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Dusted Features
More concise evaluations from Mosurock’s Still Single crew. This week’s round-up includes takes on Games, Lotus Eaters, Protect-U and Religious Knives.
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Still Single: Vol. 7, No. 4
Umut Adan
“Gülerler Bize” b/w “Beni Seçtiğin Bu Yerde” 7”
(Silly Boy)
You like old thyme Turkey? Ersen, Erkin Koray, Mogollar, Toe Blake? No? Well get on that. And if you’re wondering if this is a reissue or if these are old school RAGING FUZZ GUITAR GODS doing a comeback project … nope. Umut Adan is a 20-maybe-30-something Turkish musician based out of Italy, and this single is not quite as crisp and hashed out as those classic grooves, but hey what is and we’re not living in the late ‘60s either. It’s mostly electric and a little heavy, there’s some fuzz and garage-like organ and extra percussion around the drums. I’d be pleased to hear this wafting down some Constantinople alleyway, though it’s basically mid-tempo rock with Anatolian vocals that give a nod to the past. Not exactly the Dungen of today’s Turkey just yet, though something LP length could prove otherwise. Produced by Marco Fasolo from Italian psych-proggers Jennifer Gentle, so there’s that hip connection. (http://www.myspace.com/umutadan)
(Andy Tefft)
Andy Human
“Toy Man” b/w “Center of Gravity” 7”
(Tic Tac Totally)
A pretty authentic take on mid-’80s New Romantic Brit shit by way of Oakland, CA. Andy Jordan’s got decent pipes somewhere between Kevin Rowland and the guy from Simple Minds; he and the rest of the band nail the minutiae of the genre on A-side, “Toy Man,” which has a great guitar line and killer bridge and would fit in nicely on a mixtape next to the Psychedelic Furs circa ‘87. The flip, “Center of Gravity” has a lite but limp Elvis Costello/Nick Lowe feel to it; a true B-side, if you will. Not a bad sampling of tunes, but ditch the Photoshop circa ‘98 design guys, it makes me want to vomit. (http://www.tictactotally.com)
(Mike Pace)
Astrobrite
Crush LP
(BLVD)
First release on a new label run by some folks out of the ever-dependable Laurie’s Planet of Sound record shop in Chicago. Astrobrite was the name donned by Cortez/Loveliescrushing guy Scott Cortez to showcase his shoegaze material back from the first and second waves of that movement. Crush was initially released in 2001, though its material was for the most part from five years earlier, when it could have played in part of U.S. washout of that whole scene. Astrobrite holds it pretty close to the gold standard – oh come on, I don’t need to say their name, do I? – right down to the use of sampled/pitch-bent guitar noise to embellish and “Swirl-ify” the atmosphere within. Cortez made all of these recordings on a four-track, so the use of layering in such a scenario is pretty impressive, the rawness of the recording playing against the lightness of his melodies, all in all doing a better job than almost anyone in the form today. Astrobrite has developed somewhat of a cult following, and it’s clear why – at proper volume, these tracks could cause damage to loose masonry or unsure dental fillings. But under all that treatment, Cortez shows up with moving, beautiful examples of dream pop, and ultimately it’s that attention to the craft that makes this one a big winner. Anyone who likes this sound at all would surely stand to gain by purchasing a copy, and with luck this work will get the ball rolling for other nth string shoegaze and ethereal outfits of our past (Ultracherry Violet, anyone)? Red vinyl. (http://blvdrecords.com)
(Doug Mosurock)
 
Blue Sabbath Black Cheer/Wicked King Wicker
split LP
(Gnarled Forest/Noiseville)
Blue Sabbath Black Cheer & Irr. App. (Ext.)
Skeletal Copula Remains LP
(Gnarled Forest/Errata in Excelsis)
I think Netflix could scare more people by playing this instead of some shitty horror/gore movie that gets dumped out to their VOD streams. Here, BSBC are pure terror and oppression, filling up every available space with an ominous rumble or a violent burst of noise, dark, fetid and unsettling, even as it quiets down in its second half. Wicked King Wicker sounds like a pointed, sadistic black metal deconstruction, just vocals and really tight reverb loops over waves of very nauseating low bass tones. At one point the vocalist goes “oooooh” and it sounds like he is having a big shit. Later on there is some wild soloing against what sounds like a distorted turkey call. Your call?
More of the same brooding horror on the collab LP with Irr. App. (Ext.), who seem to have their own ideas about this sort of sound, and pushing it into the digitally harsh domain. Scariest moment on this one was a long pause, followed by the recording jerking back to life with no warning. BSBC wrestle it back with the vicious, beyond blackened metal tarpit of “Glutton.” Six-panel poster completes the terrifying scene. If you want one, you want the other. (http://gnarledforest.blogspot.com)
(Doug Mosurock)
Brazilian Money
Doing What I Want 7” EP
(Totally Disconnected)
Apt title, for these clattering Canadian wild-men’s first four track recordings. A pair of drummers, and spindly guitars guitars drive this tumbling garage themed racket into rhythm heavy jumble that coalesces into a melody for a few seconds. The results are are engaging, as the well conceived “songs” remain hectic, but never cacophonously noisy. Everything finds a place, a ukulele makes an appearance, as I guess is a the thing now? Two of the four songs wander into that acoustic territory that Jay Reatard started staking out on the later 7”s, but not quite as sing-songy, and retaining the focus on the racket (and, I have to assume, a healthier mental outlook). Great for the arty, dorm punk set. (http://totallydisconnected.com)
(Killedbyjeff)
Brain F≠
“So Dim” /“Symptom Set” 7”
(Grave Mistake)
Guitar/drums girl/boy (respectively) duo of indeterminate garage aspirations … other than a pretty harsh recording technique, and the telling situation created when a recording technique is all I can remember about this record after playing it ten times before stopping to write this review. There’s a bad joke waiting in the wings if we think, not hard, but with ease about the name of this label. I will state with honesty that I was hoping for a lot more, though as the theme goes for this record, I can’t truly put my finger on the reason. Probably extra nice people and that fact will make me feel extra bad about wondering why folks are still making this stuff. We’re gonna keep the optimism thing running and hope this single to be a fluke then wish for a full-length that belies the faceless garage trickle-down that I heard a few moments ago … for the last time. (http://gravemistakerecords.blogspot.com)
(Andrew Earles)
Broken Neck
s/t 7” EP
(Art Fraud)
Like the bands that play the Austin venue of the same name, Pittsburgh’s Broken Neck traffic in gnarly DIY hardcore. This six song EP is built on a chassis of Disfear-styled “rockin’ crust” but with enough discordant, dark riffs, and singer Holly’s thoroughly ripped vocals to provide plenty of balance, keeping it out of the cheesy Active Rock zone and closer to a minor classic like the .fuckingcom 7”. Some of the metallic, hard pitting, hard rockin’ riffs plus the Sabbath parody sleeve will put this squarely in the crowd pleaser box, which is more often than not this reviewer displeaser box. There is so much material being released (not to mention coming through here), that “the funny stuff” tends to get swallowed up or fall by the wayside. The ferocity and spirit of Broken Neck is strong, so a renewed focus on the burly, ugly riffs, plus the refreshing change of pace in the shredded female vocals leaves you with something to remember. (http://artfraudrecords.bigcartel.com)
(Killedbyjeff)
Broken Water
Peripheral Star 12” EP
(Perennial)
Olympia’s Broken Water has been on a tear for the past year, with a curiously strong debut full-length and a single that consummated their relationship with turbulent noise. They lead off in 2011 with five new songs and a big step up across the board for production and presentation. Deathreat’s Stan Wright gives Peripheral Star a boost in depth and clarity of the band’s sound that might not have been needed before, but it’s touches like this that give the impression of a band getting familiar with its sound but not conceding to comfort. The group’s touchstones start to melt here as well, the wayward allure of their earlier material taking a knee for bolder tropes to come into focus. The lead-off title track shows those secret Goth/SY connections fading away in the direction of deafening and shy British shoegaze, while “Heartstrings” rips the posters off the wall altogether in a furious storm of noise, haze, melody and consonance (“Come on chaos/Come on Kierkegaard” … man that is perfect). It’s their best song to date, and shows how monstrous this group could be in the live setting. That Broken Water chooses to close this record with two long, slow showstoppers only solidifies that notion even further. Their music makes me feel like a teenager again, nervous and twitching and ALIVE. Please check them out on tour, which they’re out on right now, in the fourth month of this year of our dark lord, 2011. (http://www.perennialdeath.com)
