THE KIDS ARE ALRIGHT: THE MUSIC OF POST SOCIAL AND MODERN MOD

"POST SOCIAL"
POST SOCIAL

Shannon Connor: Vocals, Guitars, Keyboards
Mitch Deitz: Vocals, Guitars
Siv Earley: Vocals
Sam Galligan: Bass Guitar
Brendan Manley: Drums

All Music and Lyrics by Post Social
Recorded and Produced by Ricky Reimer at Science Of Sound in Madison, WI.

Released December 6, 2014

For those of you out there who may be feeling frustrated, discouraged or completely disillusioned at the current state of music in the 21st century, I firmly believe that I am able to point you in the direction of two recent releases that may serve to be powerful and reinvigorating antidotes for any musical malaise.

If you have been somewhat regular visitors to this site, you will already know that I do indeed listen to and purchase quite a healthy amount of music in my life. That being said, and for all of the new releases I bought in just the last year alone, I have found myself often falling into that aforementioned spell of being frustrated, discouraged and disillusioned at precisely what is filling our radio airwaves and television screens. Too often, everything just feels to be so vacuous, so innocuous, so unimaginative, so plastic and processed, that I truly wonder that if I were a teenager today, what would I ever find myself being inspired by musically?

I truly hate to make myself sound like the dated, mean ol' man down the street telling those darn kids to get off of my lawn but as I look at what is not only popular but what kinds of music are actually being allowed to pass through the gates into the public consciousness compared to my own childhood in the 1970's, my teen years in the 1980's, and my 20's in the 1990's, my heart just sinks. Everything seems to be written and produced by the committee of the same band of people, therefore every piece of music sounds blandly interchangeable and ultimately, the artist in question becomes irrelevant. When I feel especially frustrated, discouraged and disillusioned, it almost feels as if everything that could have possibly been achieved with all aspects of popular music has been accomplished and newer artists are either stiffly regurgitating the music of the past or it is wholly uninspired designer statements that have nothing to do with the majesty and miracle of music in the first place. As much as I realize and remind myself that there will always be bad music no matter the era and great music is always being made someway, somewhere, these days music too often feels like a wasteland.

I often share my laments with my treasured friend Steve Manley, the owner and proprietor of Madison's very own B-Side Records, located on the illustrious State Street and my store of choice when I purchase new music. Late last year, Steve had been proudly crowing about the activities of a local band named Post Social, a five piece group which featured his son Brendan Manley on drums. The band had released their debut album and Steve kept taking any conceivable opportunities to steer me in the direction of their music. Being an extremely proud parent notwithstanding, I must inform you straightaway that Steve Manley's musical taste is as vast as it is impeccable and I trust his musical opinions and recommendations completely. Even so, I did not race to hear Post Social's music as immediately as he may have wished for me to do, mostly because my ears were filled with other releases at the time and I didn't feel as if I could fit in any more musical notes (a great quandary to find oneself in). That being said, and not terribly long after Steve had again and again informed me about Post Social, I decided late one night as I was ensconced in some schoolwork to head to their Bandcamp page to try them out...

I listened to their album in full three times in a row.

Post Social's self-titled debut album impressed me tremendously as I was immediately enveloped by the clean and strong song-craft but mostly from the textured, mature, and supremely confident musical performances from the entire band. It all felt to be so seasoned for a group releasing their first batch of songs into the world yet it was also energetic, enthusiastic and sharply fresh as well. About a week after hearing the album those three times, I went back to B-Side to purchase the CD (much to Steve's enjoyment and continuous pride) and it has remained in heavy rotation for me ever since.

And oh yes...did I happen to mention to you that the members of Post Social are all high school students?

Yes, dear readers and listeners, pictured above are the five members of Post Social and yes, they are all teenagers with three of them at present in the process of completing their respective Senior years at Madison East High, while two members, including Brendan Manley, have graduated as recently as three weeks ago due to their participation in an accelerated program. As told to me by Steve, Post Social formed in 2006 as The Shrunken Heads, a four piece when the band members were in the 4th grade. From the very beginning, they wrote all of their own material, performed live and never included any cover songs whatsoever, already remarkably drawing their artistic purpose and intent as a creative line in the sand.

