The Tough Shits are the type of rock ‘n’ roll band whose musical output doesn’t fall squarely into a genre-specific parking spot. However, the elements of influence shine through creating a group that can play with a rough and tumble garage-rock edge and pair that with a California-casual surfer style. Using vocal harmonies and wave-crashing percussion and guitar riffs that nonchalantly start at a jog and turn into a sprint as their musical weapons of choice, the Tough Shits sound has a touch of so many things that you like. They don’t fit into a specific spot, but for the double-fisting rockers, there better be one open. Well, they’ll find one tonight on the bill at Johnny Brenda’s with Sub Pop's Jaill and Hardly Art's Fergus & Geronimo so make sure to get there early and grab your spot. Johnny Brenda’s 1201 N. Frankford Ave, 9pm, $10, 21+ (Photo by Aliya Strychnine) - Michael Colavita
For those who decide whether to come or go based on the first forty seconds of an album, Restorations’ LP2 is practically tailor-made for snap judgments. After a chiming, anthemic guitar opening, the band already known for fist-raising jams lets all hell break loose with “D,” their most unrestrained opener yet. The drum kit-mauling, earth-shaking bass lines and ascendant guitar riffs can only be described as complete sensory overload, and make it clear that the following eleven songs are going to be fueled by pure viscera. If your preferences run towards structure over huge sound, this release may leave you cold; LP2’s predominant means of exploring the band’s wealth of ideas are stadium-sized instrumentation and endless waves of atmospherics, as well as a dose of ennui.
This is a murkier, more inward-looking Restorations than we’re used to. Everything that was there before, musically, is blown sky-high this time around. They’ve managed to pack ideas into every iota of the song list, aided by Jon Low’s miles-deep production; the density of the music itself is offset by an album-long meditation on place, belonging, and the ramifications of leaving the familiar behind, which makes the outsized sound that much more of an interesting direction. Juxtaposing the existential discomfort with more sophisticated, complex forays into Restorations’ sonic wheelhouse.
The spiraling guitars, one of the album’s specially prominent features, are everywhere, serving various purposes in each song. “Kind of Comfort”’s jittery glam rock aspirations accompany lyrics of searching and wanderlust. Even the more downbeat cuts (“In Perpetuity Through The Universe,” “New Old”) are propelled beyond their subject matter by the songs’ barely-concealed restless energy. At its more pensive moments, like the folk-inflected “Civil Inattention,” there is a restless undercurrent of texture and volatility that never quite lets up.
Album closer “Adventure Tortoise” is all monster buildup laced with extraterrestrial effects, kicking off into a sort of requiem for the band’s neighborhood. “I’d really like to stay to help this place,” growls Jon Loudon through his teeth, but the allure of letting it all go is too strong to resist. The longing for a place “where nobody knows your name” isn’t quite all-consuming enough to inspire real action, but it is definitely the new paradigm Loudon means.
It takes guts to pull off a release that feels ten minutes long but contains more emotional and musical texture than most records. Restorations cover a whole lot of ground on LP2, and for the most part, pull off their ambitions. A bit too sanguine for shoegaze, and maybe too heady for punk, Restorations’ second full-length album brings an intriguing palette of aspirations to their open road-ready sound, prepared to try anything and everything. - Alyssa Greenberg