The Lillingtons Stella Sapiente Review

The Lillingtons
Stella Sapiente
Fat Wreck Chords
review by hutch

Once upon a time, The Lillingtons were content to admire the Ramones and write music in that vein. And ain’t nothing wrong with that. The Lillingtons, since 1996, were damn good at melodic, hook-soaked punk rock and roll. Simple songs, yet infectious as hell. The Lillingtons released four albums. As they progressed, they developed their own signature sound, which held an ominous portentous vibe. 1999’s Death By Television is a classic. Their 2006 release, The Too Late Show, boasted two classics, like genre transcending; “Vaporize My Brain” and “All I Hear is Static”. And then The Lilllingtons decided rest was needed. The band was decommissioned. 2017 sees the unholy resurrection and a welcome rejuvenation. The band has taken their foundation of melodic punk, but approached Stella Sapiente with an ardent ‘80s adoration, infusing more dynamics into their songs.

Stella Sapiente maintains the foreboding presence which The Lillingtons’ albums have cultivated. And then the band doubles down. Utilizing many echoing ‘80s guitar lines, a new dimension is explored in The Lillingtons’ music. The lyrics are all about the eerie and haunting as usual, but a specific focus on secret societies and mysteries are the focus. The opener “Golden Dawn/ Knights Templar” is a stark declaration. “Night Visions” is a concrete 80s infusion, huitars swirling in a miasma of reverb. The surfy pluck is cool and offsetting. Let’s not forget, an October Friday the 13^th is Stella Sapiente’s release date!

The dissonant guitar of ‘80s somber canon; especially, Joy Division, The Cure, The Church, The The, a little Television; think Tiger Army’s infusion of The Smiths into their rockabilly on Ghost Tigers Rise. “Night Visions”, again, holds the feel of a drum machine, but still gives that extra spark, that snap, that live drums provide. Swirling and repeating guitar lines are the foundation, but layers grow within the song so it builds and builds.

The darkness of Death By Television and The Too Late Show fashioned securely, Stella Sapiente still packs quick punches with fast punk songs., The second Track, “Insect Nightmares” and “K6” are killer tracks. The gem – and first single, “Zodiac” is a brilliant trek; a classic mid paced, melodic Lillingtons. All the aspects of my favorite song, “Black Hole in My Mind” are there. Toward the end of the LP, the one fast one for side B, “They Live”, is fast and frenetic. This one is a real punch. This is dark and classic Lillingtons. These tracks are still clean, polished punk; well written and engaging. Just more familiar to old fans. The production does give the sound a large, grand presence. All elements are mixed cleanly and give separate attention to each instrument.

Another stand out is “London Fog”, which is a courser, fiercer track with sharp riffs and a pounding chorus. The Lillingtons are always employing “whoahs” and harmonies. Whether you call it melodic pnk, pop punk (which I would resist), or simnply “catchy” – never read that as “soft”. Even the slowest track, is dark and subversive. The melodies are undeniable. But the dominant feeling for the listener is that of finding a peephole into a clandestine meeting. One’s spine is tense and fraught.

Lillingtons are delving into 80s, staying quiet for side B. Or rather the play with tempo and energy. They temper certain sections while letting free of fetters at other times. And this is within the same song. For “London Fog”, they bandy between more aggressive instrumentations after quieter openings. All of which are under melodic singing. The dichotomy plays well after laying low. “Cult of Dagon” is just slow and atmospheric, it’s a cool break. While what follows, “Villagers”, is the sound of Scandal, Pat Benatar, and an emulation of Billy Idol; a straight ‘80s pulse with bells and momentary guitar chord strums. It grows into a rougher approach by the bridge. “The Walker” follows and does the same – a strong, dirgy riff is sporadic while the verses grab the Echo and The Bunnymen approach except for a gritty riff which simmers and surfaces.

Stella Sapiente boasts the depth of Death By Television with more thoughtful songwriting and cleaner production. The cuts are slower and deeper; less three chord romps, more songs constructed from crisp guitar lines. Stella Sapiente is a great addition to The Lillingtons’ catalog with a step in a tangential direction.

RIYL: Ramones, The Queers, Teenage Bottle Rocket, Tiger Army, Misfits, (early) The Cure, Ceremony (L Shaped Man), Damned (but which era?)

Night Birds and Western Addiction announce East Coast shows

Night Birds, one my favorite bands, have announced some east coast shows with Western Addiction in July. Night B
Birds have been quiet recently since Mutiny at Muscle Beach in 2015 via Fat Wreck Chords. Hopefully this will trigger new music. Their fiery blend of dark tones, horror surf, and classic chaotic hardcore mesmerize. They are joined by Western Addiciton. Their 2005 LP, Cognicide, was a sleeper. However their new LP,  Tremulous shows growth and sustained fury.





Read my review here at New Noise Mag.

Date City Venue
07/27/17 Jersey City, NJ Monty Hall
07/28/17 Philadelphia, PA Boot & Saddle
07/29/17 Cambridge, MA 55 Bishop Allen Drive

Dirty Nil Cinnamon Review

The Dirty Nil

Cinnamon b/w Guided By Vices

Fat Wreck Chords

Review by hutch

Admittedly, I had never heard of The Dirty Nil. That said, I am not a fan of the FWC ilk. The Dirty Nil however evade the poppiness or uber polished production of most of Fat releases. The Dirty Nil, and their damned handsome youth, has been a band since each members’ high school years. That was only in 2006. This is their fifth EP since 2011.

The Dirty Nil boast a captivating sound, while maintaining a raucous edge that conveys an authentic adoration of rock and roll. The first track, “Cinnamon” reminds me of what I thought Everclear should sound like (“Santa Monica” is a classic, but beyond the sentimentality of “Father of Mine”, I never liked any other song by them. Yet when reviewed, they got called “punk”.) “Cinnamon” probably extracts the aspect of Weezer that punk dudes like, but which I never got. It’s dirty and wrought with feedback, like a happy Nirvana. The catchy riff and vocals are undeniable even for a curmudgeon like me. The factor which impresses me is straight forward production. No one over thought this and it works perfectly.

“Guided by Vices” is relayed with a broader approach; a little grander in scope. And hey, this track sits at 2:30, as opposed to side A’s 2 minute trek. Again, solemn feel being exorcised through coarse, garage rock delivery melds well. The combination of attitude and execution won’t kill the party, but will prompt you to grab another drink. There are some swirling indie spasms of say an early Pissed Jeans; but they wander as light as a Jawbox or Jawbreaker. They stay steady in the rock and roll course.

Poking a short digital distance on Vimeo, The Dirty Nil performs a faster (1:39), blistering rager named after their hero, “Guy Piccioto”. As with this video, other videos (including “Cinnamon”) continually have the band live in a small room among three or four friends. Eschewing the pretension and garish arrogance which making a video could conjure, these young dudes earn respect points as well. A few listens, and I want to play it more. Volume, speed, and grit push this band. Now we need a full length.

The cover is cool, a minimalist’s Dead Kennedy scrapbook pop art feel; the American family superimposed over a spewing, erupting volcano. FWC delivers this catchy thing on colored vinyl. The pics of the band look like what I expect from California kids (who are from Hamilton, Ontario actually) who are happy and full of promise. It’s infuriating.

RIYL: Filthy Nights, The Sun, Born Liars, The Jons, The Lillingtons, Leatherface, Avail