As I previously stated, I was surprised to hear the level of deep texture and technique within the entirety of "Post Social." The band has truly harnessed a sound that feels intricate, confident and deeply established as they are truly working together as a complete unit where not one member is thrusting themselves out in front as being the "star.". It feels that in Post Social the "star" in question is the song itself and we have five musicians and singers all working for the demands and betterment of the song.

The album opens with the remarkable "Time And A Half," which to me just sounds like Spring sunshine as the guitars shimmer blissfully, like sunlight sparkling through the trees on my beloved Bascom Hill. The album's propulsive second track, "Running On Fumes" collects a romantic urgency and palpable angst that is entirely infectious as Manley's ecstatic drums propel the rhythms and pacing while singer/guitarist Mitch Deitz's cries of "I wanna take you out!! I wanna take you out" to the object of his desire reflect a certain innocence and honest ardor that is wholly missing in much of the music being released, and therefore marketed, to teens currently. In those two tracks, plus "Moving Into The Night" and the album's closing track, "New Song," Post Social sound like a much tighter and unquestionably stronger Violent Femmes.

If the first two tracks serve as vibrant introductions to the album, then the glorious third track, entitled "Days," feels to start the album proper as the sonic palate extends, expands, shifts, transforms and continuously reveals itself for the remainder. The pace of the track is more languid and dreamlike as the guitars and rhythm section float serenely suggesting a musical kinship to the likes of Real Estate. What really grabbed me about this song was the false fade out, which leads to the beautiful coda where Shannon Connor and Mitch Deitz's gleaming guitars plus Manley's shuffling drums intertwine, creating a vaguely African bed of sound which carries the gently insistent romantic plea "Be my world...be my girl."

The emotional content within the music also shape-shifts throughout the album and none moreso than in the darker tinged, nearly seven minute "Something In The Water." Musically, the song begins somewhere in the post-rock realm of Tortoise or The Sea And Cake and then builds into something more ferocious, as Manley's drums grow more frantic, with that hi-hat relentlessly keeping time just like former Smashing Pumpkins/Zwan drummer Jimmy Chamberlin accomplished so thrillingly. And to that end, I was consistently impressed by the work of bassist Sam Galligan, whose melodic, supple rhythms makes his work at times function like a lead instrument as well as the sonic glue that holds everything in place as the guitars create the atmospherics and the drums supply the force. Lyrically, the song seems to slide between areas of confrontation, indignation, resignation, and even isolation. The song's terrific and stirring final sections, which propel the repetitive statement of "put another record on," feels like a swirling mantra designed to dull any inner turmoil even as one may feel to be spinning out of control.

Those gorgeous guitars return on the tranquil "Begin," as well as lay the foundation within "Change Your Mind" as Connor and Deitz weave a tapestry that recalled the hypnotic and interlocked stylings found on 1980's era King Crimson albums as well as a hint of guitarist Steve Hackett's work with Genesis. But here is also where I feel that I must make special mention of vocalist Siv Earley's wonderful harmony vocals which appear throughout the album in an almost ghostly fashion. Yet on "Change Your Mind," they haunt and even surround the track, like autumnal winds flowing through the branches of bare trees.

My favorite track on the album is "The Wire," a six minute tour de force for the band with those amazing guitars again crafting exquisite gossamer threads of sound that reminded me of Johnny Marr or even The Police's Andy Summers. With Deitz's baritone vocals, augmented by Earley's spectral backing vocals, imploring "All my love is gone/all my love affairs are fairy tales" over and again, it sets the stage for some widescreen emotional heartbreak that explodes into the band's most forceful playing on the entire album and the effect just raised the hairs on the back of my neck!! Trust me, this level of enthusiasm and creativity, combined with their musicianship, makes Post Social a band that could possibly stand toe-to-toe with a band like, The War On Drugs for instance, and take them at their own game!

Most times when I listen to music, I am more than content to hear an album in full and once completed, then set it aside to hear something new, as if the story of the album in question has been told and will be ready for me to experience it again on another day. But then, there are those albums like Fleetwood Mac's "Future Games" (released September 3, 1971) or The Who's "The Who Sell Out" (released December 15, 1967) for instance, where I can hear them played over and over, as if on an endless loop, because the stories of those albums just do not wish to let me go. Post Social's debut album has quickly qualified as existing as one of the latter for me as I have played it in my car or computer in that aforementioned endless loop as it is indeed a truly intoxicating set of songs.