(Doug Mosurock)
Bronze
“The Rouge Became” b/w “Wits” 7” picture disk
(World Famous in SF)
Half of me wants to say that this band swims in the same pool, or rather, tries their damnedest to catch the wake, as competent, somewhat catchy, harmless post-punk recyclers Interpol. The other half says these doofuses sound like a bunch of pandering simps with the generic dial turned up to 10 and strapped to a JATO booster, with a dose of electronic shimmy because that is what is big right now with soulless scumbags right now. That same half of me thinks that Bronze’s overly commercial amped up beer jingle variation of the same song you’ve heard before makes it sound like any of the members would give Beelzebub a handy if he could get them on an opening slot in a TV on The Radio show. Both halves of me are right. Don’t get me started on the picture disk art. 500 available, but who gives a shit? (http://www.worldfamousinsf.com)
(Bob Claymore)
Captain, We’re Sinking
With Joe Riley 7” EP
(Evil Weevil)
Philly/Long Island band sounds just as emoriffic as their name. Get Up Kids “Holiday,” Lifetime, perhaps a little of the Dillinger Four good bro-times moods are present, but mostly this is pretty earnest pop punk with traces of hardcore muscle. Perhaps they’ve heard this before. They play fast on all three songs here, with dual and occasionally screaming vocals and a good drummer, which gives it a tight basement singalong feel. They’d probably fit in well at The Fest in Florida. (http://evilweevilrecords.blogspot.com)
(Andy Tefft)
Chung Antique
Go Poetry CS
(no label)
Pleasant/stressful instrumental mathy dichotomies from the six square blocks of Olympia, WA. Chung Antique is a three-piece rock trio and they are starting to develop their own sound, crazy rhythms – aesthetically and realistically – jumpstarted with a Turbo Rat pedal; far enough removed from the Midwestern dude-centric hotbeds where this music was raised, if not necessarily born, to be able to add a positive spin on it, with lots of bright, poppier sounds, and to our eternal appreciation, they can play. Since this is essentially a demo, with attendant sound quality to match, there are a few things they should think about woodshedding before going much further. First off, the eight songs here suffer from the whole hopscotch issue with math rock, in that when a band plays a series of intricate patterns, it usually comes at the expense of the attendant song really going anywhere. There’s a lot of hot-shottery here that burns itself into a loop; running all up along the walls like Sonic the Hedgehog is cool, but at the end, we’re all still in the same room. And if that room sucks, well, it’s our own fault for following. Kinda wish they’d put some progression into their progressive rock, be it key changes, some semblance of soloing or ways with a hook rather than tying it into knots, anything. Also, the band’s tone language is essentially clean channel and off-putting distortion, with no middle ground. The Rat gets stomped to convey a shift in dynamics, but it’s not enough. Still, these are minor (and constructive) quarrels about a band that seems to be trying hard to break its own mold. With time and attention, hopefully they’ll succeed. (http://chungantique.webs.com)
(Doug Mosurock)
Cloudland Canyon/Citay
split 7”
(Intercoastal Artists)
Galaxie 500 covers from what seems like a logical pairing of bands, both for the covers and a split, though I’ve heard just a little from either group. Citay take on “Tugboat” with great respect for the Galaxie vibe, a pretty straight tribute, and there’s a towering guitar solo that seals the deal. Cloudland Canyon get appropriately blissed out with their version of “Temperature’s Rising,” more abstract and smeared in a way that connects the dots over to MBV and Spacemen 3. Should be a fan pleaser, but first, for gosh sakes, go after those recent Galaxie reissues if you need to and haven’t already. (http://www.intercoastalartists.com)
(Andy Tefft)
Criminal Code
s/t CS
(no label)
Criminal Code is a new trio at the demo stage, and already operating at a level well beyond a good portion of the records that get thrown my way. The group plays sturdy-legged, mid-to-fast-paced punk with a dark undercurrent, screaming vocal terror, and a good idea of how to write an engaging and memorable song in such a tired, worn out concept. The rhythm section is strong and strident, never letting up, and the energy they put into these four short, effective songs drives each of them beyond the realm of acceptability into that of being really good. This should have come out as a single, and hopefully soon it will. Yes, this is another band from Olympia, WA. If you think I’m covering too much music from this small town, a. Get bent, and b. try to figure out why I might do such a thing. What does this place have that your town doesn’t, and how can you get there? I can’t think of another place in America right now that has as much music worth telling people about. Maybe after listening to this and the other bands from there praised in this round, you’ll know why, too. (http://www.cultofdog.com/cc)
(Doug Mosurock)
Dads
Hat Creek 7” EP
(Katorga Works)
Tampa genre-abusers from the Cult Ritual/Merchandise/Slavescene/Nazi Dust/Neon Blud family go four for four, if their standards involve writing songs like they are four (well, two and a half) completely different bands. Title track is simple-strum indie gunk as found on side B of one of those KRS comps. “Sex Theft” is 54 seconds of noise rock yelling and a seasick riff and untuned (or poorly mic’ed) drums. “Banana Twinz” sorta mashes the first two ideas together for a few seconds until becoming unhinged jumble-thud. “Dub Creek” involves turning the first song into shitty reggae as if “shitty reggae” was a genre. Perfecto! Or something. (http://katorgaworks.bigcartel.com)
(Joe Gross)
Day Creeper
Problem At Hand 7” EP
(Tic Tac Totally)
Kinda like power pop, except it doesn’t make me want to snap the record over my knee then bury it and sow the ground with salt, and kinda like Tyvek or Home Blitz, without the former’s pop spark or the latter’s character & unfettered joy. The songs tempos shift in an organic way, the songs (sans smirk) take detours you weren’t expecting, with a real craft to them. Not bad. (http://www.tictactotally.com)
(Bob Claymore)
The Dead Shall Not Have Died in Vain/Dysthymia
split 7”
(Diophantine Discs)
Says the all-knowing Wikipedia: “In mathematics, a Diophantine equation is an intermediate polynomial equation that allows the variables to be integers only.” Sexy. Very sexy. As for band #1, I suppose I’ll never learn that expectations are for other people. That band name attached to these sounds … look for it in the index whenever I finish writing My Secret History of Letdowns. There resided exactly one cute girl on my childhood street, and after misinterpreting stares of irritation and disgust, I approached her front door with the proposition of … sitting on the porch and talking (the not-as-cute alternative seemed to be into it). Her response: “I have to watch ‘Heathcliff.’” Wow, who HAS to watch “Heathcliff,” and who would chose a ninth-rate sub-bootleg Garfield over my all-the-plant-species-in-the-front-yard rundown? A reasonable human being, of course, but at the time, I experienced a feeling similar to what I felt after listening to The Dead Shall Not Have Died In Vain’s side. Sped-up FX-box or synth-fart noise attempting “creepy,” yet the only thing like that about the whole affair is that people still want to release records of it. The liners state that it was “Recorded at Home” SIX YEARS AGO – No shit? I would hope no one left the house to make this, and if it didn’t take one hour and $50 to record, I’ll be glad to collect a consultant’s fee to illustrate how it can be done. On the flip side, Dysthymia slaps a little echo and one faintly “dark” keyboard note on what sounds like a field recording of someone cleaning out a warehouse. Nice packaging, though. Shame, really. (http://discs.diophantine.net)
(Andrew Earles)
Ed Nasty and the Dopeds
“You Sucker” b/w “I’m Gonna Be Everything” 7”
(Last Laugh)
It’s hard to imagine the circumstances under which this record was made. What would it have been like to have been a punk rocker in Jackson, Mississippi in 1978? Is this a product of the Sex Pistols touring the southern states? Until the upcoming Ed Nasty article is published in Ugly Things, I’ll just have to listen to this record and wonder. Last Laugh Records gives us a necessary reissue of one of the rarest American Killed By Death (nerd note: Ed Nasty was comped on Killed By Death volumes 6 and 7) records, the great Ed Nasty and the Dopeds single, straight out of 1978 Mississippi. Calling this record snotty or primitive or plodding don’t really even begin to describe the moronic genius of these two songs of pure garbage rock It has to be heard to be believed. After a few listens it Ed Nasty will seep into your pours and you will never be the same again. Just buy this record…YOU SUCKER!!!!! (http://lastlaughrecords.us)
