neon freak-rock endeavor with nods to his past collaborators peppered throughout its 37 minutes. It bleeds cool with interesting guitar tones in conversation with psychedelic organ and a rhythm section that drives each song with a nimble-yet-solid beat. All this combines with Dean’s double tracked vocals (and the occasional vocoder, because why not?) for an interesting experience that’s retro new wave, yet modern indie rock.

Dean is a musician who I’ve apparently been listening to for YEARS but was unnoticed because he’s always been overshadowed by his collaborators. He’s worked with Queens of the Stone Age, Beck, Iggy Pop, Jack White and was in The Dead Weather and The Raconteurs among many other bands. That’s embarrassing to say, as he’s a very talented individual. I really hope we get more Tropical Gothclub in the future, as this album is right up my alley and is every bit as interesting as its eye-catching neon cover art suggests.

John Denver & The Muppets – A Christmas Together

When you think about John Denver, I’m guessing the first thing that comes to mind is “folk singer” or “humanitarian” and not “frequent Muppet collaborator.” Well, he was all those things, and in 1979 he and friend Jim Hensen graced the world with the first of TWO Denver/Muppet holiday specials called A Christmas Together. The soundtrack to the special is an interesting listen outside of the context of the TV special. It bounces around from zany to sweet and incorporates a smattering of musical styles that are as varied as the Muppets are quirky, with numbers like the Beach Boys’ Little Saint Nick existing on the same side as a rendition of Silent Night that comes complete with German-language verses. All the while John Denver acts as a sort of ring leader, fronting many of the numbers and showing off his amazing vocal talents throughout.

The Muppets inhabit a weird pocket of pop culture and you’ll be hard pressed to find someone who DOESN’T like them. They have persevered through multiple downturns in popularity and always find a way to return to relevance. Part of their staying power are the guests/collaborators they’ve worked with over the years. With his fuzzy friends by his side, John helped curate a selection of holiday tunes that’s fun for everybody and, despite the lack of context of the TV special, holds up surprisingly well thanks to the lasting legacy of the Muppets.

Siouxsie and the Banshees – Juju

Born from the punk revolution of the 70s, Siouxsie and the Banshees became leaders in the emerging goth rock scene of the 80s. Along with contemporaries Bauhaus and (despite what Robert says) The Cure, Siouxsie brought a dark edge to music and helped create a lasting genre. Their fourth album, Juju, was released in 1981 and really sees the band truly gel, landing on a sound that would carry them to great success. After experimenting with a more electronic sound on their third album, the group enlisted a full-time guitarist (John McGeoch) who rekindled the fiery edge in their music. Besides amazing guitar work, Souxsie’s refined vocal delivery adds a hint of menace that pairs nicely with the Budgie’s dark, plodding drums that trudge throughout Juju’s nine tracks. It’s a stellar album and a perfect jumping on point for anyone getting into this band or 80s goth rock in general.

Even though Juju is probably the best intro album to Siouxsie and the Banshees, it wasn’t my first album of theirs. No, Peepshow (another amazing SatB album) was my first real taste of Siouxsie and the group’s brand of goth rock. However, while I love that album, Juju is the one I come back to the most. Its distinct guitar work, vocals, songwriting… Well, EVERYTHING, makes it an album that is well worth frequent listens, as each time I hear it I find something else to love. It’s one of the best albums of the 80s and a must for any record collection.

Atom & His Package – Redefining Music

Atom & His Package was an anomaly in the punk world. Adam Goren’s one-man show, with drum machines (the “Package”) and his signature nasally vocal delivery SHOULDN’T have worked, but it did. Only active for about seven years, Atom released five studio albums and made a lasting mark on the punk world. His fourth album, Redefining music, finds Atom at his peak. Here he really found his footing and solidified a sound that sounded much more complex than it actually was. The drum machine is more natural sounding, the guitar is much more prevalent, and, most importantly of all, the songs are catchy. Atom’s uniquely sharp observations permeate throughout this album and we see the beginnings of a slightly more mature writing style. Overall, this album is one that will make you think and will have you singing its hooks well after it leaves your turntable.

It’s no secret I’m a longtime Atom & His Package fan. When I heard him back in my junior year in high school, right before Redefining Music was released, he changed my perspective on music. Prior to Atom I was something of a metal head. After Atom, however, I was opened to a whole world of amazing music, which expanded every year since to grow into the very well-rounded appreciation for all music I have today. I actually wanted to feature Atom sooner in my Sound Selections column, but I only recently was able to obtain a vinyl copy of this album (which is my favorite of his). While admittedly some lyrical elements have not aged well, overall I think the record was a benchmark for the late 90s-early 00s punk scene and a truly unique musical offering worth your time.

Brainiac – Hissing Prigs in Static Couture

The 90s were a VERY interesting time in music. One of the most interesting bands to come out of that musically turbulent decade was Brainiac. Their pioneering mix of grunge, experimental, and noise rock paved the way for acts like The Paper Chase and Sound Selections alum Whirlwind Heat. Their third (and unfortunately final) studio LP, Hissing Prigs in Static Couture, is a showcase of what they were all about. At this point in their career they had found their footing and hit a solid sonic stride. Hissing Prigs packages cutting guitar riffs with strangely distorted vocals, found audio samples, and sharp synth interjections into a record that keeps you guessing until the very last note.

