Monthly Archives: October 2016

Listen to “Black Plate”, by Profligate and Elaine Kahn

Profligate, “Black Plate” (Self-Released)

Profligate is the alter ego of Noah Anthony, a producer/composer of sparse electronic music containing elements of experimental new wave, industrial and techno.  He self-released a very good EP earlier this year entitled Abbreviated Regime, Vol. 1 (“Enlist” being a particular fave), which I discovered after being blown away by his latest offering, “Black Plate”.

“Black Plate”, a collaboration with poet/vocalist Elaine Kahn (who also records as Horsebladder). is a terrific slice of new wave noir.  Opening with a strong beat that recalls the likes of Cabaret Voltaire, the track soon settles into a sinuous groove – Kahn’s hushed voice dead center amidst an elegiac synth melody and a come hither, new romantic bassline – that manages to come off simultaneously opulent and seedy; silk sheets under a black light.  Though the track speaks of ‘desire’ (and there’s a lustfulness in the composition), lines like ‘touch what’s/sweet like/there’s no one home’ over an intensifying buzz feel more like a decoupling. The tension is compelling.

Hopefully, there’s more in the works.  In the meantime, click away through Profligate’s discography yourself on Soundcloud and Bandcamp.

Quick Thoughts on “Contact”, the New One from LA’s Froth (New Album, Outside (briefly), Due Next Year on Wichita Recordings)

LA's Froth announce new album, Outside (briefly).  (Image taken from Froth's Facebook page).

LA’s Froth announce new album, Outside (briefly). (Image taken from Froth’s Facebook page).

Froth, “Contact”

LA-based Froth (whose 2015 release, Bleak, we drooled over at length) is back!  The ink drying on their new deal with esteemed Wichita Recordings, the band have announced a new album, Outside (briefly) (check the Saville-esque artwork, above), and shared the video (courtesy of the good folks over at The Line of Best Fit) for new track, “Contact”.

“Contact” is, at first, a bit of a departure from the more raucous swirl and burn found throughout much of Bleak.  It’s more downtempo – low-end synth burbles loom over a steady, robotic drum beat, creating a heady, detached psych feel.  After that ominous beginning, though, the fog gradually lifts at around the 3:45 mark, revealing an absolute rapture.

Wichita Records will release Outside (briefly) on February 17 – it’s available for preorder here.  Froth can be found on the fbook, and you can make contact (sorry) with their earlier work on Bandcamp.  The band also have some tour dates coming up (more are listed in their page feed) – here’s hoping for more when the album drops.

Washington DC’s Flasher Shine (Darkly) on Debut, Self-Titled EP

Flasher, S-T EP (Sister Polygon)

Members of Washington, DC's Flasher.

Members of Washington, DC’s Flasher.

Flasher are a three-piece project involving members of several current members of the new Washington, DC DiY scene (I’ll refrain from collapsing them all into the ‘punk’ category).  Their debut, self-titled EP for Sister Polygon records is a thrilling journey through a panoply of late 70s and early 80s indie sounds.

Goth, death rock, new wave.  Those willing to reduce these genres to Dippity-do’d hair, corpse paint and Tiger Beat pin-ups, whose bloated corpses are reanimated on throwback radio and by tribute bands, miss the point (we dig Rio as much as the next blog, but there was more to it than that).  This was (largely) meant to be music for an uncertain future and, at its best, the attendant razorwire nervousness underpinning much of the musical output reflected the feelings of anyone actually paying attention to what was going on in the world at the time.  Small wonder, then, in the current climate, that so many newer bands are turning to this brooding, greyscale music as a framing device.

Flasher nails that feeling of unease right from the off on opener, “Tense”, with its tightly coiled, nervily picked guitar lines and short stabs of siren-like synths, and doesn’t let go.  In fact, it’s quite difficult to tease out one particular track here, as the whole EP plays more like a series of movements than individual songs.  For a band who, according to a write-up in WAMU’s bandwidth.fm, are still settling on a sound, it’s remarkable the way their energies fuse, the feel and texture of the tracks seem fully realized.  Highly rec’d.

