Tag Archives: indie

“LA Women”, from New Orleans’ Patsy, is a Fantastic Debut

Patsy, LA Women (La Vida Es Un Mus)


Patsy are a New Orleans-based quartet.  After a series of excellent singles over the past couple of years, the band recently released their debut ‘mini’-LP, LA Women.

Where prior singles tended to stay firmly in the hardcore lane, LA Women finds Patsy blending an inspired mix of surf, garage, 80s hardcore, skewed 80s new wave, and garage.  Their straight ahead hardcore jams – including a re-recorded version of “Nazis are so Plain” from their 2015 demo – bear a slippery quality that reminds of DKs, particularly in the woozy guitar work (see, in particular, album highlight “Society Ape”, which sounds melodically like a DKs/Damned mashup).  Elsewhere, tracks like the excellent “Heathen” and opener “Count it Down” bristle with a-go-go worthy garage energy.

LA Women is out now, courtesy of the ever-excellent La Vida Es Un Mus (seriously, check the roster).  Patsy have a few tour dates forthcoming, which can be found below and on their bandcamp.  Here’s hoping for more soon (including a date closer to thegrindinghalt HQ – *cough*).

10/11 Rochester
10/12 Montreal @ L’Escogriffe
10/13 Toronto @ Sneaky Dee’s
10/15 Detroit @ Help!
10/16 Chicago @ TCC Gallery
10/17 St Louis @ B Line
10/18 Memphis @ Murphy’s

Makthaverskan Announce Return with III, Share Lead Single “In My Dreams”

“In My Dreams” cover art.


Makthaverskan haven’t released any new material since 2015’s “Witness” 7”, but that all changes now.  The group has shared a new track, “In My Dreams”, and announced that a new album – the numerically appropriate, III – will be released in October.

“Dreams” finds the group continuing to mine the kind of swirling, cathartic melodies found on their previous work, but with a fuller sound.  Reverbed guitar jangle, an increasingly active bassline and propulsive drumming engulf and elevate vocalist Maja Milner‘s plaintive upper register, now rounded out with more lower tones and a wordless purr at the 2:27 mark recalling Siouxsie. Headphones revel tubular synth notes, which add to the overall depth.  The track positively shimmers, and we can’t wait for the album.

According to the band’s fbook page, III was recorded at Svenska Graommofonsutdion with the help of Hans Olsson-Brookes, and is due October 20, courtesy of Swedish label Luxury Records and US-based Run for Cover Records.

Check Out the Phenomenal Debut from Brooklyn’s Rips

Rips, Rips (Faux Discx; Wharf Cat)

Rips is a four-piece based in Brooklyn.  According to their bio, they’ve developed quite the following through “virtuous melodies and sheer ferocity amidst an endless flurry of shows” (crikey!).

Not situated in the Tri-State area, I had not run across the band until hearing their self-titled debut, and was hooked from the off.  It’s fantastic, start to finish, showcasing a host of styles and incluences – the ‘artier’ end of the early CBGB days, post-punk, 70s power pop and rock, 60s via 80s jangle, 90s psych-slack – blended in such a way as to make them new again.  “Break” is like REM covering Tom Petty; “Malibu Entropy” a woozy elegy to a relationship; “Save Room” as instantly familiar as the proverbial open road.  The arrangements are sharp and taught, vocals recalling, to these ears, Love Battery’s underrated Ron Nine or Pete Doherty in their ability to seem both plaintive and beyond caring.

While much seems to have been made of the NYC/‘downtown’ feel of the band’s compositions, using as exhibit ‘a’ the involvement of Parquet Courts’ guitarist Austin Brown as producer, it rings too limiting.  For me, the funneling of disparate eras and sounds into something so cohesive and, frankly, catchy gives Rips the feel of one of those ‘lost classic’ platters missed by many and later held up as a landmark.  Let’s not wait.

Rips is out now, courtesy of Faux Discx (Wharf Cat handling distribution in the US).  Follow along with the band Rips on fbook and their site, where you can find their current slate of upcoming gigs.

