Check Out “No More Summer Songs”, from Phantom Handshakes

Phantom Handshakes, No More Summer Songs (Z Tapes)

[‘A Secret Life’ appears on our “Run and Find Out” playlist on Spotify, while ‘Skin’ can be found on our latest playlist, “Still, There Was Truth In It”]

Phantom Handshakes are the New York-based duo of Federica Tassano (also of the band Sooner) and Matt Sklar. Their debut full-length, No More Summer Songs, was recently sent forth into the world, and it’s an exquisitely delivered set of jangled shoegaze and dream pop.

In what’s become, I imagine, a depressingly typical scenario in “these COVID times” [Bad Brains ensemble voice], the entire album – as was the case with last spring’s No Better Plan EP – was recorded by Tassano and Sklar separately, but it’s difficult to tell with the depth of musical understanding throughout. It’s a lovely album that – in the way of many of the best albums of the genres from which it is sourced – can burnish, elevate and/or validate a mood. 

From the trepidatious opening chimes of ‘I Worried’, No More Summer Songs sets a melodic course through bands like The Sundays, Sarah Records artists like The Field Mice, The Radio Dept. and newer fellow travelers like Jeanines.  Guitars jangle, basslines reverberate, while Tassano’s vocals convey a cathartic melancholy á la Harriet Wheeler with a hint of the scrape of Karin Dreijer.  Lyrically, the album feels confessional – accepting and letting go of unhealthy thoughts/people – while also touching on societal angst and the feel of the world falling into the proverbial handbasket bound for something other than glory. It’s a forehead pressed to a rain-streaked window, silently contemplating and questioning.

While the album title could be a bit of cheek – given the chosen oeuvre’s predilection for slickers over sundresses – I can’t help but feel that it fits just as well for those desirous of bright sun, white sands and bejeweled waves as for those who enjoy (prefer?) a foggy embrace, sea spray kisses and a bit of a rocky vista.   

No More Summer Songs is out now, courtesy of Z Tapes, with a portion of online proceeds donated by Phantom Handshakes to The Trevor Project

Web: label, bandcamp, insta, and fbook.

Highlights include: ‘Skin’; ‘A Secret Life’; ‘This Shade’; ‘How to Stay Awake’.

Our Latest Playlists in One, Convenient Location!

Here, you can find our latest batch of playlists, featuring artists that we’re really loving. Enjoy, and follow us on Spotify!

Check Out “Human Snake”, the Debut from P22

Image from P22 Bandcamp page.

P22, Human Snake (Post Present Medium)

P22 are a Los Angeles-based quartet comprising Sofia Arreguin, Nicole-Antonia Spagnola, Justin Tenney, and Taylor Thompson.  Named for a mountain lion that crossed the notorious 405 interstate to disappear into L.A.’s Griffith Park, the band’s debut full-length, Human Snake, was released in April and it’s fantastic.

While P22 could be generally classified as “punk”, it’s perhaps too restrictive and lazy a label to place on a group who make music that throws so many curves.  Yes, there’s plenty of straight up hardcore (of the west coast variety), but swaddled in a hairshirt of different textures and tempos – elements of free jazz, jangle, noise, no wave, and classical pop up, with a vocal delivery that feels as much driven by beat poetry as post-punk.  My (admittedly, older) ears kept going back to bands like Flipper, Saccharine Trust – ‘punk’ bands that weren’t interested in only playing something traditionally categorized as such.  ‘Intro’ is a good example, starting off sounding like Saint-Saens, before settling into a tense, ominous noir of loosely strummed guitar, then dissolving into some kind of beatnik marching band number and leaving on a deconstructed freakout. 

All these twists and turns keep you on your toes, but don’t feel as though they’re forcing the band’s art into artifice.  The band’s playing is incredibly tight, a fact that is sometimes missed due to the mesmerizing vocal performance, but shouldn’t be ignored (I particularly enjoyed the basslines throughout – particularly on highlight, ‘Shortly’).  Fun bonus:  I now know what a ‘terminarch’ is (the last member of a species or subspecies, in case you wondered); #themoreyouknow #edutainment.  Highly recommended.