(Chris Strunk)
Face the Rail
s/t 7” EP
(Headcount)
This and the third Young 7” make for a totally disparate twofer that excites the living piss out of me. I guess you’d call this hardcore, as a starting point, then add that it the guitars carry so many different hooks in each song that these three songs seem like an entire album. There’s a clear debt owed to Mr. Reatard on the first track (“Fractures”), but unlike a lot of other upstarts in the highly competitive 7” garage-core field, this goes to a lot of other wonderful places. The side-long “No Hope” changes into the most beautiful guitar rave-on (not up or down…just forward) about ¾ of the way through that I swear the interplay bridges a gap between Drive Like Jehu and good AOR like Zebra and Boston, yet could be ALL-era Descendents if you listen just a little harder. The idea of “prog-core” has been destroyed by a lot of band over a lot of years, but these three songs have a lot of changes and own the usually unreachable 100% hit-rate from start to finish. Get this record. You are not too old for hardcore like this. I’m ordering the full-length after I write three more reviews. (http://headcountrecords.bigcartel.com)
(Andrew Earles)
Foot Village
Lovers With Iraqis 7” EP
(How To Fight)
100% “difficult” with 0% purpose. Comes with temporary tattoos. When a room-clearer would also work on the writer giving it that very distinction, then someone needs to report to human resources before clocking in tomorrow morning (but after finding a co-band/worker to let them in the building because they’ve already deactivated the offending party’ s security badge). Perfect example of when fucked up isn’t enough. If smart coin found itself on anything at all in this case (it won’t), it would be the prediction that a member or two of Foot Village (the name … basking in faux-Mr. Bungle glory) happens to be loud and obnoxious in public spaces like eateries and drink stations and parks and record stores. Something like this is getting banged-out in a local co-op or two near you, for free. See you there for some PPV boxing Saturday night! I know what their books look like and I know what their art looks like and I know what their record collections look like … in the event these things exist to begin with. Don’t know what boxing on that flat-screen in the community plant-ass-around room looks like, though! I’m bringing the apple-dippers and baby-runs cocaine! (http://www.howtofightrecords.com)
(Andrew Earles)
Trent Fox & the Tenants
Mess Around 7” EP
(Kind Turkey)
Trent Fox brings some of the range flavor home with an individually burnt 7” that both smells bad and will get your hands dirty. Hailing from the cowboy paradise of Milwaukee, the quartet offers up some twangy, Western themed pop for garage bros with some mighty hooks and a little bit of grime. “Outta My Mind” and “Sounds Fine to Me” come straight out of the Strange Boys playbook, but with a bit more slack-jawed pastiche about them. The sombrero sleeve, and lines like “Why can’t you take a joke baby, when I tell you that your face is ugly, and your mama is fat” push this a bit too far into rockabilly costume party territory. No need to pigeonhole yourself, dudes, when the music choice has it covered. The hooks are undeniable, and the songs are memorable enough to keep this on the toe tapping side. Your mileage may vary. (http://www.kindturkeyrecords.com)
(Killedbyjeff)
Games
“Don’t Look for Her” b/w “Funny Girl” 7”
(Rob’s House)
A very high quality and refreshing guitar pop single from a band with Busy Signals and Gentlemen Jesse connections. Just when it looked like the entire garage rock world was lost to forgettable lo-fi banging and bland reverb pop, a record like this comes along to remind everyone that making good rock records actually requires songwriting skill and a knack for hooks. It’s kind of hard to pin a label on Games because they seem to sit at nexus between glam, power pop, and psych pop but in the end it doesn’t really matter. I look forward to listening to this record on a warm spring day with my windows open while drinking a beer. Great stuff. (http://robshouserecords.com)
(Chris Strunk)
Gentlemen Jesse and His Men
“You’ve Got the Wrong Man” b/w “Stubborn Ghost” 7”
(Hozac)
I thought this was going to be an easy home run, but this one isn’t working for me. With something as pre-defined as Gentleman Jesse’s brand of power pop it either hits the pleasure center immediately or it doesn’t. “You’ve Got the Wrong Man” lacks the guts of the first single and even the LP, which in the grand tradition of the finest powerpop, falls off, and fast. Despite everything being well played (love the B-side bassline) there is less spring in their step, the guitars are exclusively jangly, and though they nail them, the vocal harmonies cement this into a more British Invasion mold. Something about that sound always bothered me; it’s a little too proper and flouncy. Who knew splitting hairs could make so much of a difference? I want that all American punk, not this foreign junk. Cool sleeve though, handlebar mustache content if you still think that’s funny.(http://www.hozacrecords.com)
(Killedbyjeff)
G.Green
I Will Not Withdraw This Statement 7” EP
(Malt Duck)
A person of indeterminate sex howls up front for this three-piece from Sacramento, CA which leaves the verses of “I Will Not Withdraw This Statement” with little to be desired, yet the chorus is a slam bang home run. Two chords + squiggly lil’ solo + some mentally-challenged “whoa ohs” + repeat 3x = the aural equivalent of your first kiss. The remaining tracks, unfortunately, are a little more pedestrian. “Looks” isn’t very memorable and “The Garden” shows promise but loses points for tacking on a lazy punk noise bullshit ending onto a somewhat interesting take on mid tempo doo wop cowpunk. You don’t have to take yourself too seriously, but man up, guys. This is your time, and your band. Cherish it. (http://www.maltduckrecords.com)
(Mike Pace)
The Girls
“Remote View” b/w “Lord Auch” 7”
(Hozac)
Pic on the back shows these dawgs rocking the fuck out. Sounds coming out of the Sony’s don’t rock the fuck out so much as they perfectly execute what is obviously the aim here: Big hooks drive the vocals which sing of typical faux-retro-goth-paranoia. I’ll put it another way … cross Mark E. Smith on a so-so day ("tiny cameras in the cat litter and criminal man hiding with the perverted hobos, yeah!!!" … I made that up, but you get my zipper-drift) with Jay Reatard on a late-period Lost Sounds or Blood Visions day. There ya go! You got it! Why am I having such a hard time forgetting the lyric that informs me of the singer’s wish to place a flashlight in my grave? I’ll pass...creepo. Damn. Oh, I don’t see one keyboard in the live-action band photo but I certainly hear keys all over both songs. Slathered with buzzy little keys … each one! And very little guitar (the guitarist is rocking the fuck out more than any other member...and he has carved "CRIME" into what I hope is a goddamn Squier Telecaster....wait, that’s paint pen, nevermind my man! Doodle-away!) unless the guitar is running through one of those dumbass “fat pickle hoagie chili dog” stomp boxes or what have you. Back in the realm of your attention span, this sounds like the top drawer of electro-punk as we will one day look back upon these pre-Culture Holocaust days of 2011 and remember with smiles or tears. Can’t use “Culture Wars” anymore … that’s someone else’s. (http://www.hozacrecords.com)
(Andrew Earles)
Grandfather Clock
Tarot CS
(no label)
More waste from Chicago (seriously, that Population single can’t come soon enough). Formless, stumbling heaviness with the requisite “crazy guy” screaming up front about this or that, and a muddy, uncertain sound made woozier by some poor cassette repro work. Wholly empty, meaningless aggression with pretentious lyrics. Songs go nowhere and rely on hollow, jazzy progressions that feel slapped together. As far as tapes go, it runs circles around that We Repel Each Other thing, but anyone could do that. Bad news. (http://www.myspace.com/grandfatherclockchicago)
(Doug Mosurock)
Hanging Coffins
s/t 7” EP
(Malt Duck)
Country Teasers as well as Coachwhips fans need to put on their gettin’-goggles before all 300 copies of this weird little record are harder to find than a Record Store Day patron with an operating turntable. This is another keeper based solely on the shot out of left-field otherwise known as the side-long “These Little Creatures” – a sloooooow crawl Teasers-style number so paper-thin you can count to two between the drum-beats and wandering (reverb-drowned, ‘natch) solo that so craftily spread the bed for the most car sick vomit-warble of a vocal delivery we’re likely to hear before this particular angle speaks to illegality. Side A is two tracks doing the “keeping-them-on-their-toes” bit for the aforementioned combos of much older or rather, more established vintage. If this turns out to be a side project of one or both, I’m going to cut off my little toe and mail it to my editor. NOT going through that shameful shit again! Get this record!
