Red Scare Industries – October 15, 2021
It’s a big bad bunch of bangers but are they bigger than Kiss?
Hailing from Cleveland, Heart & Lung are, by their own admission, a Midwestern power pop boy band and I think that label sums things up succinctly. I might be slightly biased, having been born and raised there, but Ohio has been home to many an incredible punk band for as long as I can remember and, while I wouldn’t exactly say they all sound the same, there are definitely some similarities across the spectrum of talent found in the state and the Midwest region. I’m hearing a host of influences and, as the newest addition to Red Scare Industries, they’re certainly right at home alongside their label mates.
The first song and first single on Twisting The Knife Away, “Watch You Suffer,” dives head first into the deep end of denouncing devotion to deities and their energy is undeniable right out of the starting block. Wait, is this the Hextalls? Close, but not quite. Do I detect a light dusting of Dead To Me? Indeed, I do. Here they give you the first of many synergistic solos and a heavy dose of harmonizing, a taste of what’s to come. It’s a well crafted and scathing scrutiny of religion and as for those that use their imaginary friend as a means to control and manipulate, I too “wanna watch you suffer.” Slowing down ever so slightly, they fall into I’m “Fine.” It bounces along masquerading as cheerful in the same way we all too often disguise the sadness within as we convince ourselves that everything’s ok. It’s like that meme with the dog sipping coffee surrounded by flames summed up in a two minute Elway inspired tune and transitions via some a cappella action into “Punk Posters.” The verses are full of palm mutes and pinch harmonics and it’s seasoned with some exceptionally spicy guitar solos but I can’t help but hear a slight similarity to Blink 182’s “All The Small Things.” If they don’t make a video for this one with choreographed dances moves I’ll be severely disappointed…
The album definitely has it’s somewhat darker moments. “Headache,” decelerates things in a whiskey soaked sorta way with a detailed expression of depression and the effects it has on you and those around you. The hopelessness is even more apparent on “Never Come Home.” Losing someone is never easy and no matter how much you bargain, death is irreversible. This is surely the most serious and somber I’ve seen them so far and I’m totally getting strong Timeshares vibes on both of these tracks with a little Lucero seeping through. “I’m having pills for breakfast now, missing out by staying in…”
Despite the somewhat somber nature, there’s balance to be found by way of the shorter, faster, more sarcastic songs like something from the Short Music For Short People compilation. “Die Alone” gives just enough time to learn the hook and rip a little lead, held together with the ever present harmonies. There’s also the even quicker “Caveman,” clocking in at just over 30 seconds, both of which could have easily been lifted from The Lillingtons.
Approaching the end of the album, “Shit Together” comes in after a fitting sound bite from Blazing Saddles with an easycore intro and lamenting lyrics about low self esteem and coping mechanisms while failing to follow through with exercising them. It’s relatable. If “I don’t think that I’ll ever get my shit together” isn’t a sentiment shared by the vast majority of us at one point or another, I don’t know what is. Following shortly are “Drunk and Right” and “Control,” both songs about change in their own right. Sounding a little like Against Me!, not just here but elsewhere as well, the former is a fight song of sorts. You can get pushed around or you can do the pushing. Screw the status quo! The latter is more a call to action, complaints about climate science denial. Let’s face it. We’re out of control, but we were never in control in the first place so buckle up buttercup.
Winding down this roller coaster ride is “Earth, Wind, and Water” with it’s 3/4 time intro, octave guitar work, a double time drum beat, and even a key change, all the important pieces of a good puzzle in terms of instrumental elements, it has to be my favorite. Falling somewhere between Arms Aloft and Broadway Calls, it hits hard and fast while burning the candle at both ends and somehow, surprisingly, emerging unscathed. “I ain’t dead but I oughtta be…” It’s a beautifully choreographed and a chaotic ending to a rager of a record.
The harmonies creep out of every crevice, on both guitar and vocals, with just the right amount of “woahs” and, by adding a playful approach to deeply personal issues, the follow up to 2017’s You Wanna Know The Truth? is a Swiss Army knife of a record. They use all the elements at their disposal sparingly, pulling out only what they need when they need it, and then putting it away, using the next proper tool when it’s appropriate. Let’s face it, only the best bands have 3 singers and this is rock n’ roll, but that’s just like my opinion, man…
Jerred Lazar is a make believe musician and wannabe writer attempting to survive in Washington DC