Admittedly, Brainiac is a new band in my collection. I recently watched the excellent documentary Transmissions After Zero about their short career and was shocked that I hadn’t heard about them until now. Being a fan of noise rock for quite some time, the fact that these guys flew under my radar for so long is almost criminal. My personal favorite track, the one that just grabs you by the ears, is “I Am A Cracked Machine.” It’s the final track on Hissing Prigs… But to me it’s the track that most commands your attention. That distorted vocal intro and the build to musical explosion is perfection. One truly has to wonder, if not for the tragic death of their frontman, just where Brainiac could have taken their sound and how much larger of an impact they could have had on music in general? We’ll never know, but at least we have the gem that is Hissing Prigs in Static Couture.

Reptaliens – Multiverse

Released just this year, Reptailens’ Multiverse is an album clearly influenced by the pandemic. Feelings of being trapped and wishing for more are weaved together with a shoegazey, psychedelic sound. Dreamy vocals float over whimsical guitars and a groovy bass for a collection of tracks that feels light and airy, but are so much more than simple pop songs. Oh, and if you need assistance taking to the air with the Reptaliens’ excellently breezy sound (which shouldn’t be hard), the album comes with branded rolling papers, which will be of more use to you depending on the state where you live.

My first encounter with Reptaliens was their performance of Multiverse’s opening number “I Feel Fine” on the show Wastoids. On the one hand you had this dreamy song about pandemic-driven lethargy, yet on the other there was a person dancing around in a poodle costume. I didn’t know WHAT to make of it, but my curiosity was piqued and I wanted to hear more, so off to Bandcamp I went. (Mission accomplished, I guess?) Poodle dancer aside, Reptaliens offer a solid sound that is great to put on and chill out. They offer enough substance to keep you engaged, but it’s not too heavy and allows you to float along with melodies.

Bob Dylan – Desire

Desire, Bob’s 1976 album, is a very collaborative effort that really encapsulates his creative circle into its every bit. From the collage on the back cover, to the Allen Ginsburg-penned liner notes, to the ensemble of talented musicians on every track, this album is more “Bob Dylan and friends” than anything else. Scarlet Rivera’s distinct violin work weaves throughout Desire’s nine tracks and Emmylou Harris’ iconic voice sings harmony to the point where it’s more of a duet than a backing vocal. It’s a freshly brilliant americana offering from the artist who (arguably) brought folk music to the mainstream.

This era of Bob’s is by far my favorite. Blood on the Tracks/Desire, as well as the Rolling Thunder Revue live album, are, to me, peak Bob Dylan. You might not agree and that’s fine. I’m not discounting any of his other iconic albums (the fact that’s pluralized is amazing enough). Bob has had such a long career with many distinct “eras” that everyone will have different opinions on what era is better than another. For me, Desire is great because it’s an album that has a lot of heart and character. It looks out at the world AND peers inside the soul with a sound that holds you firmly in its grasp throughout both its sides.

Japandroids – Celebration Rock

Released in 2012, Celebration Rock was Japandroids second album and the one that shot them to indie stardom. It’s a collection of nine tracks that aims to capture the energy of their live performances. While I haven’t seen them live (yet), this album is a firecracker from start to finish. It’s got a solid punk sound tied together with a bit of rock and roll twine for a package that offers a Descendants drive and a Tom Petty jangle. That’s really impressive considering it’s only two guys. For a duo, the Japandroids have a sound that is much fuller than their member count would imply.

I love power duos. I’ve covered others in these weekly reviews and you can safely bet I have more planned. I’m not sure if it has anything to do with my own band-member limitations, but I adore hearing what can be done with only a few people. Japandroids are a shining example of how to create a solid sound with limited resources. There is deceptively little going on in the songs, but they sound full and have an energy that few can capture in the studio as successfully. Each song makes you want to sing along and would kill in a live setlist. It’s well worth a listen and one that deserves a home in your record collection.  

B.B. King – Indianola Mississippi Seeds

Indianola Mississippi Seeds was B.B.’s eighteenth (!) album. Released in 1970, This album is NOT what you’d expect. Starting off with the stripped down “Nobody Loves Me Like My Mother” it lulls you into a false sense of sameness. “Oh, ok. Pretty straight forward blues…” Then it explodes into the killer “You’re Still My Woman” and weaves and ducks through the remaining seven tracks that sees B.B. deliciously incorporate an orchestra as well as venture into more straightforward rock territory. B.B. navigates these additions and changes with ease, creating an album that’s subtly eclectic yet 100% true to B.B.’s style. It’s no wonder B.B. himself noted Indianola Mississippi Seeds as his favorite release.

I’m probably speaking to the choir here, but B.B. King was a true legend. He was someone that every guitar player is influenced by, whether they realize it or not. His style was studied and imitated by many artists and it’s very likely that your favorite guitarist studied him. I sure have. Hell, I once messed up my shoulder trying to emulate his signature “butterfly” vibrato technique (don’t ask). He was an artist that truly infused emotion into his music and his guitar. George Harrison might have made his guitar gently weep, but B.B. made his truly sing with the whole breadth of human emotion.