(http://www.maltduckrecords.com)
(Andrew Earles)
Heavy Times
“No Plans” b/w “Ice Age” 7”
(Hozac)
Charming and unpretentious, Heavy Times is two guys who deliver a supremely pleasant little two-fer on this platter. A-side “No Plans” is sweet ‘n clean in a 1966 sort of way, complete with a jingle-jangle and some gang vox, while the flip “Ice Age” is more of a tambo-accented stomper with a hint of Dando in the vocal department. Nary a sneer in sight, yet neither fey nor meek, Heavy Times comes across as a couple of good dudes playing music in a field near a parking lot, where they apparently recorded these songs (in Ypslianti, MI, for good measure). (http://www.hozacrecords.com)
(Mike Pace)
House of John Player/Toddlers
split 7” EP
(DoubleDotDash!?)
Didn’t know what to expect, which often works in the favor of both parties if we’re playing this little game. Two UK bands that sound like different decades on different planets. I’m going out on a limb here and tagging Toddlers as a bass /drums duo, then I’m going to make history in 2011 by stating that they don’t bore the poison from my pores. Starts out like aggro with atmosphere then shifts halfway to all atmosphere like an instro throwaway from the first 3 Mile Pilot record. The vocals, when they popped up at the beginning - during the ("gasp") darker moment and a half - danced a jig not a dinner or two removed from This Heat but now that I read what I just wrote, I’m thinking more like the first Dome LP. That record is called Dome 1 and you should own it. I just found a $5 copy (different from a $5 Cover, mind you). But we’re not here to discuss Dome and we’re about to stop discussing Toddlers, as all I have left for you comes in the form of a sturdy recommendation. House of John Player is prettier and more personal, so no surprise that it’s one gentleman who does the "alone but not lonely" sound (a sound I just made up) just right, considering I have little to compare it to. Falsetto screaming-to-the-wind vocals outta nowhere should make this face-plant into the mayor’s office.....the mayor of Embarrassopolis, but the rest of the murky and moody goings-ons push the right emotions. Sometimes a man’s gotta pull out the falsetto to show you what he could pull out...and by that I mean...his balls. Keeper pile. (http://www.doubledotdash.org)
(Andrew Earles)
HPP
s/t 7” EP
(Perennial)
The Hipster Piss Party enters Round 3 with six new songs. Still punk, still raw, a bit more thought in the writing this time (REALLY into “Sludge Love” and “Crescent Moon” … actually really into all of them), a bit more obfuscation of influences, from British snot punk to Black Flag, and the seams aren’t showing as much anymore. For some reason, this is countered by really clean, obviously separated production which I didn’t think was in Capt. Trips’ bag. I’m sure these songs shred hard in the live setting, and I hope to visit all 20,000 square feet of Olympia some day and find out for myself. Recommended if you are cool. (http://www.perennialdeath.com)
(Doug Mosurock)
Iceage
New Brigade LP
(Dais)
New Brigade is the best type of shock – familiar antecedents put together in a way that makes you scramble to figure out where you heard it before, only to realize nope, you were wrong. Yeah, yeah, Joy Division, especially the Warsaw years, given the name and a certain distant, rough hewn quality to their singer Elias’s voice, and an overall Euro feel, and half heard lyrics about “these days” and “forcing me,” and the stately rumble on “Never Return.” But it’s more like pulling a “Pink Flag” – effects-driven guitar/bass in there somewhere; blurryzoomydrums barreling at you in a slightly-underdefined urk. A wise man once said that Wire was England’s Ramones with Cahiers du Cinema and Eno replacing Mad magazine and the Ronettes. Instead of those, these Danish kids (under 18? Really? Jesus!) have eight billion blogs and every album ever made just a Soulseek away and everytime you think they haven’t coughed up a “Reuters,” one of the riffs from “Eyes” or “Total Drench” or every damn second of “Remember” rears up in your head and once again, you reconsider. There’s something going on that wasn’t here before. (http://www.daisrecords.com)
(Joe Gross)
The Jameses
“Rat People” b/w “The Haunted Rider” 7”
(Mayo Factory)
First thought is Dog Faced Hermans due to the cover art of a dog faced woman (in the mirror at least … looks like a Steel Pole Bathtub LP cover). But they sound nothing like those folks, but perhaps like UK indiepop legends The Wake, at least on “Rat People.” Or if you told me it was a lost B-side to something The Photon Band would have released on Darla in 1998 or so, I might believe that too. Or an Orange Cake Mix side-project? Anyone? They have a somewhat “looped up” sound – more in a Feelies-esque sense than anything electronic, though synths are quite present. A nice melodic vibe with some legit chorus hooks, vocals both restrained and cool. Not so sure of their scene but to my ears they could fit in on any indiepop bill – stick that on the one-sheet. (too cool for a URL)
(Andy Tefft)
Jungle Fever
Cryin’ Blood 7” EP
(Windian)
A female take on Jay Reatard perhaps? This mysterious little record housed in a generic white sleeve and adorned with ballpoint pen scribblings was apparently pressed in a very limited run of three copies … oh excuse me, those three are “for promotional use only.” Who got the other two? Blender and Under the Volcano? The two cuts on side A, “Cryin’ Blood” and “Under the Bus” rush by and contain nothing new under the sun, but B-side “Kiss” is a minor pop-punk gem, proving once again that a well-worn three chord ur-Ramones rip will triumph over some soulless blast of noise any day of the week. And you can bet your Non records on that, champ. (http://windianrecords.com)
(Mike Pace)
ListenListen
Dog LP
(Mia Kat Empire/Thy Old Murkville Forest)
All those guys who work at, like, Walter Foods, with their suspenders and slicked hair and waxed mustaches? LiastenListen sounds like those guys started a band, and they wear their work clothes to practice too. But these guys aren’t based in Brooklyn, they’re from Houston, which means that no one has to pay them to dress that way. All these miserable mergings of alt-rock/fringe-rock from the past 10 years comprise these saps’ sound. Nuke this band from orbit. (http://listenlisten.org)
(Doug Mosurock)
Lotus Eaters
Wurmwulw promotional CS
(Taiga)
James Plotkin, Stephen O’Malley and Aaron Turner try to out-bore potential paying customers with longform drone, already issued once on CD but recalled here with alternate takes (yeah, like you could tell … also, this sort of thing needs to be done more than once?) Respect for all three participants aside – hey there is at least one really good Isis record, Plotkin is a standard bearer and Sunn 0))) once triggered a much-needed bowel movement inside yours truly – it kind of amazes me that they want to enter the drone sweepstakes yet again, with the typical plip-plop field recordings, warped acoustic guitar, and otherwise dulled monoliths of enormity for people who don’t live near a port of call. No doubt some effort went into this, but maybe not as much as would be required of you to listen to the whole thing. Tape edition is in a numbered run of 100 copies, as the vinyl was cost-prohibitive to mail out. It’s also one of those albums with three sides of actual music and an etching on the fourth. I have seen some horrible etchings, ones bad enough to make me wish someone couldn’t at least dig up a demo or something more personal to put there instead of more artwork. (http://taigarecords.blogspot.com)
(Doug Mosurock)
The Love Dimension
“The Dark Night of Your Soul” b/w “Butterflies of Bliss” 7”
(no label)
The thing that kills, and has always killed retro-minded reproductions like The Love Dimension is the unfortunate touches of the present, that Dickensian ghost lingering in the room. I was talking with my friend Ronnie during our DJ set the other night about this while he was playing a cut by Thee Four Given, an ‘80s garage revival band that absolutely nailed sound and production values to the era. We were wondering if they found the last studio in the country that had all the old gear, and the one wizened head who knew what to do with it. Listening to a plastic imitation like The Love Dimension will never stand up even to other after-the-fact imitators; it’s a toy version of a ‘60s psych/mod band, every note ringing out with clarity, every prancing affectation of the singer looking less like a dangerous teen with nothing to lose and more like Matthew Lillard as Shaggy in the “Scooby-Doo” movie, or worse, a guy who models for Halloween costume packaging photos. I’m kind of shocked, then, that the otherwise authentic stamp Greg Ashley has put on so many other recordings – both his own and others – is nowhere to be found in his work here. Maybe these guys couldn’t be saved. The cover art, a torn sleeve image of the color cover and a B&W sketch of it overlapping one another, is extremely cool, and the best thing about this record. Stuff another band’s single in there for best results – I have a sleeveless copy of “Oh No, Not the Beast Day” by Marsha Hunt which could use a home this snappy-looking. (http://thelovedimension.com)
(Doug Mosurock)
Lover!