Human Snake is available now, courtesy of Post Present Medium.

Weblabel bandcamp 

Highlights include:  ‘Human Snake, 1978’; ‘Shortly’; ‘Reprise for Steer’; ’Ending Chorus for the Terminarch’ 

Check Out “Less of Everything”, from Es

Es, Less of Everything (Upset the Rhythm)

Photo credit: Poppy Cockburn

Less of Everything is the debut full-length from Es, a London, UK-based four piece comprising vocals, bass, synth and drums.  It’s a sharp, gripping collection of goth-infused punk that deserves a wide audience.

Tauter in feel and execution than Object Relations, the band’s great 2016 EP, Es come flying out of the gates with opener, ‘Chemicals’.  A roiling, Banshee sounding rhythm and chunky bassline underpin vocalist Maria Cecilia Tedemalm’s lyrical quandary – “what have I acquired/to be getting/so tired” – a musing equally apt in these pandemic times as it is a statement of more general frustration and feeling of uncertainty.  Tedemalm sings of an existence where a necessary tough skin becomes “too thick” (‘Foundation’), a sense of “hanging by a thread/uncertainty/lies ahead” (‘Severed’), grasping at straws “with my mind” (‘Hidden Track’), but also a fightback, rising “fully formed” (‘Sesame’) – lines delivered with equal parts withering dismissiveness and rising indignation.  

While the band’s various parts and shapes sync to great affect throughout, a particular mention is needed for the amazing bass playing of Katy Cotterell and drumming of Tamsin M. Leach.  Being guitarless, Cotterell’s bass plays a dual role of holding down the fort and leading the melodic charge, while the heft and sway of Leach’s drum hones the album’s overall percussively trippy feel.  Musical signposts can be heard in the aforementioned Banshees, 17 Seconds-era The Cure, X-Mal Deutschland, Savages – the tension and drama across the nine tracks is palpable.  One personal favorite (if I have to pick), ‘Severed’, almost veers into pop territory before the synth turns ominous and pushes the track over the edge and down the rabbit hole.  A fantastic debut.

Less of Everything is out now, courtesy of Upset the Rhythm.

Webbandcamp twitt label insta

Highlights include:  ‘Sesame’; ‘Chemicals’; ‘Severed’; ‘Kingdom Come’

Friday Playlist

Here’s “Sprung”, our latest playlist of new found sounds, for your enjoyment. Take a listen, and follow us on Spotify.

Check Out Gaffer’s Self-Titled Demo

Band photo credit: Kyle Biggins (sourced from Weirdo Wasteland)

Gaffer, S-T demo (Helta Skelta)

Gaffer are a new band out of Perth, Australia, featuring members of powerhouses like Cold Meat and Helta Skelta (the band).  Having just formed last year (I think), the band recently released its self-titled demo via Helta Skelta (the label), and it’s a riveting debut.

Each of the tape’s seven tracks sound as if it was recorded live, such is the intensity.  The set features raw, determined punk and post-punk sounds whose origins may sound from the mists of time but the tone of which remain sharply relevant.  Frustration, isolation, the feel of being under the yoke – an anxiety made palpable by the arrangements and playing, with song titles like ‘Animal’, ‘Skin of Your Teeth’, and ‘Stuck’ serving as signposts.  The demo has the diaristic feel of albums from early Black Flag (particularly, Damaged), The Mob, Flux of Pink Indians, or early Killing Joke.  The vocalist inhabits a kind of younger Willy Loman character, one being told he’s “got everything to live for” while simultaneously feeling like he’s moving through life “with a noose on”.  On ‘Skin of Your Teeth’ – one of many highlights – the not so quiet desperation finds form in lyrics like “can’t do this anymore/getting through by the skin of your teeth…/no real purpose/no real energy/no end product”.

