Blistering in its content, Nimrod offers a grouping of in-your-face songs that rarely miss a beat. Despite its greatness, Nimrod isn’t held in the same regard as 1994’s Dookie, a record that catapulted Green Day to superstardom and beyond.
Dave Dictor’s grassroots journey has been a wire-to-wire gamut bred through word-of-mouth fortitude and creative selflessness seldom seen.
Amongst a buzzing no-wave and visual arts scene, unlikely indie hero, Bob Bert, found a home behind a drumkit.
An amalgamation of spike-headed punk ethos, 50s greaser mentality, and 70s glitter-bomb glam, Blondie encapsulated all that was to come, and more as multiple waves of music washed across an unsuspecting scene through storied venues such as Club 82, and the infamous CBGBs.
In Armstrong, we see a musician who has changed the landscape for so many artists and bands. The fact that Green Day has released some artful music through the years, and puts on a live show that keeps the crowd in the plan of Armstrong’s hands simply cannot be discounted.
Scott Reynolds and his guitar mastery provide us with a new experience within the songwriting world. A mixture of bard-style song and spoken word kind of humor.
For Monroe, a career in music has been a mixed bag, alternating between immeasurable highs, and crux of the earth lows. But with I Live Too Fast to Die Young, Monroe seems to have found the middle ground, call it an invitation to combat.