If you want to judge a book by its cover, you’ve come to the right place because God Bullies is the point of focus here. The band’s membership has shifted from its original incarnation throughout the years it was first active from 1986 – 1995 and after 30 years, its back, spitting in the face of all the naysayers. While the bulk of its material could be found on Amphetamine Reptile, the band has found a new home for As Above, So Below (Reptilian Records). The band still doesn’t care about what you think of its music or the band itself, spitting in the face of everyone. By the band’s album cover, Christianity isn’t even a thing. But the band, the band, they’re outrageously loud with tracks like “Lies (WWG1WGA)” that are relentless, while “Save Me,” seems to poke fun at my in-laws. “You Call This Love” is a different beast altogether. The tracks here are fiery deliveries and never let up.

A PLACE TO BURY STRANGERS – SYNTHESIZER

There’s something to be said about being able to watch the growth – the evolution – of a group from one decade to the next. Either things become stagnant or translate their sound in various ways that may appeal to the many. It happens one way or the other and with New York’s A Place To Bury Strangers, the band has become less reliant on noise, with much more focus on song structure and innovation. While the band has shifted its lineup throughout the years it’s been solidified for the past few years with John Fedowitz on bass, Sandra Fedowitz on drums, and the one consistent member, Oliver Ackermann on vocals & guitars.

With the band’s new album, and 7^th overall, Synthesizer (Dedstrange Records), still prevalent is the unrelenting wall of guitars on the opening “Disgust.” While APTBS may sometimes travel on roads already taken, it does an extraordinary job of dynamically shifting the track just with guitars alone (Enter cheap comparison here: I’ve watched Daniel Ash do this in the past as well). However, the entire group will subtly change levels as well. It’s an interesting way of writing and making it work, which it does here. As previously mentioned though, APTBS doesn’t always rely on encumbering songs with noise, and “Don’t Be Sorry” should be applauded for its simplicity and hypnotic melody here where we can hear Ackermann’s almost spoken baritone under guitar notes as he sings about himself being “passed out behind the wheel” and how “memories are fractured and surreal.” Yes, there’s a rhyme scheme that isn’t forced and it works to his own benefit.

A Place To Bury Strangers digs in deep to deliver songs here as well that could have appeared in cheesy 80s sci-fi noir films, like the mechanical “Fear Of Transformation.” There’s no sense of self-indulgence in its creation and it still somehow fits within the band’s sonic terrain and identity. It’s back to business as usual on “Bad Idea” where we welcome those exploding guitars, with remnants of feedback floating across as the rhythm hold steady at every point. It’s riveting and challenges the sense at just about every turn as well. This isn’t noise for noise’s sake because the melody is infectious. APTBS changes its textures on “You Got Me” and gives off “The Metro” vibes. It’s not a rip and the similarities are negligible. The band kills it on this track though and that’s probably the most important factor. There’s so much going on in this album that it might come across as daunting but really, it isn’t. “It’s Too Much” is all over the place with wildly challenging guitars and percussion and Ackermann peeling the paint off the walls with his vocal melodies while “Have You Ever Been In Love” is just relentless! The band never catches its breath with a consistent rhythm and Ackerman offering up howls in between his vocal delivery, crashing against outrageous guitars. It’s the closing “Comfort Never Comes” that you need to watch out for though, coming in at almost 8 minutes. It’s obvious the band takes no shortcuts as it slowly builds against a rhythm and melody, allowing it to draw power from the sound of those two things themselves. Keyboards linger all around as overdriven guitar notes howl. It’s a beautiful track and you barely notice how lengthy it is.

Listening to Synthesizer, is an experience like no other. There’s a shift in the band’s sound which isn’t drastic but enough to take notice. The album goes off like an explosion of pop rocks in your mouth as you wonder why did you eat that and then think, “Oh yeah, that’s right. It’s what I needed right now.” That’s how APTBS will make you feel.

DISINTEGRATION – SHIVER IN A WEAK LIGHT

Cleveland has had a long history of independent punk music noted in the annals of history so it’s no surprise to find new acts following in the footsteps of those that came before them. With that said, Disintegration – made up of singer/synth Haley Himiko, guitarist/vocalist Noah Anthony, bassist Christopher Brown, and drummer David MacCluskie – comes out the gate with its debut long-player, Shiver In A Weak Light (Feel It Records).

The band’s post-punk sound is evident as its guitar/synth-driven sound hits you directly in the face on “Pioneer” as it drives right off the rails and into oncoming traffic avoiding all comers. It’s mechanical, synth-driven with guitars wrapped around it. But there’s a slight issue here. There’s a keyboard part that sounds extraordinarily GAGA. No, it’s not the same but once you hear it, you can’t UNHEAR it. The track itself, coasts above any expectations, surpassing them quickly as the vocal melodies sway in the wind…and there goes that keyboard part again. Yeah, it makes me smile every time. “Hideaway” quickly follows and damn it, its infectiousness is mired by other similarities and will force listeners to take a trip across to Berlin. Given, that there’s always an understanding of influences but hey this might be the best song the band never wrote. In the manner guitars peel in and out, Noah Anthony makes it sound as if notes are moving backward as he draws them out while Brown & MacCluskie keep that rhythm going. Himiko does have a powerful voice to match her synth skills which rounds everything out perfectly.

