12 Songs, 39 Minutes

EDITORS’ NOTES

A musical genre that had few places to go before it started running into itself, true hardcore met its death decades ago — yet every now and then some get it in their heads to give it another go. Matching visceral swagger and spit with up-front, banal lyrics about everyday things like office jobs and haircuts sets PA’s Pissed Jeans apart from others who either bury their lyrics (sometimes wisely), or overreach and misfire with attempts at profundity. While their pungent flavors of irony and humor are certainly an important component in the mix, their furious, ridiculously aggressive sound will definitely appeal to those looking for music with real meat on the bone. The spirit of D. Boon and the Minutemen lives on in tunes like “Half Idiot” and  “Pleasure Race,” and it’s difficult not to think about Touch & Go bands (e.g. Killdozer, Didjits) when listening to “Dream Smotherer” or “She Is Science Fiction.”  But the Jeans’ distillation of artists past — filtered with their own interpretations — results in a resounding timestamp that is inarguably now, especially on the whomping and unforgettable “False Jesii, Pt. 2.”

EDITORS’ NOTES

A musical genre that had few places to go before it started running into itself, true hardcore met its death decades ago — yet every now and then some get it in their heads to give it another go. Matching visceral swagger and spit with up-front, banal lyrics about everyday things like office jobs and haircuts sets PA’s Pissed Jeans apart from others who either bury their lyrics (sometimes wisely), or overreach and misfire with attempts at profundity. While their pungent flavors of irony and humor are certainly an important component in the mix, their furious, ridiculously aggressive sound will definitely appeal to those looking for music with real meat on the bone. The spirit of D. Boon and the Minutemen lives on in tunes like “Half Idiot” and  “Pleasure Race,” and it’s difficult not to think about Touch & Go bands (e.g. Killdozer, Didjits) when listening to “Dream Smotherer” or “She Is Science Fiction.”  But the Jeans’ distillation of artists past — filtered with their own interpretations — results in a resounding timestamp that is inarguably now, especially on the whomping and unforgettable “False Jesii, Pt. 2.”

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