Flasher’s self-titled EP is out now, digitally and on cassette, through the band’s Bandcamp page.  Sister Polygon Records will release it on vinyl November 18 – preorder your copy here. The band is also on tour (dates below):

Oct. 24 – Quebec City, QC @ Le Cercle w/ White Lung

Oct. 25 – Ottawa, ON @ House of TARG w/ White Lung

Oct. 26 – Toronto, ON @ Lee’s Palace w/ White Lung

Oct. 27 – Chicago, IL @ Empty Bottle w/ White Lung

Dec. 7 – Philadelphia, PA @ PhilaMOCA w/ Swim Team

Dec. 8 – Allston, MA @ OBrien’s Pub w/ Swim Team

Dec. 9 – Washington, DC @ Black Cat w/ Swim Team

Dec. 10 – Queens, NY @ Knockdown Center w/ Parquet Courts

Highlights include: “Tense”, “Throw It Away”, “Destroy”

Washington DC’s Flasher Shine (Darkly) On Self-Titled EP

Flasher, S-T EP (Sister Polygon)

Members of Washington, DC's Flasher.

Members of Washington, DC’s Flasher.

Flasher are a three-piece project involving members of several current members of the new Washington, DC DiY scene (I’ll refrain from collapsing them all into the ‘punk’ category).  Their debut, self-titled EP for Sister Polygon records is a thrilling journey through a panoply of late 70s and early 80s indie sounds.

Goth, death rock, new wave.  Those willing to reduce these genres to Dippity-do’d hair, corpse paint and Tiger Beat pin-ups, whose bloated corpses are reanimated on throwback radio and by tribute bands, miss the point (we dig Rio as much as the next blog, but there was more to it than that).  This was (largely) meant to be music for an uncertain future and, at its best, the attendant razorwire nervousness underpinning much of the musical output reflected the feelings of anyone actually paying attention to what was going on in the world at the time.  Small wonder, then, in the current climate, that so many newer bands are turning to this brooding, greyscale music as a framing device.

Flasher nails that feeling of unease right from the off on opener, “Tense”, with its tightly coiled, nervily picked guitar lines and short stabs of siren-like synths, and doesn’t let go.  In fact, it’s quite difficult to tease out one particular track here, as the whole EP plays more like a series of movements than individual songs.  For a band who, according to a write-up in WAMU’s bandwidth.fm, are still settling on a sound, it’s remarkable the way their energies fuse, the feel and texture of the tracks seem fully realized.  Highly rec’d.

Flasher’s self-titled EP is out now, digitally and on cassette, through the band’s Bandcamp page. Sister Polygon Records will release it on vinyl November 18 – preorder your copy here.  The band is also on tour (dates below):

Oct. 24 – Quebec City, QC @ Le Cercle w/ White Lung

Oct. 25 – Ottawa, ON @ House of TARG w/ White Lung

Oct. 26 – Toronto, ON @ Lee’s Palace w/ White Lung

Oct. 27 – Chicago, IL @ Empty Bottle w/ White Lung

Dec. 7 – Philadelphia, PA @ PhilaMOCA w/ Swim Team

Dec. 8 – Allston, MA @ OBrien’s Pub w/ Swim Team

Dec. 9 – Washington, DC @ Black Cat w/ Swim Team

Dec. 10 – Queens, NY @ Knockdown Center w/ Parquet Courts

Highlights include: “Tense”, “Throw It Away”, “Destroy”

On “The Stooge”, CFM Delivers the Proto-Punk Goods

CFM, “The Stooge” (In the Red)

CFM is a four-piece band making good use of main dude Charles Moothart’s initials (Moothart is a frequent collaborator of Ty Segall’s, both on albums like Slaughterhouse and in side projects like Gøggs and Fuzz).  The group released its debut long-player, Still Life of Citrus and Slime, earlier this year, and is now back with a new EP, Homegrown Paranoia.  Recently shared track, “The Stooge”, offers a taste.

