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Released on the band’s own We Are the Men Records, and the crew’s first since parting ways with producer/multi-instrumentalist Ben Greenberg, the caustic, stubbornly lo-fi Devil Music sizzles like a hot coal-the Stooges, MC5, and Mudhoney compressed into an angry little ball. In that time, the Men drove steadily away from noise and bombast toward harmonies and hooks, without entirely scrubbing away the grime that first defined them.ĭevil Music spins the car around 180 degrees and heads roaring back toward the psych-punk abandon of the Men’s early years. And then-surprisingly, inexorably-the Men ditch the art-punk game for classic-rock traditionalism over the course of three short years, embracing Tom Petty, the Band, and Crazy Horse for three often-brilliant records.īy 2014, the end of that initial prolific run, the Men (by then a quintet) had charted a straight path from indie rock's outer reaches ( Leave Home) to its catchier, college-rock middle ground (2012’s near-perfect Open Your Heart) to something approaching dad rock for drunks (2013’s New Moon, 2014’s underrated Tomorrow’s Hits). Its strangely inviting blend of post-hardcore, noise-metal and shoegaze is a shot in the arm to the genre. The story of the Men goes something like this: In 2011, the Brooklyn four-piece, led by guitarists and singers Mark Perro and Nick Chiericozzi, release Leave Home on Sacred Bones, the band’s second and first widely-available LP.