IN REVIEW: Dead Sara - "Temporary Things Taking Up Space"

Upon reviewing Dead Sara's second album, 2015's Pleasure to Meet You, I talked about how their pending major label contract had fallen through, and how it may have been a blessing in disguise because we got a raw, powerful, uncompromising and amazing record.

Well, here we are again; Dead Sara has another shot at major label success, only this time there seems to be concessions all over the place.

First off, this is a mere six song EP (and, from the looks of it, not the precursor to a new full-length); it's over and out in just over 20 minutes. After a wait of more than three years, it's a pretty slight offering. That said, this seems to be the way a lot of new major label artists are being promoted these days, so I suppose this is what we get. I also feel like I have to mention the band and/or label's refusal to release it on CD, so old guys like me can't even put on the shelf next to the others.

Next, there's the matter of the music; far be it for me to criticize a band for going after a lighter sound, but the difference between TTTUS and Pleasure to Meet You is jarring; comparatively, it feels like a batch of songs designed to maximize exposure and spins. Ironically, the one glaringly obvious exception, Unamerican, was the first song chosen to promote the EP. This most closely calls back to earlier Dead Sara, with a biting dialogue and slashing guitars. For the majority, though, guitars are cleaner and synth-pop flourishes show up throughout, giving the band a more sanitary and socially acceptable sound.

Finally, I have to address the concession in production; like so many big league bands, the mix on TTTUS is loud and not all that concerned about the ears of people who enjoy listening to music the way it was meant to be heard. I've talked about it so many times over the years, and I'm too tired to keep fighting it with common sense, so instead I'll just say if you insist on using garbage masters then I'm going to insist on calling it garbage music.

Flashes of perceived progression and a few really good songs aren't enough to save this EP, because the progression feels forced and motivated by a desire to play by "major label rules" rather than honest exploration of the band's sound; plus, those few really good songs have garbage mastering, but I'm sure they'll sound just great playing in the background of whatever 18-30 demographic TV series the label is negotiating for their inclusion in.

Look, you can check my receipts; this band put out two of my absolute favourite records of the decade. I have championed this band from the moment I first heard them, and I went into this year hoping for yet another mind blowing experience. What I got instead was a watered down effort that I simply can't look at through the rose coloured glasses of a fan; this might be up to their record label's standards, but if it also meets those of the band, then Dead Sara has lowered their standards considerably.

June 8, 2018 • Atlantic
Highlights Anybody • Unamerican • Heaven's Got a Back Door

Year in Rock 2025

Alright, I've got some explaining to do. By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but: a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2013 Nominee: Arctic Monkeys

ARCTIC MONKEYS Do I Wanna Know? From: AM Released: September 10 That Year in Rock 2012's Single of the Year R U Mine? ended up on this album is pleasing, and it fits the motif well enough. But R U Mine? isn't what makes Arctic Monkeys' fifth album an Album of the Year contender. Sweaty, sultry and pulsing with sexual energy, AM is the kind of record that's just as effective whether you're chilling out after a long day, staring into a mirror prepping yourself for a late night clubbing session or setting the mood for some escapades in the boudoir.

Year in Rock 2023: Album of the Year #10-1

Now we're getting somewhere; the top ten, where there are no duds or mids, only bangers. Also, no more teasing it out; let's wrap this up! What I've learned this year from my ten faves this year is that it is indeed still possible for a dude approaching his fifties to more or less stay up to date on the new school. Of course, there are some listed here that got a boost from playing tribute to the old school, but there is an undercurrent happening in rock that points to the future. But, I'm getting ahead of myself; here come the champs. 10 MILITARIE GUN Life Under the Gun June 23, 2023 • Loma Vista Highlights Very High Will Logic Never Fucked Up Once Rising from the ranks of the still-potent L.A. hardcore scene, the debut record from Militarie Gun (following a trio of EPs) bears a dash of polish that's expected with backing from a larger label; the tension and energy remain, though, resulting in one of the catchiest hardcore albums I can think of in recent years. 9 ...

SOUND BITES

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