Hardcore Punk made by Dads, about Dads, for Everyone

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!

Man Della Records is an independent record label founded in 2016 with the purpose of providing an artist friendly label.  Our intent is to partner with artists who provide original music and are ready and willing to  promote their recordings. This is a venture that will require hard work and dedication from both the artist and the label.

Loud, heavy, and fast.

Four guys from bands you already know: Kraut, St. Bastard, Reign of Zaius, and Eternal Black.

Since its inception, Unit F has been walking the fine line of socio-political consciousness and chaos with their own amalgam of dark punk, deathrock and esoteric rock.  The approach is a dynamic yet defined sound, showing an awareness of punk rock’s musical heritage and its decided trademark charge of the need for social and political change so typically absent from popular culture.

In 2020 Unit F announced the additions of drummer Andy David and Peter Moreno on bass following the late 2019 departures of Guillermo Santacruz and Phil Moore which effectively hit the pause button on the release of its fourth full length, which is now planned for 2020 to stand alongside Ecocide: Songs of Dysfunction (2018), Comes The Day (2014) and American Shutdown (2009). The new self-produced effort signaled a return to friend and producer Jim Monroe (Adolescents, Fu Manchu, Manic Hispanic, CJ Ramone) who was responsible for previous full lengths (along with Greg Hetson), as well as the hard charging Same Ol’ Story EP (2012).   

By the summer of 2019, the recording process yielded a four song ‘single/ep’ which will be self-released in March of 2020 , along with several new music videos (Joe Gill producing). The songs include Memo (To Myself), Human Zoo, Jesus Saves, and It’s Okay. That same chemistry and the penchant for songwriting that became Ecocide, is on full display with these numbers, with a unique view of the systematic appropriation of the individual by the corporate system (Memo), a dour look at the homeless crisis witnessed first hand (Human Zoo), and a dangerously sarcastic look at the hypocrisy of the political evangelicals (Jesus Saves). The final barrage is saved for the sneering tongue in cheek It’s Okay, lamenting the everyday wasting process of our collective complacency.

The current the lineup began will continue playing as a four piece, still led by original vocalist Mel Schantz who pens the lyrics and mans the vocals. It is a quicker if not louder, more dynamic and version of the band, with Andy David’s expressive drums, and the wall of guitar effect by Dave Costa.  Combined with Peter Moreno’s driving bass lines and backing vocals, Unit F’s sound fills up the room as well as it translates to the big stage.

Vanessa Silberman is a singer, guitarist, songwriter and record producer from Brooklyn, NY (Via LA). 

Vanessa's live shows & music has been compared to the raw bare bones rock 'n roll of Nirvana along with the appeal of Liz Phair & Chrissie Hynde, authenticity of classic artists such as Patti Smith, Neil Young & the pop sensibilities of commercial radio artists such as Green Day & Metric. 

Audiofemme.com named the touring singer & guitarist one of the hardest working bands of 2019, 2018 as well as 2017 as she managed to play over 200 shows that year. Vanessa has done over 20 tours between 2015-2020 & played over 800 shows across the U.S. as well as in the UK & Europe supporting 2 EP's & various singles (released through her label) & a vinyl through Resurrection Records.

‘Who We Are’ was Silberman’s first new single of 2020 beginning the launch of releasing one song each month. Her 2nd single ‘All the Kids’  explored more punk sounds mixed & pop elements & her 3rd single ‘Back in the Day’ dove deeper into more pop prod.  ‘Hey All’ Vanessa’s 4th single of 2020 (6/5/20) got a bit heavier but w/ a positive message.   ‘Written in the Stars’ (7/3/20) dove in a different direction w/ lush strings, piano, beats & vulnerable lyrics. ‘Down’ (out 8/21/20) was punky and energetic. ‘Something To Believe In’ (9/30) explores a totally new territory with a southern and western film inspired musical feel and Lana Del Rey type vocals.

13StitchesMagazine is following