“Home Alone” b/w “In Death” 7”
(Windian)
Ex-everyone’s favorite bands drops another single, and I like it more with each flip. You probably know if you want this already. “Home Alone” is a memorable power pop song with a huge anthem of a chorus but a grimey enough recording to keep it on the right side of the pop punk line, and the flip is on more of a late number KBD thug punk trip (copyright Stuart). Both songs lean heavily on a buzzsaw fuzz of a guitar, with Home Alone adding some synths for embellishment. I checked my Solid Sex Love Doll 7” for reference, and it’s basically the same formula, just with the styles on opposite sides. No point in progression when you hit the mark the first time, right? (http://windianrecords.com)
(Killedbyjeff)
 
Martial Canterel
“You Today” b/w “Champion” 7”
“Occupy These Terms” b/w “The Case” 7”
(Wierd)
This pretentious clown’s two singles are real turds. Derivative, half baked ‘80s pop synth, without hooks or anything that makes it notable or memorable, with vocals that sound like a Robert E. Smith wedding impersonator, all captured in poor fidelity with a lousy recording. It’s supposedly “cold wave” but there is nothing there; this about as ominous and cold sounding as a puppy wagging its tail while rolling around in a punchbowl filled with cooked noodles. Ever notice the Emperor’s bare ass in Brooklyn? I read a fawning interview where Mr. Canterel came off like such a pompous gasbag that my original review read, in part “I suppose there’s someone out there that likes this kind of stuff, and I’d like to take this opportunity to suggest to that person that they do us all a favor and go hang themselves in their bathroom,” before it was rejected by the editor. I stand by my unnecessary, childish cruelty aimed at music fans who enjoy another person’s efforts at being creative, because this is just a idea-free, pointless rehash of a genre that should have remained dormant, re-remaindered with a fancy new name and a lack of ideas. (Editor’s note: He’s got a right to his opinions. http://www.youtube.com/watch?v=DmGO-IPYcp0”>Also, Bob Claymore appears at 0:17 of this clip.) (http://www.wierdrecords.com)
(Bob Claymore)
Meho Plaza
Made of Gold 7” EP
(How To Fight)
Thank god. Figured I was about to piss off another label person (by giving negative reviews … not with my good looks) when this A-to-Z masterpiece turned up next in the pile. Four audio installments of motivational but skewered (and skewed) pop that, holy shizmits, sound like a different band (of topical existence) blasted out, sputtered out, oozed out, or squeezed out – each. First track might fall apart but has a wonderfully sad hook keeping things moving forward on the slippery-slope. Second track reminds me of Gun Outfit (who I’m down with … man’s gotta be down with something) and the third track could be from Thurston Moore’s Trees album in another dimension even though the T.M. record is damn near perfect. Track four slayed me like no other; about 3/4ths of the way through, it has one of those classic changes you wait for regardless of how many times you hear a favorite song, and this is now a favorite song on a favorite record. People, if I have to drag each one of your flip-flop-footed asses out of bed or stand on top of your coffee tables screaming for you to order this record or hypnotize the remaining dullards into strangling a local store-keep into ordering it … well, that’s what I’ll be doing. Until I get some more work. Then I’ll have more important line items on the to-do list. GET THIS. (http://www.howtofightrecords.com)
(Andrew Earles)
Mermaids
“Holiday” b/w “Whirlpool” 7”
(Pretty Ambitious)
Indiepop rookies. But is it beachy? Yah, a little. Reverby, 60’s bop-boppy. Pleasant, but these Mermaids seem averse to hooks, or tridents for that matter. Nothing to surf home about. Awaiting a follow-up with bated breath. (http://prettyambitiousrecords.com)
(Andy Tefft)
Milk Music/Carrie Keith
split 7” flexi w/NUTS! #6 fanzine
(Perennial)
NUTS! is a periodical from Olympia, WA, profiling the bands and artists in town in a personal way. The front page of issue number six checks in with nearly every band in the area on how they’re doing, then goes on to interview Broken Water about their politics and list hundreds of things that HPP might stand for (I’m still going with the one I read first, Hipster Piss Party). It’s a great read for what appears to be a tight-knit, fully-functional scene … just like it used to be. Sweet read, and I’ve enjoyed the other issues that’ve come my way too. Especially like the crazy artwork. This to my knowledge is the first edition to come with its own record, and since the flexi presses are all up and running again, might as well make use of them. Milk Music, a band that rules hard, rips up an unreleased track called “Violence Now” that sidesteps the melodicism of their 12” for a more aggressive, punkier approach. They can’t do any wrong in my eyes. Carrie Keith is a member of Gun Outfit and here presents a solo acoustic song called “White Light” that, either knowingly or otherwise, taps into the quavering Xpressway aesthetic, an austere, simple, thoroughly arresting ballad in the vein of Sandra Bell, the Jefferies Brothers, maybe even the dread Mecca Normal. It’s got hard company to keep with but I’m glad to have heard it anyway. What would it take to get a scene like theirs going in your town? (http://www.perennialdeath.com)
(Doug Mosurock)
Mogwai
Hardcore Will Never Die, But You Will 2xLP
(Sub Pop)
Oh yes, I remember the pre-Y2K post-rock/drone backlash well; may have even participated in it to some extent. No, I definitely did. I made fun of Stars of the Lid … in the pages of my zine, so it doesn’t actually exist. There were select few that never let me down, though, and continued to take me to that special place as the worst decade in history took a big shit on my life (along with everyone else’s). I believe that the humbling, repeated sucker punches of the ‘00s are the exact opposite of this largely-wordless presentation just going along, getting better and better at its thing. Is this the best Mogwai album? There is no “bad” Mogwai album, and while the band’s discography lacks the complexity of the granddaddy of that decade’s achievements (not to mention the whole apples and oranges debate), my least favorite album (couldn’t really name it right now) is very much like my least favorite episode of “The Wire.” There’s something to be said for the ultimate example of any form, even if that form is without a multitude of dimensions. This is one of the heavier Mogwai records, but those come every few years, the last being Mr. Beast, which may be in my top two or five. This band translates better, personally, when heavy, because like Jesu, Torche, Boris, Swans, and the Melvins, “heavy” is not just a sum of parts or the correct usage of instruments in tandem. Heavy carries the emotion just as easily or in place of, the lyrics or vocal hook. Heavy is perfected. There’s a big difference between these bands reaching heavy and the rest of the pack giving heavy a failed shot (too many to list). And what about Mogwai getting the vocals right the few times they venture to use them? Just this band’s success at large, here being represented by a temporary deviation from what they have honed beyond perfection. They can replicate the feel of vocals with a guitar line or particular riff EVERY TIME … one of the many tossed off like-a-walk-to-store-with-a-laugh-and-a-smile that puts the competition in its place. And it is competition. Mogwai more than earned their right to look at you from up there. This is as good but not better than Come On Die Young and as good if not better than Mr. Beast. The reason they’ve never actually made a full-on metal record is obvious: They are fans of the genre, and don’t want to be responsible for making The Last Metal Record. Yeah, it would destroy music, in a good but final sense, so don’t tempt them. On gray/white vinyl and in print for the next year or two. (http://www.subpop.com)
(Andrew Earles)
M.O.T.O.
