MINNESOTA SOUND REVIEWS - 6/5/2024
Reviews by: Alexandra Haynes, Writer @xalexonlinex
Edited by: Andrew Perrizo, Owner/Editor @PlaylistTC
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The Cold Casuals "Rattle My Bones"
“Rattle My Bones” begins with melodies that are multifaceted right from the start. This track has a freshness to it, making it feel summery to me. It’s upbeat despite its subject matter. The palpably funky bassline and guitar riffs galore make “Rattle My Bones” undeniably rock’n’roll, with the final bridge and last chorus solidifying that notion with powerful secondary vocals emphasizing the intensity of feelings being expressed, all while creating a tasteful stadium rock sound. The lead vocals on this have an appropriate level of grit as they scold their muse - “I don’t need a reason to give ya, for kicking you out of my life.” The Cold Casuals use auxiliary percussion to great effect; the listener can catch shakers and a tambourine being played throughout the song, which add playful body and compliments the solid drumming. “Rattle My Bones” was released as a single in May 2024 and will be featured on their upcoming EP. You can catch The Cold Casuals performing live on June 15th at Uptown Theater opening for fellow locals Charlie Doesn’t Surf with The Denim Boys, 7pm, $10.
WILBUR "(500) Days of Bummer"
WILBUR’s “(500 Days of Bummer)” opens with a King of the Hill sample, Bill Dauterive’s iconic and deadpan “I’m so depressed, I can’t even blink,” from season 1 episode 3. The line is an appropriate introduction to this black heart of a track, which I find impossible not to head-bang to. Firmly locked into doom metal tempos, WILBUR’s awesome sludgefest of sound is better described by the band themselves as “bummer metal.” WILBUR has two main philosophies, which are evident in “(500) Days of Bummer” - “Riffs, no solos, screams, no cleans.” Their vocals are consistently raw and brutal throughout, and the listener certainly will be hypnotized by their expertly executed riffing. “(500) Days of Bummer” was released on I’d Rather Not Talk About It in April 2024.
Gramma "NANANA"
Gramma’s style of hardcore is deeply satisfying and outright fun, further proven by their namesake-themed costume choice in the “NANANA” music video. Fuzzed out vocals, amplified, heady bass, and whacked-up distortion are all heavy hitting elements in the fifth track on Gramma’s brand new album, EAT. Where “NANANA’s” dark, hazy verses create tension, relief is found every time the song explodes into a poppier, still dripped-out-in-grunge chorus. This track is appropriately named after a piece of that chorus, the notably catchy “Na na na na na…” taunt, which will get stuck in your head. The simplicity of that vocal refrain, still spat out punchily, allows it to dance intimately with the full-bodied clash of punk rock instrumentation here, as well as contrast the otherwise shadowy lyrics; its playfulness feels rebellious, sarcastic. Its last appearance in the song transitions us (without missing a beat) to a crowd-pleasing eruption of feverish instrumentals, with the guitars going absolutely apeshit before “NANANA’s” sudden close. I can’t get enough of this, and love how much noise these three can make together.
GrayBeat, Hookdiggy "Diamond Mic"
“The only dope I got up in this trunk is this music!” This iconic bar comes straight from Hookdiggy on “Diamond Mic” as he raps in an old school style over the eclectic jams produced by GrayBeat. Hookdiggy’s words craft a sadly necessary visual which is illustrated in the music video by red and blue flashes - of how a traffic stop can be life or death for Black citizens. Observational and honest, Hookdiggy paints us the picture: “Lights flaring/Sirens blaring … Keep my hands at ten and two for you, Mister Officer,” “I’m heading to a show right now, is that gon’ be a problem?” Thankfully, Hookdiggy gets away, and is able to socialize and let loose for the rest of the song. The highlighting of systemic racism in our police force feels reminiscent of Laamar’s message in “Home to My Baby,” as previously reviewed. “Diamond Mic” is a slick track that cycles back to a party vibe, building a creative flex off the back of its much needed sociopolitical commentary. GrayBeat’s backing track notably features a wide assortment of instruments, jazzy refrains, and old school soundbites like the chopped up record scratches which add to the aesthetic and real feel of the song.
The Cameras "Greener Grass"
Wavy layers of staggering melodies ooze onwards with gentle and progressive momentum through the strawberry fields of “Greener Grass.” This track is contemporary in its experimentalism, but equally vintage and authentically groovy. As the second track on The Cameras’ first EP, All Your Friends, “Greener Grass” teaches the listener just what this band is capable of… carefully creating timeless, but fresh and new, indie psych-rock tunes. It’s a little bit woozy, a lotta bit spacious, and enticingly mellow, with many moving parts that reward the listener for surrendering to the vibe. The Cameras’ next show is on June 8th at Icehouse, 21+, 8pm, $15 at door.
Christy Costello “Tantrum”
Each piece of the instrumentation trickles in before Christy Costello sings spunkily over the band’s snarling guitars in “Tantrum.” Costello’s vocals are subject to a taste of the same distortion the other instruments receive, which bakes her words into the song in a highly complimentary way. An unexpected sax takes this song to the next level, as the layers of sound move it away from being pegged solely as alt-rock and, instead, drives the song forwards into experimental, big band sound. This track is a treat full of those sorts of twists and turns, where Costello’s style shines in navigating them with ease and tying everything together in a punk-infused, danceable package. “Tantrum” comes from her 2024 album, From the Dark. Her next gig will be a stunning experience, as she plays with fellow Minnesotans Matt Wilson & his Orchestra at The Hook and Ladder Theater on June 21st, 6pm doors, 21+, tickets starting at $24.