Highlights include: “Malibu Entropy”, “Save Room”, “Vs”, “Psychics”.

Check Out “Soul Mender”, the New EP from Zerodent.

Zerodent, Soul Mender (Almost Ready)

“Soul Mender” cover. Photo credit: Igor Coko.


Zerodent is a four-piece band out of Perth, Australia.  Formed way back in 2015, their excellent self-titled debut came out last year on German label, Alien Snatch! and, lo and forsooth, a new three-track EP, Soul Mender, is upon us…and it is good.

There’s a righteousness inherent in a lot of the best punk, and it’s on full show here.  Mixing classic ℅ ’77 sounds of bands like The Saints and Buzzcocks (the opening riff of the title track reminds of “Harmony In My Head”) with garage, SoCal h/c gnarl and a bit of maximum r&b, the EP is an absolute rush from start to finish.  Vocalist Lee Jenkins spits, snarls and wails, driving the service to completion with the rollicking “This Time” (personal fave, though it’s hard to choose).  Pass the fucking plate.  The only gripe is it’s too short.

Soul Member is out now, via Almost Ready.  You can catch up with all things Zerodent on their fbook, and peruse their catalogue on bandcamp.  Don’t see any tour dates up yet, but hopefully that will change soon.

Obnox Return with a Niggative Approach

Obnox, Niggative Approach (5/30/2017, 12XU)


Obnox is the musical alter ego of vocalist and multi-instrumentalist Lamont ‘Bim’ Thomas (pictured).  Having released five long-players under this moniker in the last 3 years, the word ‘prolific’ seems apt.  I must admit that new release, Niggative Approach, is the first one I’ve fully sat down with – and now I’m both damn glad I did and in a hurry to dig deeper into the earlier material.

The title might be a wink and a bow to Detroit hardcore godheads Negative Approach (whose singer, John Brannon, makes an appearance on the album’s intro and outro), but the album is far too diverse, dense and interesting to damn with the faint praise of a hyphenated ‘punk’ or other descriptor.  Frankly, there’s so much going on in this record, it can be giddily overwhelming.  Jazz, psych, garage, soul, blues, punk, funk, r&b, hip hop, Beastie Boys, Funkadelic, Rudy Ray Moore, Kid Congo, D’Angelo, Shabazz Palaces, Sun Ra, War, Curtis Mayfield, MF Doom, sky high riffs, heavy funk bass, kick drum grooves, eye of newt and a partridge in a motherfuckin’ pear tree – all this and more await across the album’s 14 tracks (excluding intro-/outro).

I found it best to just strap in, give in, and let it all wash over me, repeated listens bearing ever sweeter fruit.  The spy theme raga of “You”.  The hot, humid synth feel of “Hardcore Matinee”.  The wide lapel groove of “”Beauty Like the Night”.  The diamond amidst the rough of the beautiful “Carmen, I Love You”.  Exhale.

Niggative Approach is out now, on 12XU.  Monitor M. Thomas’ (social media) movements on fbook and the twitt.  No tour dates as yet, but here’s hoping.

Highlights include: “Audio Rot”; “Afro Muffin”; “Carmen, I Love You”; “You”; “Niggative Approach”; “Beauty Like the Night”.

“Typical Girls, Volume 2” is the Comp That Keeps On Giving

Various, Typical Girls, Volume 2 (Emotional Response)

Compilations. “Comps”.  They come with a higher risk/reward factor than your average long-player.  Like soundtracks or anything filed under “V/A”, they can be a veritable goldmine:  a place to unearth new aural treasure; discover heretofore uncharted styles and territories; find a new band worth obsessing over.  For all they promise, though, comps are often fickle beasts.  Lured in by the inclusion of new or unreleased tracks from old favorites, you often find more coal than diamond in the rest.  Disillusioned, you create a playlist of the 3 or 4 good cuts and ignore the rest, cursing the heavens that you’ve been duped …again.  [Ok, that was a bit melodramatic, but it’s the first day following a long weekend]

