I recently received this record in the mail.
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August 14: Today in Music History
Johnny Ramone Nearly Dies in a Street Fight
As reported by Ultimate Classic Rock in 2023, things nearly turned tragic for Johnny Ramone on Aug. 14, 1983, when a post-concert brawl left him fighting for his life.
The Ramones had spent the early part of the year on the road in support of their seventh studio album, Subterranean Jungle. They returned for a performance on Aug. 13, in their hometown of Queens, N.Y.
In true Ramones fashion, the show didn’t end until early the next morning. Afterward, Johnny – whose real name was John William Cummings – headed back to his apartment in the East Village. Along the way, he spotted Cynthia “Roxy” Whitney, who he’d had an on-and-off relationship with for years. Whitney, who appeared intoxicated, was chatting with another young punk rocker, Seth Macklin of the band Sub-Zero Construction.
Album Review: After the Snow by Modern English
Produced by Hugh Jones, the album’s eight tracks clock in at just over 30 minutes, blending driving rhythms, atmospheric keyboards, and Robbie Grey‘s haunting vocals into a cohesive, if occasionally eccentric, soundscape.
The album opens with “Someone’s Calling,” a brooding call-to-arms with pulsating bass and urgent percussion that sets a tone of existential unease. Tracks like “Life in the Gladhouse” inject funky tom-tom beats and serpentine bass lines, evoking a paranoid dancefloor vibe reminiscent of early Talking Heads. “Face of Wood” delves into darker territories with its ominous intro and melodic undercurrents, while “Dawn Chorus” offers a pretty yet melancholic interlude, showcasing Stephen Walker‘s prominent keyboards for a grand, romantic sweep.
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Album Review: The Jester by Wallice
Clocking in at 14 tracks and around 46 minutes, it weaves a tapestry of eclectic sounds and introspective themes, drawing from her previous EPs like Off the Rails and Mr Big Shot while expanding into more ambitious territory.
Wallice, known for her witty lyricism and raw vulnerability, channels the chaos of young adulthood into a sonic circus that’s equal parts playful and poignant. The album’s sound is a genre-hopping delight, blending shout-along indie rock with hypnotic synth-pop, grunge edges, folk introspection, and even jazz flourishes.
Opening with “The Opener,” a theatrical burst of energy that sets the stage for Wallice‘s hunger for recognition, the record shifts seamlessly between moods. Tracks like “Gut Punch Love” deliver dreamy, feel-good pop with a punchy narrative about familial heartbreak, while “Clown Like Me” – co-written with Albert Hammond Jr. – features catchy guitars and circus metaphors that capture imposter syndrome with infectious hooks.
Album Review: Big Dog by Bria Salmena
Best known as the frontwoman of Toronto post-punk band FRIGS and for collaborations with Orville Peck, Salmena channels years of personal upheaval—including the pandemic—into a 13-track chronicle of transformation and resilience. The title, inspired by finding inner strength and support from loved ones, sets the tone for an album that’s raw, unpredictable, and deeply intimate.
Sonically, Big Dog is a shapeshifting beast, blending hazy indie rock, alt-country twang, krautrock pulses, and cabaret flair. Salmena‘s voice—powerful, hypnotic, and laced with a deadly hunger—anchors it all, drawing comparisons to Ethel Cain‘s grit and Lana Del Rey‘s romance.