Monthly Archives: January 2017

Slip the Surly Bonds of Earth with Gnoomes on “Cascais”

Screenshot from 2001: A Space Odyssey.

Gnoomes, “Cascais”

(Note:  headline borrows from the poem High Flight, by John Gillespie Magee, Jr.)

“Cascais” (which may or may not be named in honor of the Portuguese town of the same name) serves as a taster for Gnoomes’ forthcoming full-length, Tschak! (just the snare, then?).

According to the background note for the new album, its tracks were conceived amidst turmoil, both for the band’s members as well their hometown of Perm, Russia.  On this evidence, it would seem that Gnoomes’ focus was to make sense of these issues from a great height.  “Cascais”‘s interstellar techno meets drone vibe emits a narcotic effect during lift-off, a clear-headed guitar line slinging shards of light through the haze, racing towards a gorgeous, astral break at the 3 minute mark.  Like pulses through warp speed, it’s flashing lights and colors, a bit like Wire circa Ideal Copy and/or A Bell Is a Cup…Until It Is Struck (vocalist Alex Pyankov’s tone reminds of Colin Newman), mixed with Hot Chip.  From Russia with blurp.

Tschak! is due March 10 from Rocket Recordings.  Follow along:  soundcloud, bandcamp, fbook.

John Dwyer Returns as Damaged Bug with New Track, “Bog Dash”, and New Album, “Bunker Funk”

Damaged Bug, “Bog Dash” (Castle Face)

Damaged Bug, the solo alter ego of Thee Oh Sees’ front man John Dwyer, returns with the the wigged-out funk of “Bog Dash”.  It’s a dialogue over analog:  b-movie aliens setting their laser blasters to ‘stun’ as ‘devoidoffunk’ backup yelps are devoured in a haze of dial-up modem blurps, a ‘last splash’ bassline and funky drummer drum loops.  In the middle of it all, Dwyer’s voice slinks lascivious, spitting enigmatic couplets as the aliens form a Soul Train line.  This is surely the tune running through James Brown’s mind as he sped down that lonely highway (reference for the kids).

“Bog Dash” is taken from the forthcoming Damaged Bug release, “Bunker Funk”, due March 10 from Castle Face.  Check for more on fbook.

Aquarian Blood Tease Forthcoming Goner Debut with Amplified Madness of “Heaven Is In My Head”; “Won’t Forget to Die” and “Asshole In the Castle”

Members of Aquarian Blood, whose new album is due February 10 on Goner Records.

Aquarian Blood features husband/wife duo JB (Ex-Cult) and Laurel Horrell (formerly of NOTS).  What began (according to the band’s bio) as a home recording project has turned into a full-blown one, and they’ve offered the world a three-act tease of their forthcoming debut, “Last Nite In Paradise”: “Heaven Is In My Head”; “Won’t Forget to Die” and “Asshole In the Castle”.

Fans of each spouse’s other projects will find much to like here.  “Heaven Is In My Head” is full-on, raging synth-punk.  Announcing itself with a Tron-summoning synth line, the band throw it all into the red: vocals yelp and rail, guitars squall and synths tase – like being spun around, blindfolded, to pin the tail on the donkey…for almost two minutes.  “Won’t Forget to Die” (which, as the lyrics remind us, “no one ever does”), slows things wayyyy down the rabbit hole, a hazy raga psych drone wraiths around a Joy Division-y bassline, the gypsy strings towards the end adding to the fug.  Last (in track order), “Asshole In the Castle” – its title sadly fitting in these days and times – is more of a straightforward punk record, albeit with layered vocals and an off-kilter guitar hook.  Together, the songs make for a thrilling joyride.  Can’t wait to hear the rest.

But wait we must, if but only for a bit longer:  “Last Nite In Paradise” is due February 10 from the always in vogue Goner.  Check the Aquarian Blood bandcamp page for (slightly) more info.

Sprain Your Neck to the Debut, Self-Titled Set from Brisbane’s Pious Faults

Pious Faults, S/T (Tenth Court, 12/20/2016)

Photo credit: Glen Schenau

‘There ain’t/ no future/here”

“Complete Disregard” – the opening song on the self-titled, six-track debut (I never know if that’s an ep, album, or ‘mini-lp’ anymore) from Brisbane’s Pious Faults – begins and ends with a short, sharp feedback stab in the earhole.  It’s a fitting way to start off a set of intense hardcore with an ear to the past and an eye on the present.