“The Stooge” is an open-faced, space-boogie jam sandwich, piled high with the taught, razor-sharp melodies and shag pile layers of fuzz you’d expect from a Segall co-conspirator.  Moothart’s voice has a bit of a keening, early Ozzy feel to it, particularly in the way he rounds out the tone on some of the lyrics.  Things begin to unravel around the 1:45 mark – clarion feedback changing the view through the tv eye of the track’s (almost) namesake; a completely deranged guitar solo feeding a full-fledged MC5-style riot goin’ on – and remains barely hinged through to the end, Moothart repeating the word “desperate”.

Homegrown Paranoia is due next month, from In the Red Recordings.  Credit to the excellent CLRVYNT mag for the tweet tip on this one – check out their write up on the band here, which includes upcoming tour dates (true story: I saw CFM open for Ty Segall and the Muggers in the spring; they’re well worth your hard earned).

Check the Snide Jangle of “Around the House”, by Chook Race

Members of Melbourne, Australia's Chook Race, at rest.

Members of Melbourne, Australia’s Chook Race, at rest.

Chook Race, Around the House (Tenth Court/Trouble In Mind, 9/2/2016)

Chook Race are a three-piece hailing from Melbourne, Australia (fun fact: “chook” is, according to my online sources, an Aussie slang term for a hen, a woman or the sound made to call the former).  Around the House is the band’s latest long-player, and it’s a fantastically catchy collection of sharp, lo-fi pop.

On Around the House, Chook Race channel the energies of 80s and early 90s purveyors of jangle pop, caustic lines delivered by vocalist/guitarist Matt Liveriadis – at times in ‘boy/girl’ harmony with drummer Carolyn Hawkins (who takes on lead vocal duties on several tracks) – ‘neath the glint of ringing guitar tones and vibrant drum and bass.  Liveriadis has the kind of deadpan voice which recalls folks like David Gedge and Eugene Kelly, perfect for withering lines like “sometimes, I get tired/oh and sometimes, I get sick/…of you” (“Sometimes”).  The tossed-off, charmingly ramshackle sonic touchstones are warmly familiar, and include bands like The Vaselines, The Clean, The Pastels.  Album highlight, “Lost the Ghost”, has a riff that kept pinging around in my brain until I decided it sounded like early REM – or maybe something by The Only Ones – I couldn’t decide; but I was too busy bopping along to care.  Standing on (sloped) shoulders they may be, but the tunes Chook Race create are undeniable and worthy of repeated listen.

Around the House is out now, courtesy of Tenth Court (in Australia, New Zealand and Japan) and Trouble In Mind (everywhere else) – or straight from the band on their Bandcamp page. Catch up with Chook Race (sorry) on fbook, on tour, and peep the indie pop aerobicise on disply in the video for lead track, “Hard to Clean”, (below).

Highlights include:  “Lost the Ghost”, “Sometimes”, “At Your Door”, “Hard to Clean”

“Negative Growth”, the New Album from Ex-Cult, Is a Must-Listen – You Must! Listen!

Ex-Cult, Negative Growth (In the Red, 9/23/2016)

We love Ex-Cult, so word of new music from them is always welcome.  In this case, that news comes in the form of a fantastic new album, “Negative Growth”.  Working again with producer Ty Segall (he worked on their self-titled debut, and Ex-Cult singer Chris Shaw fronts one of Segall’s many (many) side projects, Gøggs), the album powers and moves just like you want an Ex-Cult record to, but also showcases some newer tricks.

Previously shared tracks, “Attention Ritual” and “Let You In”, set the tone pre-release.  Both are furious reminders of the band’s punk/hardcore side, each swooping like a Crimson Ghost for the throat.  Shaw continues to possess some of the best punk pipes out there, his hoarse (read, not “hoarsely”) cries imbuing these new tracks with the same shadings of rage, confusion and angst as on earlier releases.