Kissing All the Wrong Asses 7” EP
(Windian)
Masters of the Obvious have been around forever (since the ‘80s) slugging it out in the garage rock trenches.. Started this off on the B-side to hear a song called “Here Comes Our Rock.” Very amusing, being about rocking and all. Next B-sider is “From The Seat Of Our Pants To You” and while also rocking (does John Reis owe them some credit or vice versa?) it does sound a little too Kenny & The Kasuals. By that I mean phoned-in, though maybe that’s the point and I should lighten up. But then I got bored listening to the two a-side songs, would rather enjoy something like this live, could use another beer and so forth. (http://windianrecords.com)
(Andy Tefft)
Nervous Assistant
“Bastard Blues” b/w “No God in the Sky” 7”
(Blind Prophet)
At this point it’s hard to imagine that, 35 years ago, there was a New York City where Bob Dylan and Townes Van Zandt used to play the Bottom Line, working out old labor songs along side contemporary folk. It’s rare to see an unironic mining of earlier cultural eras, never mind a vibrant music scene in Manhattan these days (? – Ed.). So it’s kind of hard to get a read on Brooklyn’s Nervous Assistant single from Blind Prophet, the Cult of Youth imprint, which breaks from the darker post industrial age folk for a more traditional sound, just voice and acoustic guitar. “Bastard Blues” goes full-on O Brother Depression blues and should please any “Big Rock Candy Mountain” fan, both in tone and theme. “No God in the Sky” takes a more conventional singer songwriter approach. So this could do it for you whether you’re a hobo punk ready to get deeper, or a disaffected neo-folk fan ready to trade your Rick Owens for Paul Harnden. (http://www.blindprophetrecords.com)
(Killedbyjeff)
New Lows
Harvest of the Carcass LP
(Deathwish Inc.)
Stroke-inducing metallic hardcore from the Boston area. This thing is heavier than getting ghosted by a upper-story jumper from an office building. The architecture of their sound is one of the sturdiest I’ve ever heard, insanely tough mid-tempo hardcore with blitzkrieg-style double-kick drumming, truly disgusted angry vo-kills, and dense guitar atmosphere that couches their sound between the Cro-Mags, Ringworm and Godflesh. Impeccably rendered for maximum pain, all ten of these tracks seethe with a thick patina of rage and misery, viscous/vicious contempt for all things living or dead. Perfect for the gym, or WWIII. (http://www.deathwishinc.com)
(Doug Mosurock)
Per Purpose
Heil Progress 7” EP
(Bedroom Suck)
Brisbane’s Per Purpose has made a very worthy 7” EP of Minutemen and bIG fLAME influenced rock here. The pace is hectic, there are a ton of stops and starts in these short songs, the vocals have a Mark E. Smith-ish sneer, and every once in awhile someone lets lose with what sounds like a tin whistle. It’s really great stuff and if you enjoy the Dawson/Stretcheads/“Death to Trad Rock” sound there is no reason not to get this. The label’s press release compares Per Purpose to the Go-Betweens and Tactics. If you use your imagination, this record could be comparable to the first two Tactics 7”s but the only way you could possibly think this sounds like the Go-Betweens would be if you only listened to their LPs on 45. It’s interesting to think that maybe the people who run Bedroom Suck have been accidentally listening to the Go-Betweens at the wrong speed for their entire lives. (http://bedroomsuckrecords.com)
(Chris Strunk)
Pop. 1280
The Grid 12” EP
(Sacred Bones)
The Pop. 1280 singles portrayed urban decay with a sense of wonderment, as dirty as the band might have intended it to sound; lyrically they approach the horrors of neglect and NYC from the outside, rather than not taking a stance at all or trying to fake it. The nightmares that they cast (baser ape humans masturbating on a bridge, Internet porn, the titular “Trash Cop” – “made of newspapers fastfood wrappers … carries what you drop”) continue with that mindset as a directive; implicit slut-shaming (“Anonymous Blonde”) and other dehumanizing acts paraded around and judged, but paraded around all the same. It’s hard to reconcile with some of their ideas with some of their music being as strong as it is – the danceable title track on this is the one they’ll be remembered for, 8-bit bassline throbbing beneath a violent, mechanical bounce of synths and guitars, picking up where Six Finger Satellite left off. I think they’d sound even hotter if their lyrics weren’t coming from such a germophobic perspective, and could embrace the filth rather than pretend to be repulsed by it; quit judging, fellas, lest ye be judged (or compared to “concerned residents of Park Slope”). (http://www.sacredbonesrecords.com)
(Doug Mosurock)
The Prefab Messiahs
“Franz Kafka” b/w “Prefab Sun” 7”
(Almost Ready)
The cover is a dirty liar: the teenage-lookin’ mopes with Brian Jones pouts, sandaled feet and Aquarian threads aren’t some Vietnam-era teeners that somehow ducked the net of genre compilation strip mining. Nope, The Prefab Messiahs are early’s ‘80s pre-AND-better-than-Paisley-Underground tunes that sound like the Twinkeyz without the hallucinogens. Great stuff. It’s not gonna crack open your mind and hard boil it, but not everything has to. Sounds like they were a hoot live. More coming, which is good news. (http://www.almostreadyrecords.com)
(Bob Claymore)
Primitive Calculators/Slug Guts
Pumping Ugly Muscle split 7” EP
(Sweet Rot)
Primitive Calculators are one of the greatest bands to ever walk the Earth. In their 1977-1980 heyday, this Melbourne band created a very advanced racket out of WASP synths, slide guitar, primitive drum machine, and agitated thickly Aussie accented vocals. Some elements of their sound betray the influence of the No New York compilation LP, but other parts of their sound seem to come out of nowhere besides their own demented head space. They were so far ahead of the punk/post punk pack that in some ways people are still catching up with them in 2011. I will gladly listen to any recordings of the Primitive Calculators. This 7” contains three versions of the Calculators song “Pumping Ugly Muscle”, which is their probably their most well known song due to its inclusion on the soundtrack to the Australian punk movie, Dogs in Space. The first version is a boom box practice recording from 1979 that is quite punishing in its low fidelity assault, and also interesting for Primitive Calculators trainspotters because it contains a completely different rhythm track than the more well-known version. Next up is a reunited Primitive Calculators doing a live version in 2009 which is just as nasty sounding as the boom box practice from years back. If no one had told me I would have thought it was from the ‘70s. The third version of “Pumping Ugly Muscle” is by the Brisbane band Slug Guts. They add conventional rock instrumentation to the song and a Birthday Party/Bad Seeds swagger. It’s not bad, but can’t really hold a candle to the Calculators white noise assault. If you don’t have any other Primitive Calculators vinyl, you should get this. Has a better song about dicks ever been written? (http://www.myspace.com/sweetrotrecords)
(Chris Strunk)
Primitive Motion
Certain Materials 7” EP
(Soft Abuse)
Leighton Craig, who does time in the great twisted jazz trio the Deadnotes and is also a solo artist, and Sandra Selig, who I’m not familiar with, have created a very compelling improvised ambient murk on this 7”. The instrumentation is male and female vocals, flute, a primitive sounding drum machine,and lots and lots of reverb. It doesn’t sound like much on paper, but all the elements weave together to make a beautiful haze that keeps me coming back to this records and playing it over and over. This record is one of the best things I’ve heard in 2011 so far. Great things are happening in Brisbane, Australia! (http://www.softabuse.com)
(Chris Strunk)
Protect-U
World Music 12” EP
(Future Times)