And while the story of that album keeps playing onwards, I just have found myself desiring more. And in some respects, and again thanks to Steve Manley, I found it...or more truthfully, it found me.

"TUNNELS"

MODERN MOD

MODERN MOD:

Ronnie Clark: Drums

Livy Kleinfeldt: Bass Guitar

Emily Massey: Vocals

Calem Pocernich: Rhythm Guitars

Maximillian Werner: Lead Guitars

All Music and Lyrics by Ronnie Clark except...

"Papercuts" and "SLUTS" Music and Lyrics by Livy Kleinfeldt

"January" Music and Lyrics by Calem Pocernich

"Tunnels" Music and Lyrics by Modern Mod

Produced, Recorded and Mixed by Jack LeTourneau at The Exchange Recording Complex, House Arrest and The Hit Cave located in Milwaukee and Madison, WI

Released April 21, 2014

After being so tremendously won over by Post Social, I expressed as much to Steve Manley during one of my return trips to B-Side Records. Ever the proud Father as well as sharp salesman and business owner, Steve slyly informed me, "Oh...dd I tell you that my son is in another band?"  

Oh boy...

And with that, I was then introduced to Modern Mod.

Formed in 2012, Modern Mod, like Post Social, is a band entirely made up of high school students, however, the current band lineup has altered from this debut album as two members have departed for college, a move that precipitated Brendan Manley's invitation to join the band. Modern Mod has already created a strong presence within the Madison community as their songs have been played regularly upon the community radio station WORT-FM as well as WSUM-FM, the official student station of the University Of Wisconsin-Madison. Additionally, lead singer Emily Massey was recently profiled in the free and widely read weekly newspaper, the Isthmus. And believe it or not, the band has also starred in their own music video for the track "Papercuts," a song so instantly catchy as well as a buoyant surprise to my eardrums that after seeing the video and checking out a few selections upon their Bandcamp page, I returned to B-Side yet again and made a purchase, practically handing Steve my wallet upon entering the store.

Unlike the dreamy, atmospheric sounds of Post Social, Modern Mod is described upon their own Bandcamp page and official website as "'60's surf pop...combined with a Euro '80's pop feel." While that is a highly accurate description for those of you wondering what this band sounds like, I will strongly inform you that Modern Mod is not a "retro" act. In fact, and despite any throwback aesthetics and qualities, the music this band has so lovingly crafted on their debut album could only have been created at this point in time.

Modern Mod's "Tunnels" offers 10 tracks of expertly constructed and performed pop music that does provide an extremely healthy alternative to the dross that has littered our radio airwaves for far too long. Frankly, if the so-called pop music that is slathered upon the radio these days carried any musical resemblance to any one moment contained upon "Tunnels," then top 40 radio would be an unquestionable joy to listen to.

Striping away all of the synthetics, artificial textures and prefabricated emotions of 21st century pop, Modern Mod greatly offers a "back to basics" aesthetic that is supremely refreshing. This just may feel to be a tad silly to read but there really is something to be said that on this album in the year 2015, you can hear guitar picks hitting the strings. You can hear the drum sticks tapping the drum heads. Keyboards are minimal at best. And most of all, the band actually sounds like they are having fun with being able to create and perform in the studio together. "Tunnels" represents unadulterated joy and absolutely none of the jadedness that has permeated too much of what is being delivered to our ears ever makes even a hint of an appearance.

From the opening track "Don't," and additional album selections like "Nostalgia," "January," "Undefined," and the aforementioned and flat out terrific "Papercuts," you are instantly able to hear that Modern Mod is a group that has clearly studied the music of the past as they have strictly adhered to the craft of what it takes to just write a good song. It is a surprisingly effective amalgam of those '60s girl group/Phil Spector melodics and aggressive blasts of rock guitars with the highly confident lead vocals of Emily Massey at the forefront.

