Wiretap Records/SBÄM Records – 19 November 2021
Two Words. Fast & Furious.
Avenues began tracking percussion back in 2017 at the legendary but now shuttered Atlas Studios in Chicago. However, drummer Marc-Alan was dealt a dastardly difficult case of diverticulitis putting production on pause but, even though it was soon combined with the dark cloud of the Covid 19 pandemic that settled over all of us, they stared down the many faces of adversity to eventually deliver a good goddamn record. Life gave them lemons and they made electric lemonade.
Having previously released a handful of singles and a few EP’s, the gang of four from Milwaukee, Wisconsin poured all their passion into their first full length, We’re All Doomed and, in my humble opinion, it paid off. Having formed back in 2006, it’s been a long time coming but it sounds like it was time well spent. Comprised of equal parts skate punk and ramonescore, it’s an unrelenting assault on your ear drums. They eloquently captured an incredible amount of energy and, just when you think they might let up a little, they hit you even harder. I’m drenched in sweat just thinking about it.
I was late to discover them but I fell in love immediately when I heard 2015’s Creep Show, finding a happy home on Wiretap Records who has been consistently putting out some my personal favorites in recent years, and this one is the newest addition to that ever growing list. They’re definitely among a solid group of peers, a little like label mates The Lucky Eejits and Night Surf or even a touch Taken Days. Prepare to be downstroked to death…
The moment I pressed play I did a double take because I thought I had cued up a record by The Copyrights. Forgive me me for mistaking it for “Trustees of Modern Chemistry” but “Blood On The Moon” is like seeing the storm on the horizon. It’s raining guitars in a downpour of distortion and, while the skies might open occasionally, letting in a little sunshine, they mostly get darker from here on out.
While there’s clearly continuity across the album, they’re not a one trick pony. They embrace their pop sensibilities on songs like “Supersonic” and “Straight Jacket,” which had me imagining Joe King joining a 90’s Lookout Records band… “She had me hooked the night she robbed a liquor store and danced to The Queers.” Sometimes they sound like Masked Intruder or The Apers with their major chord progressions and choiresque woahs. The second single, “Lights Out,” is a little like The Lillingtons with a pinch of Pinhead Gunpowder. Fast paced palm muting, light speed guitar licks, a strong rhythmic foundation, and a catchy chorus. They’re not constantly channeling the classics either and expertly balance things with influences from modern musical contemporaries like The Palatines or Broadway Calls on offerings like “I Let Go” and “Lights Out.”
They reach hurricane like levels of destruction on “Starfighter,” where I’m finding some similarities to 88 Fingers Louie and Millencolon with a solo that’s strikingly similar the one from “Boys Of Summer.” The band continues taking things to the speedier end of the sonic spectrum on the final song of the album, my personal favorite, “Devious.” Reminiscent of 90’s Fat Wreck acts like No Use For A Name and Useless ID, it seems like they saved the best for last.
There’s a lot of allusions to societies’ collapse broken up by some contrasting moments of comic relief and the structure and composition pairs well with the subject matter creating a chaotic atmosphere that’s incredibly complimentary to some of the apocalyptic themes. With rapid fire power chords, palm mutes, snotty vocals, and high pitched harmonies, I wouldn’t be surprised to find this on many a best of 2021 list by years end. Rinse, reuse, recycle, repeat. As they say, if it ain’t broke…
Jerred Lazar is a make believe musician and wannabe writer attempting to survive in Washington DC