Gaffer’s demo is available now, on cassette, from Helta Skelta.  Looking forward to hearing what the band does next.  In the meantime, you can check out the video of their first live gig here.

Weblabel

Highlights include:  ‘Animal’; ‘Skin of Your Teeth’; ‘No Pace’

Check Out “Debuts”, from Pop Crimes

Band photo © fanny pommé

Pop Crimes, Debuts (Howlin’ Banana) 

Pop Crimes is a Paris-based quartet who share a name with the title of an album from Rowland S. Howard (RIP), and include members of (amongst others) En Attendant Ana.  Debuts, the band’s appropriately titled first release, is a brilliant four song introduction to a very anglophilic sounding group of francophones. 

On Debuts, Pop Crimes demonstrate a wicked proficiency in fusing the blissful and the barbed –  c86-style jangle and slacker indie, weighted with the crunch of garage and shoegaze and a soupçon of Libertines-like louche swagger.  Perfect example:  the hazy, scuffed pop of ‘Goes’, with antipodean shades of groups like The Church and the swing and swagger of early Ride or The House of Love.  Like the best of bands who wear their collective influences on their sleeves, the set brings fond memories without sounding like mere rehash.  Very much looking forward to hearing what comes next.  

Debuts was released in January, courtesy of Howlin’ Banana – allez, go pick it up!

Web: bcamp fbook label

Higlights include: ‘Goes’; ‘Always Lover’

New Playlist!

Here’s a new playlist, featuring tracks both new and in memory of those we lost this past week (Little Richard, Betty Wright, Florian Schneider, and Andre Harrell (Uptown)). Enjoy – and follow us on Spotify, if you’re so inclined.

Check Out the Self-Titled Debut from Minneapolis’ Green/Blue

[Photo by Matthew Jenkins (taken from Green/Blue Facebook page)]

Green/Blue, S-T (Slovenly)

A new band of old hands, Minneapolis (Janet voice)-based Green/Blue present a jagged kind of garage-pop on their self-titled debut. Initially a recording project featuring the guitar/vocal stylings of Jim Blaha (of The Blind Shake) – whose solo basement musings formed the bases for the album’s eleven tracks – and Annie Sparrows (of The Soviettes), the group is now a quartet, having added Danny Henry (drums, also of The Soviettes) and Hideo Takahashi (bass, of The Birthday Suits).

The album is a hodgepodge of familiar sounding styles, blended into something very immediate.  According to a press release, the tracks on Green/Blue were born partially from Blaha’s “newfound love of lo-fi pop jangle” (namechecking The Chills), but Green/Blue’s handling of the sound feels similar to the way The Misfits approached late-night 50’s croon or The Jesus and Mary Chain worked with girl-group, surf and other 60’s pop.  There’s certainly sugary tones to be found here, the band exhibiting a deft touch for catchy melodies – but the ear candy is often chased with cough syrup, Blaha’s whispery vocals and he and Sparrows’ dual scuzzed up axe attack providing more than a hint of menace to the romance alluded to in many of the lyrics.  Highlights ‘Proto Caves’ and ‘Way Down’ throw off a kind of haunted nostalgia, the former sounding like a roughneck Everly Brothers demo in spots – a leather-clad sock hop leading to a fogged up rear window.  It’s great how the band are able to infuse so much energy into the boogie chug of ‘That Face’, while the JAMC pyres blaze bright on the brilliant ‘Find a New World’.  Qué bella. 

Green/Blue is out now, courtesy of Slovenly Recordings.  The band also have really rad shirt designs (see here), so hopefully if we’re ever allowed out of our houses again and Green/Blue tour, I’ll snatch one up.

Highlights include:  ‘That Face’; ‘Proto Caves’; ‘At a Loss’; ‘Way Down’

Web: fbook label bandcamp insta

 

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