Tag Archives: punk

“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

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.

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”.

Institute has a New Album Coming on Sacred Bones, Shares “Powerstation”

Institute, “Powerstation” (Sacred Bones)

Teasing new full-length, Subordination – the follow-up to 2015’s stellar Catharsis – Institute return with last track/first single “Powerstation”.  If you were expecting an homage to the ‘80s supergroup of the same name – all mulleted, bespoke leathered, cocaine-addled, overproduced glam – fear not.  For, despite (cheekily?) opening with a beat straight outta the Glitter vault, this “Powerstation” is all spit and no shine, quickly morphing into a snarling mid-tempo Sabbath riff, vocalist Moses Brown’s delivery evoking a blindfolded captive swinging wildly in the dark.  Sacrificing the jittery post-punk angularity found on much of Catharsis, it feels simultaneously heavier and more tuneful.  It’s a great listen, stoking the fires of anticipation for the new album.

Subordination is due June 2, on Sacred Bones, and can be pre-ordered here.  The band have a few upcoming shows listed on the label’s bandcamp page – including a set as part of a stacked Sacred Bones’ 10th anniversary showcase at Brooklyn Bazaar – here’s hoping for more.

Check Out “Oído Absoluto”, the Debut Full-Length from Madrid’s Rata Negra

Rata Negra, Oído Absoluto (La Vida Es Un Mus, 1/25/2017)


Violeta (bass, lead vocals), Fa (guitar, vocals) and Pablo (drums) make up Madrid-based Rata Negra.  Following 2014’s Corasones EP, the band released their brilliantly confident full-length debut, Oído Absoluto, in January.

I think Oído Absoluto, in english, means something roughly equivalent to ‘perfect pitch’ (or having an ear for music/tone), but I don’t trust online translation and I don’t speak very good Spanish, so apologies if I’ve missed the mark.  In any event, by whatever name (or any other name) the album is a killer set containing elements of skate punk, late 70s punk and new wave, even some surf and power pop, with an opening one-two punch (band manifesto “Ratas”; “Gente”) among the best you’ll hear this year.  Visions of early Blondie (“Aguas Negras”), Buzzcocks (“Ellos Dicen”), and Agent Orange (“Lo Oscuro”) funning about, but with a darker production sheen underscoring lyrical themes of discontentment, alienation and death, surrounded by (actual and metaphorical) rats.  The frustration conveyed through the shout/sung lyrics, and reflected in the stabs of guitar and cracking snares is palpable but unlike, say, the roiling indignation sometimes heard in hardcore, this anger feels more born of desperation; of observing and feeling but seeing no change.  Possibly less visceral, but no less affecting, it should appeal to those who like their punk aggressive and those who like it with smart, tightly-crafted melodies.  Why not both?

Oído Absoluto is out now, through a collaboration with Madrid-based Beat Generation and the great, UK-based La Vida Es Un Mus.  You can worship at the altar of the black rat on fbook, and check out their other releases on bandcamp.

Highlights include: Ratas, Gente, Aguas Negras, Lo Oscuro.

Slimy Member Craft Spellbinding Goth-Punk on Ugly Songs for Ugly People

Slimy Member, Ugly Songs for Ugly People (Drunken Sailor; Occult Whispers)

“depression/is so real/consuming my brain”

Slimy Member is a four-piece based out of Dallas, Texas.  Named for a Rudimentary Peni song, the band has been active since 2013, having previously released a demo and an EP.  New LP, Ugly Songs for Ugly People, serves as their debut, full-length release.

On Ugly, Slimy Member comes across to these (aging, constantly ringing) ears very much of a part with 80s punk/hardcore – hell, there’s even a two-fer song (“Bomb Blast/Age Old Time”), how 80s hc is that?  Their sound incorporates not only the urgent anger of bands like RP and The Exploited, but also those who, like TSOL (check the galloping bassline on “Age Old Time” and the morbid imagery of “A Sight to Behold”), Christian Death and current fellow travelers like Institute and Anasazi, cloak their abrasions in goth atmospherics.  Heavily reverbed vocals and flanged guitars amplify an almost suffocating tone of angst, stress and tension, a tension and energy that the band carry all the way through the fantastic closer, “Always the Victim”.  It’s a thrilling reminder of just how exuberantly visceral these sounds were, are, and can be.