Many new bands are using the visceral aspects of early to mid-80s hardcore (American or otherwise), twisting and turning them to serve their own purposes. The applies, as well, to Pious Faults – several tracks here would’ve fit nicely on seminal 80s hardcore comps like Not So Quiet On the Western Front, Flex Your Head (as Vice also points out), or This Is Boston, Not L.A.  But there’s more at play here, with a rhythmic variety beyond blinding, four on the floor speed or d-beat rehash (see, “Rentrer à Quatre”) and a welcome lack of a predictable breakdown/‘mosh’ (does anyone still use that word?) bit or a shout-along chorus (really, choruses in general), all adding a welcome twist and the promise of future evolution.

As with any self-respecting h/c joint, it doesn’t overstay it’s welcome (only one (one!) track is over a minute long – someone tell D.R.I.!), and it’s all the better for it; points made, ears rung, move along.

Out now on the fab Tenth Court label (home, also, to tgh fave Chook Race).  Order here.

The Self-Titled Debut from Tropical Skin Byrds Staggers

Tropical Skin Byrds, S/T EP (Wharf Cat Records, 1/13/2017)

‘your pain is my pleasure”

Tropical Skin Byrds is a musical trio comprised of artist Nina Hartmann on vocals and bass, ZZ Ramirez (of tgh fav, Ukiah Drag) on guitar and Sean Halpin on drums.

Teaser cuts, “Cut it Off” and “Venus In Fury” set the tone nicely, with Ramirez’s chugging, Ginnesque lines pushed way up front in the mix, backed by Halpin’s sledgehammer drumming.  The overall effect is blissfully disorienting, the music buffeting as Hartmann’s insistent cries strobe from somewhere at the center of the maelstrom (something in her vocal delivery recalls Lydia Lunch, crossed with Kyle Toucher – ok, maybe just me).  Stylistically, there are touches of Sonic Youth’s SST years (think Confusion Is Sex and songs like “Death to Our Friends”) and more experimental hardcore like Flipper and Saccharine Trust.  It’s a great, arresting listen.

The EP is out now, courtesy of the oh so fine Wharf Cat label (seriously, check the catalog).  Not much to find on the band, for now, so continue to scour the interwebs for any info relating to tours, further releases, fan club meet and greets, séances, etc.

Atlanta’s Death Stuff Share “Surprise Ex”

[Ed. Note:  this was meant to have posted back in November…oops.  Quoth Homer Simpson:  “It’s still good!  It’s still good!”]

Death Stuff, “Surprise Ex” (Monofonus Press)

“Surprise Ex” is a new track from Atlanta three-piece, Death Stuff.  Opening on a riff that threatens to go all ‘Earth AD” the song, instead, roils into propulsive, whirling dervish post-punk before a full-on art-thrash spasm is abruptly euthanized after 2:30 or so.  It’s noisy.  It’s a bit exhausting.  It reminds us of Girl Band, Running and early Butthole Surfers.  It’s great.  Get on it.

“Surprise Ex” is up now on the Death Stuff Bandcamp page – as is a fantastic set of demos from February – and looks to be set for inclusion on a self-titled release due later this fall on auto-correct darlings, Monofonus Press.  I don’t know much more about Death Stuff, except that their first fbook post looks to be from last December and they like to repeat the words ‘death stuff’ on their page – a lot.  Looking forward to more, more, more.

Share the Wintry Embrace of “Collapser” by Kid Koala and Emiliana Torrini

Cover art for Kid Koala’s “music to draw to: satellite”.

Kid Koala, “Collapser” (ft. Emiliana Torrini) (Arts & Crafts, 1/20/2017)

“One day you’ll know/Why i had to go”

There are moments, when walking out amidst newly falling snow, when background noises are muted, replaced with a preternatural stillness.  Small dots of white in the air and on the ground sift and swirl together, dusting brows and lashes and forming a constantly evolving portrait.  It’s a thrillingly rare moment of stillness, often best experienced under the close cover of darkness – like being under the dome of your own snow globe.

Play this song at the turn of the key.

Featuring vocals from Emiliana Torrini.  Taken from Kid Koala’s forthcoming music to draw to: satellite, due January 20 courtesy of Arts & Crafts (pre-order here).  Follow Kid Koala on fbook and the twitt.