As with Post Social, and in addition to Emily Massey's gifted leading presence, the members of Modern Mod are also clearly working together for the betterment of the song, therefore making the song itself the "star" as opposed to individual band members battling each other for the spotlight. Listening to "Tunnels," it really feels as if Modern Mod completely hammered down the actual songwriting to get the actual music into a perfect place, thus allowing them to play within the boundaries they have created for themselves in regards to the actual performances. If drummer Ronnie Clark (whose performances are inventive throughout) wants to utilize the snare drum rims as the hi-hat, as she accomplishes in the wonderful "Monday Mornings," a track that carries the romantic dreams of being "like John and Yoko," then go for it. If guitarists Calem Pocernich and Maximilian Werner want to throw in backwards guitar textures, as they weave into the proceedings on the chugging "SLUTS," or some roof raising solos on the darkly tinged "Eyes," then have at it. It all works beautifully because these musicians have figured out how precisely to use these elements in ways that only improve the song itself.

But at the core of the album is Emily Massey and she proves herself to be a thoroughly gifted frontwoman. No, she is not a vocal powerhouse and you know, she does not have to be, especially now as every female singer desires to be a powerhouse, shattering glass within a moment's notice yet completely unable to make the listener feel anything resembling a real emotion other than boredom. Massey, by contrast, is a tremendous breath of fresh air.

I think the quality that Emily Massey possesses in spades (and in addition to her stellar vocals) is attitude! Like Ronnie Spector or like 1980's era female pop rock singers like Quarterflash's Rindy Ross, The Go-Go's Belinda Carlisle or even Pat Benetar in her slightly softer rock moments, Emily Massey exudes a simultaneous strength and vulnerability that draws you closer to the speakers. She's sensitive and introspective but she's no wallflower and definitely nobody's fool. Massey's presence is undeniably commanding yet never over-bearing as the songs are perfectly suited to her voice and in turn, she owns every song with skillful ease. And to really hit my sweet spot, (and if I am to assume from the album's liner notes), Massey's layered, crystalline harmony backing vocals completely seal the deal throughout the album, most especially on the glorious "NYC" (if that chorus doesn't cement itself into your brain on first listen, then I don't even want to know you) as well as the nearly a cappella title track where Massey harmonizes with herself and takes us back through the entire album vocally. It is a striking closing note, that, for me, echoed the opening solo and stacked a cappella vocals of the first song on Prince's very first album, "For You" (released April 7, 1978), recorded when His Royal Badness was just 18 years old. 

Dear readers and listeners, my excitement over these two albums is not meant to inadvertently project some sense of age-ism or the idea that it is such a novelty for teenagers to be able to create such strong, melodic, entertaining and defiantly artful music. It is not. I wonder if any misconceptions adults may hold about very young artists just may arrive from the idea that we just may think of artists emerging fully formed, and more often than not, as full grown adults, when in truth, they were all younger than we all may have realized.

Leaping off from the Prince example, also take a moment and think about someone like Fiona Apple, who released her debut album at the age of 19. Drummer Mike Byrne joined The Smashing Pumpkins after being handpicked by Billy Corgan at the age of 19 and furthermore the late drummer/composer Tony Williams joined the ensemble led by none other than the inimitable Miles Davis when he was just 17 years old. Steve Winwood joined The Spencer Davis Group and sang lead vocals on the eternal classics "Gimmie Some Lovin" and "I'm A Man" at the age of only 14. These are just a few individuals who began their musical journeys at quite a young age an din doing so, they have all been able to give us decades upon decades of their art and artistry...and believe me, we are all the better for it. Will Post Social and Modern Mod possibly join their ranks? Only time will tell but how amazing it is that the two amazingly talented bands are here with us right now.

Post Social and Modern Mod represent the future of music so beautifully, not just through their immense skills with song-craft and performance but through the fact that these musicians are clearly enjoying what they are doing and again, how refreshing it is to hear their joyfulness as there is not one jaded moment on either album. How I have been waiting to write about these two albums for you and how I sincerely hope that to all of you reading, that you will please heed my vehemently enthusiastic suggestions and seek out this new music for yourselves!

CODA
In addition to venturing to B-Side Records to purchase these albums, if you happen tolive in Madison or nearby, I do enthusiastically urge you to visit the following sites:

POST SOCIAL
http://postsocial.bandcamp.com/

MODERN MOD
http://modernmodmusic.bandcamp.com/releases
https://soundcloud.com/modernmodmusic

What are you waiting for??????????????