Ugly Songs for Ugly People is out now, via Drunken Sailor (in the UK) and soon via Occult Whispers (in the US).  You can also snap up a digital copy through the Slimy Member bandcamp page while you check out their earlier releases.  The band is on tour soon for you lucky chucks on the west coast of the USofA – dates here.

Highlights include: “Oceanic Feeling”, “Bomb Blast/Age Old Time”, “Always the Victim”.

Check Out The Orielles’ Debut Single for Heavenly, “Sugar Tastes Like Salt”

The Orielles, ‘Sugar Tastes Like Salt’ (Heavenly)

Photo by Neelam Khan Vela

Halifax, England (not Nova Scotia).  Fun facts about Halifax (from ultimate lazy bastard encyclopedia, wikipedia): (1) it’s been a textile manufacturing hub since the 15th century – which is kinda cool; and (2) it’s the home of Rolo candy – which is extremely awesome.

What’s also extremely awesome, has six thumbs and currently hails from Halifax (and Liverpool)?  The Orielles, a trio comprising sisters Esme Dee (bass, vocals) and Sidonie Hand-Halford (drums) and Henry Carlyle Wade (guitars).  After self-releasing a few singles, and putting out last year’s fantastic Jobim EP via Art Is Hard, “Sugar Tastes Like Salt” (from a line in the movie Death Proof, per this great write up on the band in The Guardian) is the band’s first single for the mighty Heavenly Recordings.  Starting, innocently enough, with a ride down the neck of a swirling, arpeggiated psych melody, it turns out to be a trip down the rabbit hole.  The track bobs and weaves its way through a smorgasbord of styles (jittering rock steady, Blondie or Factory Records’ style post-punk disco, a sprawling Floyd-like interlude, straight-up Troggs’ garage, some space truckin’) without coming off overcooked.  And despite a modern day attention span straining length of 8 minutes and change, “Sugar” fixes your attention throughout, like some kind of goddamn Medusa.  Brilliant.

“Sugar Tastes Like Salt” is out now, on Heavenly.  You can follow The Orielles’ adventures on fbook, the twitt and instagram.  They’re also on tour in the UK – dates here.

Check Out “Schedules Align”, from Feature’s Forthcoming Debut, Banishing Ritual

Feature, “Schedules Align” (Upset the Rhythm)

Photo credit: Owen Richards.

“She’ living a dream/you’re willing to wait”

Feature is the UK-based trio of Jen Calleja, Heather Perkins and Liv Willars, whose collective CVs include memberships in such tgh faves as Sauna Youth, Metronomy, and Slowcoaches.  “Schedules Align” is the first track released from the band’s forthcoming debut, Banishing Ritual, and it’s chock full of hi-nrg, shout-along punk.

I stumbled upon this band a few months ago – specifically, 2015’s Tourists EP – working back via one of Calleja’s other bands, Gold Foil, and was immediately hooked.  I then read a brilliant piece she wrote for Queen of the Track magazine discussing her then recent discovery of The Misfits (a band whose initial run I hold near and dear), that was part fan letter and part send-up, filtered through a discussion of the masculine and feminine in harder rock circles, and was even more intrigued.

For these purposes, the focus is her admiration for The Misftis’ blend of cartoonish levels of aggression and violence with music indebted to gentil, 50s crooner rock – blue angels transmogrified into pregnant Mexican women birthing still-born monster babies.  “Schedules” does provide the listener with a taught display of truly fiendworthy (sorry) guitar, bass and drum work which, combined with the extra sung syllable in “ali-I-ign” and doo-wop backing vocals starting around 1:40, reminded of songs like “Hatebreeders”.  Where Danzig and co. would play this on 11, however, Feature juxtapose the arrangement’s raw aggression with a vocal that manages to be both insouciant and breathless.  It’s perfect for pogoing (do people still do that?) and you’ll need some kind of drill to get the giant earworm of a chorus out of your brain, should you want to.  Can’t wait to hear the rest of the album.

Banishing Ritual is due April 7, on Upset the Rhythm; pre-order here.  Follow Feature on fbook and the twitt.