Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

https://akirakosemura.com/
Akira Kosemura (he/him) is a composer and pianist hailing from Tokyo, Japan. He is a prolific artist, constantly releasing solo albums and composing music for films, TV drama, games, stage, and commercial music.

Akira founded his own label Schole Records early on after his solo album It’s on Everything released in 2007 while he was still in school. In 2017 and 2018 Akira’s music was ranked in Spotify’s “Most Played Japanese Artists/Songs Top 10”, and his works have been highly acclaimed on media around the world, including US music media Pitchfork, Australian newspaper THE AGE, French public broadcast FIP, and Canadian public broadcast Ici Musique.

Akira’s major score works include Fragments of The Last Will by Takahisa Zeze, the Cannes 2020 featured film True Mothers (Asa Ga Kuru) directed by Naomi Kawase, Hollywood produced drama series Love Is__, the Nintendo Switch game Jack Jeanne produced by Sui Ishida, the TBS drama series Chugakusei Nikki, the contemporary ballet piece MANON, and the Japan Pavilion in Milano EXPO. His music pieces were also featured in the Amazon original movie Jonas Brothers’ CHASING HAPPINESS, the Venice Film Festival Golden Lion awarded director Audrey Diwan’s debut film Mais vous etes fous (Losing It), and the Toho movie Omoi, Omoware, Furi, Furare.

In recent years, he has worked on projects in different media such as SK-II STUDIO’s documentary The Center Lane (featuring Rikako Ikee), directed by Hirokazu Koreeda, the runway music for a collection from apparel brand TAKAHIROMIYASHITA The Soloist., as well as music for LA MER BLUE HEART, LAND ROVER, and L’OCCITANE. Akira has also co-produced a song with American musician Devendra Banhart.

In addition to his versatility and diverse portfolio, Akira has been working on a world scale. In 2022 he signed a contract with prestigious Decca Records, and the EP Pause (almost equal to) Play was released worldwide. Akira’s music was also sampled in John Legend’s song “The Other Ones feat. Rhapsody” included in his new album Legend Act I & II. And Akira’s first major album SEASONS was released on Decca Records (UMG) on June 30, 2023.

Allison esta de regreso con su nuevo album 120km/h !!

We film authentic artists performing original music. Check out some of our videos here.... http://youtube.com/ourvinyl

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