Second 12” from this DC outfit, part of the Future Times cartel who are doing BIG things for electronic dance music on the East Coast, reaching back to an artistically fertile moment using analog gear and light, colorblind choices in sound and arrangement, the mind-body circuit played out large for explorers in the night club and the after hours. “World Music” starts out with the big 808 handclaps, the white noise fills and the synth trills, but in its second half, it strips away all the rhythms except the 4/4 kick, making the bass and arpeggiated synth leads do all the work as you levitate off the dance floor in a state of man-made bliss. “U-Uno” pays tribute to Pizzeria Uno (not … it’s merely another quality Protect-U groover, dialing down the funk in favor of sprightly, acrobatic house moves) and “World Music (Dub)” slows down the rhythm and revisits a string emulator sample, stretched out a bit for atmospheric purposes. Balanced, well-considered Balearic sounds with real thought and discipline instead of flailing on one idea over and over – can’t wait for the next one. (http://www.futuretimes.org)
(Doug Mosurock)
Religious Knives
Smokescreen LP
(Sacred Bones)
With each passing full-length, and the reconstructed evidence of tapes, CD-Rs, and live recordings that’ve filled in the gaps, Brooklyn’s Religious Knives have been on a slow, dank beeline to an idyllic sound, informed heavily by the blues. Their minimalist compositions carry maximalist aesthetics and a thousand-yard stare intensity, making their music somewhat of a latter-day response to the first few Live Skull records in how both bands accurately document the shattered/frigid/decadent danger and ennui of urban living, or maybe a cool, collected foil to Quintron’s zany kneejerk ‘50s terror mindset. Smokescreen continues the refinements even further, new drummer Ryan Naideau pulling back from the tendencies of earlier recordings – here, the resin exuded from their sound merely serves as a grout instead of an agent of suffocation. Under no means should you interpret this as if this band has some stake in normalcy. This is a dark one for sure (all their records are), but it’s not maudlin or emotionally overstated. This long player – and it is long – flaunts with convention as a means to an end, but it’s their end, and the band never shows its hand. You get the sense that these four individuals are on a path, and if you’re like me, it behooves you to latch onto their dimly-lit mantra. Score one for the Bonz, going after an established act instead of trying to break a new one, something which I think is a welcome shift across its present body of work. Beautiful silkscreened sleeve. (http://www.sacredbonesrecords.com)
(Doug Mosurock)
Soldiers of Fortune
Ball Strenth LP
(Mexican Summer)
This is a super-group consisting of 2/5ths of Oneida plus Matt Sweeney and the guys I had to visit the Mexican Summer site in order to ID … no disrespect. First song = best song, no doubt, and the rest of the album is a must for Oneida fans, as their signature sound (such a hard fucking thing to have at this stage in the game, you know?) overwhelms the still-noticeable Robin Trowerisms fighting for top-billing. Again, the opener is a repeat customer on the home system, despite that setup currently consisting of a Numark PT-01 USB Portable Turntable positioned to the right of my laptop, and a pair of Sony MDR-V150 Dynamic Stereo Headphones (the brand’s cheapest studio pair … you’ve been in a CVS before, you know the ones). A big thanks goes out to my thoroughly unraveled life for that one (here’s to hoping for a 100% male readership re: this review). Pressed like Mexican Summer presses ‘em … enough not to be a hopeless pursuit but few enough to justify getting off that ass for a change. Oh, the record justifies that, too. (http://www.mexicansummer.com)
(Andrew Earles)
Sonny & the Sandwitches
Throw My Ashes Off the Pier When I Die 7” EP
(Empty Cellar)
40 seconds in and I’m bored, bored, BORED. Sonny & the Sandwiches is emblematic of my major beef with most of the current streams of indie rock. Historically, people compensated for a lack of conventional mechanical ability with an exceptional charm, wit, or inspired outside technique, often surpassing the genre conventions they were working within. Take the Oblivians: Jack & Greg’s animalistic fury and howling elevates the material far beyond the boilerplate ‘50s garage underpinnings that attempt to ground the music. With this 7” we have all the droning of mealy mouthed ‘70s AM radio/AOR dreck, but without a traditional competence or a subversive quirk to take it in a new direction. A voice without specific charm, Smith and the ladies still miss the mark enough never to be mistaken for the genuine article, making for a terrible version of a boring thing, as if the facsimile of insipid garbage is itself something to be proud of. The package is stuffed with folksy, indie-cute paintings and comics, overwrought all too clever explanations, replete with exuberant names sprung from whole cloth like somebody doing an impression of Noah Baumbach doing his most cloying impression of Wes Anderson. It wasn’t worth doing, and was still done badly. (http://www.endlessnest.com/empty_cellar)
(Killedbyjeff)
Staccato Du Mal
“Desespero” b/w “Conducir” 7”
(Wierd)
In case the artist name and label didn’t tip you off already – yes, this is some dark synth-heavy action for the nocturnally inclined. This single accompanies an LP also released by Wierd, and the figure behind Staccato Du Mal, Miami’s Ramiro Jeancarlo, has appeared elsewhere on the label and in the duo Opus Finis. This is, I believe, a strictly analog affair, and even as someone who dared to spin on a sunny afternoon, I was impressed by the production quality to the point where “cold” wasn’t really a factor. Just good tracks, to my laygoth ears at least, with vocals both morose and sly with the intonation of “so sorry, Charlie” on the title track. In or out of popular style, in the right room the track would bring more slithering to the floor by sheer force of atmosphere and pin them there with subzero sine waves. Not sure why the goth DJ editor of Still Single let this one elude the grasp of their velvety mitts. No point in patronizing anyone by comparing this to acts new or old, but it’s certainly very much in line with the Wierd sound (and well-designed as usual). The non-LP B-side scales the vocals back even more and lets you bath in those synths even more, whether the shades are pulled or not. (http://www.wierdrecords.com)
(Andy Tefft)
Sun Stabbed
Des Lumières, Des Ombres, Des Figures LP
(Doubtful Sounds)
French duo of downer guitar improvisers follow up a dreary single from a few years back with an equally dreary full-length. Stretched out beyond the limits of patience for almost any listener I could ID, the group takes the non-traditional approach of the Dead C., from which they also took their name, but without any of the character either. Sounds like two guys who don’t play guitar, playing guitar using as little effort as possible. Amp drone, fret buzz, you’re snoozin’. (http://doubtfulsounds.info)
(Doug Mosurock)
Superdestroyers
“Slave to the Urge” b/w “You’re Being Erased” 7”
(Windian)
Not gonna lie. This is a stinker of a garage rock single, a real stale ale and bad BBQ burp. The band’s ‘tude suggests they could care less. Know why? They’re “Living For The Urge” and taking no guff. They employ snotty vocal stylings. I would probably appreciate them more if I could throw beer at them, in a good-natured way of course. (http://windianrecords.com)
(Andy Tefft)
The Twilight Singers
Dynamite Steps 2xLP
(Sub Pop)
There’s good cheese and bad cheese. Afghan Whigs had at least a moment or two on their final album. And I am a super-fan of both Congregation and Gentleman … the former was peerless at the time, and the latter just felt right, as there just wasn’t enough music in my little world that addressed fucking and the problems caused by fucking. I’ve been waiting for a Twilight Singers album that didn’t make me clear my throat and yell out to every female within earshot (rarely more than one): “I have to review this!” Yet Dulli can’t keep it simple and creepy anymore. Nowhere is there a sparse piano ballad with a lilting hook and fucked-up lyrics … no, he’s got to layer on a bunch of groans and grunts and other silly shit that makes Mr. Mister or Don Henley 2nd or 3rd cousins. And hard rockers? Sure, sort of, but expect more and different layers of extra cheese. I know this is supposed to put the “Adult” back in Adult Contemporary, but I’m still an irresponsible nightmare with no plans of putting three divorces under my belt. Doubt he’s bagging 19-year-old strange behind this form of “sultry” (and no disrespect if he’s married … no idea), but at least the aforementioned Whigs albums felt right as the soundtracks to such shenanigans. This? This feels like the modern country version of music I’m supposed to like. White vinyl. Eight million copies pressed. (http://www.subpop.com)