Where things get even more interesting is where the band stray a bit, rhythmically and vocally, from the punk foundation.  Lead track, “Mr. Investigator” begins with an almost Devo-like spazzy new wave beat – and if the title sounds, to you, like something from The Fall (and it does to us), listen to Shaw channeling Mark E. Smith in his intonation, particularly during the chorus.  “Dogs Roll In” (which also featured on the “Stick the Knife In” single) and “Panic In Pig Park” both feature a bit of cow-punk guitar twang, and the noise breakdown during the middle and end of the latter adds to the frantic tension.  “Hollywood Heatseeker” positively swings, while closer, “New Face On”, is a riotous conflagration of punk, no wave, death rock and just good ol’ noise in the tradition of bands like The Birthday Party, and includes a positively Stoogesian saxophone squawk, courtesy of Ty Segall Band member Mikal Cronin.  With Segall at the decks, the heavy superfuzz cream is turned to 11 – the only exception seemingly the snare, which snaps and spits insistently from underneath, like the shiny flecks in a piece of coal.

As with other Ex-Cult output, it’s as much about the energy as anything else – you can almost feel the band collapse on the studio floor at the end of each track.  It’s infectious, and it continues to make Ex-Cult one of the best bands out there today doing what they do.  Thrilling.

Negative Growth is out now, on In the Red.  Ex-Cult is on tour in the west/west coast of the US of A.  Check the dates here.

Highlights include:  “Let You In”, “Hollywood Heatseeker”, “New Face On”, “Panic In Pig Park”.

The Radio Dept. Return With “We Got Game”, from New Album “Running Out of Love”

The Radio Dept., “We Got Game” (Labrador Records, 10/7/2016)

Sweden’s The Radio Dept. have made a habit, over the years, of moving between jangly dream-pop and more clubby, synthesized vibes.  Where “This Repeated Sodomy”, a track released earlier this year, fell into the former category their latest, “We Got Game”, finds both feet firmly jacking in the latter.

“We Got Game”, with its lustrous synths and four-on-the-floor beat, is the sound of Kevin Saunderson (his Inner City project’s classic 1988 album, “Big Fun”, seems much in evidence from the opening bars) producing Technique or Fox Base Alpha.  Vocalist Johan Duncanson’s  quiet, world-weary voice belies the impatient tone of the lyrics – a rallying cry from the politically and socioeconomically disaffected, taking back from “the overfed” and dissatisfied with talk of a “middle ground” that is too often merely a code word for “maybe next year”.

“We Got Game” is released October 7, and will also feature on The Radio Dept.’s forthcoming long-player, “Running Out of Love”, due October 21 from Labrador (preorder here).  Follow along with the band’s doings on fbook and the twitt, and catch them in early 2017 on a (rare) tour that will hit the EU/UK in January and the North America beginning in February.

Listen to The Raveonettes’ “This Is Where It Ends”, the Latest Rave-Sound-of-the-Month

The Raveonettes, “This Is Where it Ends” (self-released, 9/30/2016)

“Sometimes things can take an unexpected nasty turn and then you gotta deal with it. You either learn from it or you don’t, such is life.”

According to a post on their fbook page, this quote describes the feelings behind “This Is Where It Ends”, the latest installment of The Raveonettes’ “Rave-Sound-of-the-Month” (described by the band as an “anti-album” project).

“This Is Where It Ends” is a short, moving psych ballad – and it had us from its opening, woozy carnival-like melody.  Spiritualized meets Suicide ‘round a bonfire on a beach, at dawn.  The break at around the 1:30 mark nails 50s ballad chord changes onto the orchestrated version of “Please Please Please Let Me Get What I Want” from Ferris Bueller’s Day Off.  It is absolutely gorgeous, and further cements The Raveonettes as easily the most vibrant of bands remaining from the vaunted rock resurrection of the early 2000s.  Rave on.

Check out the official lyric video, below, and subscribe to the Rave-Sound-of-the-Month (and listen to previous entries) on the band’s site.  In addition to fbook, you can also follow along with The Raveonettes on the twitt.