When the synth hits on “Shot by Both Sides,” you’re left confused with a rhythm that seemingly moves forward and backward but the band plays tricks on your senses here and there isn’t any doubt Himiko has a voice to be reckoned with. When she sings “Shot by both sides / navigating all your life, masquerading all your life / shot by both sides / …running out of time, disappear in your disguise” you want to learn more, you want to hear more. She sounds as powerful as one of my favorite artists from years past who now scores films (Yeah, I’m not making any obvious comparisons). But now, can we talk about “Abandon”?????? This stark track showcases the ability Disintegration has to give listeners powerful songs with minimalist effort. The music alone is captivating with Anthony’s backing vocals complimenting Himiko’s. If there was ever a song in contention for one of the greatest this year, yes, this would be it. On “Messages” it sounds like guitarist Noah Anthony grabs hold of the mic for lead vocals(?) but it changes nothing because the band’s identity is kept intact although the song is much more guitar-oriented. The melody is completely unrelenting and will have everyone in lockstep mode with complete abandon!

It seems there isn’t an easy way of skipping tracks here, which leads directly to “Shadow Of Love.” Now while the music is continuously wrapped within a post-punk fervor come to life, the band takes a different approach here, channeling 80s Disco right into the mix. It’s that repetitive low-end as Himiko once again challenges with a vocal delivery unlike any other. The band pauses, having listeners believe it’s come to a close but no, the group comes back in as hard as ever. This shows Disintegration can be unpredictable and we should all welcome that aspect of the band. That lockstep returns with the haunting “In Your Diary” with a mechanical bottom end that sounds emotionally stark and drained. This is just wild.

For a debut full-length offering, Shiver In A Weak Light is a powerful release that keeps you guessing from beginning to end. Ten strong tracks that are all highlighted with a variety of distinguishable marks but the band stays easily recognizable. This Disintegration album is probably the sleeper of the year.

NAKED GIANTS – SHINE AWAY

(Ok, maybe this is a disclaimer, I don’t really give a shit, but lately, I’ve been told I offer up way too many comparables. Eh, it is what it is. I’m in a mood, so sue me, cancel me. Pfft.)

There are going to be artists you’ve never heard of before and unless your focus is strictly on music with no other interests, you’re going to miss one or two hundred of them. So no, I don’t feel bad for not knowing your local band that’s never toured outside of its own city (sorry, another disclaimer.) but not everyone is going to be a focal point. But we can sometimes open the lines of communication to find something new.

While not necessarily a new outfit, Seattle’s Naked Giants have released its third long-player with Shine Away (Devil Duck Records) and right away I’m hit with the slacker initiative within its music. That’s not necessarily a bad thing, so long as your songs are strong and concise. Is that the case here though? Well, on first listen the band, its “Apartment 3” is briefly reminiscent of another group. I couldn’t remember the name of the group but then just Googled “Hey, hey! You’ve got the music in you…” because it hit with that kind of energy at first, although it moves a bit at a slower pace and the impression doesn’t last that long to make a true comparison. But these friggin’ guys, yeah, they do find solace living in a 90s slacker world, that’s a better descriptive for the band, made up of vocalist/guitarist Grant Mullen, bassist/vocalist Gianni Aiello, and drummer Henry LaVallee. The band doesn’t need two drummers or two guitar players, they’re comfortable as a 3-piece.

Naked Giants seems like a clever band, not just in name alone but with their song structures, sometimes laconic vocal deliveries, soaring harmonies, and distorted jangly indie-rock guitar play. Actually, the band plays a lot better than my description of its style. They write songs about heartbreak, good guys coming in last, never having that proverbial overflow in cups, and not being sure if you’re alive? Mind you, these guys are really fucking good musicians, and the tracks here, while showing similarities to other groups that may be defunct or decades old, eh, there’s passion and energy. “Did I Just Die” incorporates piano to fill out the sound and these guys howl midway through. The song’s dynamics shift, crescendos come and go, and the three of them capitalize on it. The band’s “Case Of The Bastards” just explodes and goes all kinds of sideways but that seems to be the group’s appeal; it doesn’t do what anyone expects.

It’s the group’s closing title track though that really catches my attention, where it seems Mullen does his best Tom Petty impression without even realizing it. But the song’s mid-tempo delivery doesn’t leave us prepared for its majestic beauty. There’s a rhythm that you can’t shake and the distorted guitars fit in perfectly every time they drop.

Yeah, I’m glad I’ve familiarized myself with Shine Away because Naked Giants is an amazing band that pulls melodies from the oddest places and make it work every single time.