All of which makes Typical Girls, Volume 2 – named for The Slits’ song and presented by the Emotional Response label as a “global celebration of female fronted bands” – such a satisfying listen.  Where the presence of tracks from bands including Flesh World, The World, Sex Stains and Cold Beat (this last a recent discovery) drew me in, what kept me hooked throughout was an impressively curated group of tracks showing a breadth of styles loosely grouped as ‘indie’, including post-punk, surf, punk, hardcore and straight up rock/roll.  New discoveries that had me running to the interwebs for a back catalogue listening party include:  the dizzying “Space is Bent” by Bent; the punk “La Bamba” of Midnight Snaxxx’s (yes, three exes) “No Time to Spend”; “Vallecas” by Juanita y los Feos, the now defunct – argh! – goth wave precursor to Rata Negra; the Wire-infused “Machine” from Naked Lights; the slinky mud-boogie of Soft Tug’s “Toys are Not for Children”; and the off the leash, old school hardcore of “Eat It“, by Patsy.  While I can’t say that every track here is my new favorite, and should be yours, as well (and, gentle reader, you wouldn’t believe me even if I did), what I can say is that each of these 16 tracks has something great to discover.  Explore.

Typical Girls, Volume 2, is available now from Emotional Response.  Once you’re done purchasing that, take a look through the label’s impressive catalogue (new and back) on bandcamp.  As for the bands, let your fingers do the walking.

Get Lost in “Forgiveness”, by Angel Food

Angel Food, “Forgiveness” (Perennial)


Angel Food is Lillian Marling of Ruby Pins and Ange Duval (aka Angelo Spencer of Angelo Spencer et Les Hauts Sommets).  “Forgiveness”, released in February, is taken from their Vacances Cool EP.  It feels like a killer lost boho disco 12”, the kind you find in a second-hand (record) store – sorry – and wonder how you missed it the first time around.  Opening along a hypnotic, skiffling beat, Marling’s whispery, syncopated vocals join together with a percussive, afrobeat feeling guitar line.  As words turn to pants, the track becomes engulfed in a rush of white noise, until the 4:30 mark, and what had been relatively stark reveals a startling beauty.

Vacances Cool is released on Perennial (home, as well, to the brill CC Dust).  The Angel Food bandcamp page has a few upcoming shows listed (on the West Coast of the USofA), so check ‘em out if you can and follow along on fbook and join Ms. Marling on the twitt.  “Forgiveness” also has a video – regardez:

Settle in and Submit to the Debut from Taiwan Housing Project, “Veblen Death Mask”

Taiwan Housing Project, Veblen Death Mask (Kill Rock Stars)

Thorstein Veblen was a late-nineteenth, early-twentieth century economist known for coining the term ‘conspicuous consumption’ (not, sadly, ‘priming the pump’) and lending a name to a “Veblen good”, one whose demand corresponds with its high price – a status symbol.  So, basically, Veblen was an early identifier and critic of the douchebag economy.  Which brings us – hard segue – to Veblen Death Mask, the debut long-player from Philly’s own disrupters, Taiwan Housing Project.  We’ve previously extolled the virtues of this particular project following release of their fantastic self-titled EP in 2015, and Veblen does nothing to mute this adulation.

As a statement of intent/table-setter, you’d be hard pressed to do better than “Salt Sugar Fire”, as Kilynn Lunsford’s multi-tracked, warbled and distorted voice projects the album’s overarching feel of an image deconstructed and rearranged in a room of fun house mirrors.  Threads of punk, no wave, glam, industrial, jazz; Wire, PJ Harvey, Diamanda Galás, Girl Band – core duo Lunsford and guitarist/feedback shaman/dial-up modem impersonator (“Authentic Alien Perfume”) Mark Feehan fleshed out the group with new members and new instruments, including violin, synth and everyone’s new/old fave, spazzy tenor sax grunts.  “Authentic Alien Perfume” is a heady brew of Cramps-y strut over a Peter Gunn rhythm, “Ideal Body Alignment” a fuzzed-up take on Pink Flag-era Wire, dissolving into a cacophonous rush of a chorus.  It’s a stunner from beginning to end, a series of disorientating soundscapes seizing control of the transmission to your TVs, smartphones, tablets, etc., that, despite flirting with the oft-derisively used “arty”, never succumb to self-indulgent wankery.  In fact, a less cruelly bland musical universe, the ‘rip her to shreds’ glam-stomp belter, “Multidimensional Spectrum” would be your go-to summer hit.  Request lines are open.