(Andrew Earles)
Two Tears
Eat People 7” EP
(Kind Turkey)
The first thing I notice about this Two Tears 7” is the how much more confident the singer sounds than the usual garage fare that comes through here. One of the persistent qualities present in the last few years of the greater garage domain is that the recordings getting smaller, the allegiances to genre stronger, and the horsepower of raw personality suffers. How many bedroom acts can measure up to the most tossed off Supercharger single? Too few bands develop a “voice” in the world of reverb, lazy recordings, and Ian Curtis imitations. So, I’m not surprised to find that this is the work of somebody who knows what they’re doing: former Red Aunt Kerry Davis, with a welcome push into the male dominated One “Man” Band scene. She sounds charming and confident on these three otherwise minimal, western tinged garage songs. “Eat People” and “Heisse Hexe (Hot Witch)” are quicker and hooky, where “Senso Unico (One Way)” is a slow, Haunted George styled grind, Ms. Davis howling “I hate my life” over heavily tremolo’d guitar, a kick drum/tambourine thud, and sparse twangy leads. Despite the relative minimalism the songs remain memorable with enough hooks to keep me (and you) engaged. (http://www.kindturkeyrecords.com)
(Killedbyjeff)
The UV Race
“Acid Trip” b/w “Speed Freak” 7”
(Sweet Rot)
The Aussie invasion shows no sign of relenting this month. Either they’re well into a neo-renaissance or they’ve just found a better distro pipeline to the U.S. in the wake of Eddie Current, Total Control, and Straightjacket Nation tours. The Euro KBD (Bloodstains?) inspired musical journey continues on the A side of UV Race’s 4th record (from their Fashionable Idiot’s 7” session). “Acid Trip” stumbles in a dilaudid haze into more open, dreamy territory. The spacey ruckus is moored by the twin drone of steady, but laid back ECSR style rock solid drumming and a harmonica. Multiple synths and a guitar appear, rarely repeating themes, just registering their presence and fading away like imperfect memories. All compounding under the intonation of “he’s never coming back.” But I bet they’ll be back this summer though. Five records in a handful of years? They’ve got that down under work ethic. “Speed Freak” is comparatively paired down, relying predominantly on drums and synth working two simple themes that kind of reminds me of Kitchen & the Plastic Spoons. Everything else is out of print, so you’re going to have to hustle. (http://www.myspace.com/sweetrotrecords)
(Killedbyjeff)
VoicesVoices/Gold Ether
Animal Battles Series Vol. 1 split 7”
(How To Fight)
So are the animals which are going to battle themselves too tired to lend moniker assistance to uninspired bands/artists? That’s a battle I can get behind. Doubling up on a word is just as troubling a handicap, sound unheard. So it is with real glee (can I use that word these days) that I report back from a VoicesVoices listening experience with nary a negative sentiment loaded in the chamber. Lots of layered lady vocals competing with minimal, perhaps marching-band, drumming and asingle-note guitar line or two. It felt like a pleasant view of one song’s middle and another’s beginning – perpetually, and respectively – if you will, or will not. While this isn’t enough to immediately give another VoicesVoices 7” or LP a free trip to the counter for some money-from-me separation action, I might do the next best thing (when I figure out what that is). Gold Ether is even MORE vocal-centric but chooses mid-tempo techno as its vehicle of choice. And I should qualify the mid-tempo techno as “without decade of origin” in the language of “kudos,” while I’m still writing this review. On cat-diarrhea-brown vinyl and probably limited, unlike the insert (included: two identical copies in different colors and one DL code on a tiny slip of paper). (http://www.howtofightrecords.com)
(Andrew Earles)
Weird TV
“Sufrir” b/w “Sex” 7”
(Perennial)
Punk fuckin’ rock from America’s #1 location for punk fuckin’ rock. Weird TV digs up the toughness from those early Bikini Kill records (they’re in the groundwater) and transposes them into gang fight territory, tuff riffs sung in Spanish by two awesome women in charge and two guys holding down the back. “Sufrir” wishes some dude dead, while “Sex” is a catalog of all the places to do it (bed, bath, floor, movies, forest, river, roof, and even THE GRAVE). Weird TV straddles the line between amateur and badass, to the point where you can’t really tell the difference. If every single that came in here was at least as good as this, I wouldn’t hate life so much these days. Please, world, take a tip from Olympia, WA. Get your heads on straight and then tell us all about it. Top notch. (http://www.perennialdeath.com)
(Doug Mosurock)
CS Yeh
“In the Blink of an Eye” b/w “Condo Stress” 7”
(Destijl)
C. Spencer Yeh is a great musician who has made many great records under his own name and the Burning Star Core moniker. I consider myself a fan. I saw him do a sound poetry piece on New Year’s Eve that was truly breathtaking and one of my live highlights of 2010. Yeh’s great past work makes this 7” very puzzling. Side A is some sort of joke new wave song with bizarre affected vocals. Side B is a piano ballad that kind of sounds like “New York State of Mind” by Billy Joel, but with Yeh just kind of moaning across it. I can’t tell if this record is a serious proposition or a joke, but in the end it doesn’t really matter because no one that purchases this single is going to listen to it more than once. If you haven’t heard Yeh’s music yet, seek out Burning Star Core’s Challenger or Operator Dead … Post Abandoned LPs and avoid this. (http://www.destijlrecs.com)
(Chris Strunk)
Various Artists
Tartare de Subconscient Infini CS
(Crudites)
No less than 18 projects from France and possibly elsewhere are crammed into a C60, with discovery and awareness for you, the listener, in mind. This is about as various as Various Artists gets, though acceptable Francophone punk/undergrowth parameters are adhered to, so you’ll find noise and tape/splice manip jobs up against parping new wave/synth romps, lots of garage, weird punk, tensed-up bedroom thrash, overdriven drum machine stomp, and the like – the obsession with early rock/roll and rhythm/blues comes to the fore, as is expected, though I was duly impressed by the 2050s’ passionate read of “I Stand Accused,” tearing a few chapters from the Reigning Sound playbook. Would take more listens than I’ve got the time for to suss out any further standouts, but once you get through most of the xpr tangle of side one, those of you who dig activities from the Les Disques Steak/Born Bad/SDZ triangle (these are probably a bunch of side projects of their artists) will find yourselves enjoying the spiel, as the sounds are familiar, and the names are intriguing. Who knows when you’ll encounter Saigon Automat or Free Kaxti again?!? Numbered edition of 150. (http://crudites.free.fr and you can listen to the whole thing at http://sdzrecords.free.fr)
(Doug Mosurock)
SUBMISSION GUIDELINES
Yours must be a single (or vinyl-only album) pressed on any size of vinyl. We will not review CD-R copies of a vinyl release – you need to send the vinyl itself, even if it includes a CD. We need the artifact here with original artwork, not some duplicate/digital copy. Only records released within the past six months will qualify for a review.
ANY genre of music is accepted for review. Do not be afraid.
Information on your pressing (quantity pressed, color vinyl, etc.) should be included if at all possible.
Submissions can be sent to:
Doug Mosurock
PO Box 3087
New York, NY 10185-3087
Records need to be shipped securely in sturdy mailing materials and marked FRAGILE because the post office will destroy them otherwise.
Keep sending in submissions, please!
By Dusted Magazine
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