The nice folks over at For The Love Of Punk had some nice things to say about our record SI>GO.
Go HERE to read it yourself or...
If SPELLS are to be believed—and really, they haven’t bullshitted us yet, Staying In Is the New Going Out.
It’s fitting that the Denver quintet expresses this sentiment on their new record (with a song of the same name, no less). This way, they can give their more socially anxious fans a way to listen to relatable pop-tinged punk songs without ever having to go to one of the group’s shows. Also, since older punks age much more gracefully when they don’t interact with the rest of the world, everyone wins when they stay home. Huzzahs all around! Of course, this is but one song on the new SPELLS record. There are others, and you’d be hard pressed to find a dud among the bunch (moreover, you’d be foolish for looking for one).
The slab of wax begins with the scorcher, “Freak Out,” a song that implores listeners to “leave your hang ups at the door” and do the Freak Out, a dance that includes—but is not limited to—spinning, drooling, and shaking. It’s the skillful gyration that singer “Little” Stevie Shithead performs at most shows (that several fans might not get to see due to all the staying in and not going out; I can assure you, it’s a sight to behold).
“Second Home” is a fantastic straight-up, no frills punk tune that really inspires anyone in the general vicinity to do some kind of bizarre dance (thank goodness this record begins with instructions).
The second side commences with “Pick Me Up,” a song that wouldn’t sound out of place on the Lookout! Records catalog circa 1991. It’s delightfully melodic with beautifully distorted guitars (courtesy of Charlie “Continental” Stimsell), driving bass (played by Duke “Box” Standard), uptempo drums (provided by Peter “P” Bohner) and smooth backup vocals (thanks Ella Sugar!). While “Better Days” is momentarily brooding and rueful, the very next song, “Back Window,” brings the mood back to the life affirming, fist pumping punk party that kicked out the jams like mother fuckers on the first side.
The record concludes with the powerful “Nitro Breakdown Right On,” a tune that really fucking takes it home. Generally speaking, most good live acts struggle to channel the energy of their commanding stage presence into the studio.
And even though this band wears matching uniforms and brings the fuck out of it every time they play, they somehow manage to make Staying In > Going Out one of the best highly anticipated full lengths in recent memory. And of course, once you get the album, ignore all the staying in talk and see them play. It just might tip the balance so that Staying In < Going Out—at least for a night.