Veblen Death Mask is available now from Kill Rock Stars.  According to the press release accompanying the album, THP will be on tour in the US in July/August and in Europe in October/November.  In the meantime, you can stalk the band on fbook and the twitt and check the video for the title track, above.

Highlights include:  “Authentic Alien Perfume”, “Multidimensional Spectrum”, “Ideal Body Alignment”, “Eat or Be Eat”.

Revel in the Indie Pop Bliss of “Dream About You”, the New Single from London’s The Fireworks

The Fireworks, “Dream About You” (Shelflife/Opposite Number)

London-based trio The Fireworks recently shared a new 7”, “Dream About You”, the first to feature the vocal stylings of new member Beth Arzy (formerly of Trembling Blue Stars and Aberdeen, amongst others).

The single’s three tracks breeze by in a bit more than 8 minutes but, like real pyrotechnics, need but a moment to make a lasting impression.  Close your eyes and you can still hear the brilliant bass countermelody underpinning the title track’s delirious jangle; feel the drum wallop in the candy-colored psycho closer (see what we did there?), “We’ve Been Wasting Time”.  For my money, middle child “Better Without You Now” is the gem, a droll kiss-off backlit by a shimmering, Murmur-era guitar hook.  Fans of JAMC, early REM, Kinks, Shop Assistants, C86, Manhattan Love Suicides and/or well-constructed melodies, look no further.

The “Dream of You” 7” is available now courtesy of two fantastic labels – namely, Opposite Number (in the UK/EU) and Shelflife (everywhere else). Surveil The Fireworks on fbook the twitt and their site, and peruse their back catalogue on bandcamp.  While you’re at it, have a look at the video for “Dream About You”, which premiered over at The Big Takeover.

Glasgow’s Lush Purr Deliver Lo-fi Beauty on Cuckoo Waltz

Lush Purr, Cuckoo Waltz (Song, by Toad)


Lush Purr are a ‘new to me’ band hailing from Glasgow, and Cuckoo Waltz their debut long-player.  Having described their sound as “[l]ike having a party under the sea”. and quoting Spinal Tap in a recent interview with The List, the band clearly enjoys playing up the goof (song titles such as “(I admit it) I’m a Gardener”, “Jamiroquai at the Karaoke” and “Stuck in a Bog” bear this out).

But, where much similarly “jokey” content often leaves me wanting to run screaming, all I seem to do when listening to Cuckoo Waltz is smile – and I’m not what you’d normally refer to as an “up person” (queue this).  The overarching reason for this is down to a feeling conveyed across the record’s 13 tracks, each of which carry many styles – kitschy pscyh, C86-style indie sha-la-la, early 90s emotive lo-fi (shades of The Pastels, Flatmates, The Wedding Present, on through to newer bands like halfsour or Snail Mail) – but one constant:  beautiful, dreamy melodies.  Seriously, try to get through the floating harmonies of “Suits” without bobbing your head to and fro, a wistful grin smeared across your face – you won’t even know you’re doing it, you dour shit.

As for the submarine soiree, while there is a certain beach-like or surf quality to some songs (see, “Gardener” and, predictably, short intro, “Wave”), this would be beach music for those of us familiar with the shores of more northern climes. Walking along a strand strewn with rocks, sea glass and driftwood, feet sinking into sand more the texture of dark clay than white powder; sea spray and the embracing damp of a rolling fog, nestled in a worn sweater or anorak.  Grab your tipple of choice and settle in.

Originally released on cassette last August on Fuzzkill Records, Cuckoo Waltz now available, digitally and on vinyl, via Song, by Toad.  Stalk Lush Purr on fbook and the twitt, and catch them on their upcoming tour dates.