Tag Archives: drunken sailor records

More Catch Up: Cloth; The Mind; Thigh Master; Ben Woods

Cloth, Cloth (Last Night from Glasgow)

Cloth are a Glaswegian three-piece comprising twin guitarists Rachel and Paul Swinton (the former also providing vocals), as well as drummer Clare Gallacher (who, courtesy of a sample pad, also provides the ‘bass’). This past November, they put out one of our favorite records of 2019 in the form of their debut, self-titled, long-player. 

The breathy textures on offer throughout Cloth reward close listening, adding more than a dash of psych and soul to an undercurrent of trip hop and dream pop. The XX (the earlier, not overtly club-friendly stuff) is a good point of reference, but I also picked up hints of bands like The Wake, early Doves and a downtempo feel of groups like Sol Seppy as well. A rhythmic current runs through voice-guitar-drum-‘bass’, propelling arrangements which tend towards insular but can flash more broadscale (‘Demo Love’, notably, featuring a mixture of both). It’s a kind of musical chiaroscuro which, particularly during highlights such as ‘Tripp’, ‘Curiosity Door’, and ‘Sleep’, is mesmerizing. Fall, into your speakers’ embrace, and enjoy.

Cloth is out now, courtesy of Last Night from Glasgow.

Web: label fbook twitt

The Mind, Edge of the Planet (Drunken Sailor)

Featuring members of Homostupids (who we were not familiar with) and Pleasure Leftists (who we greatly enjoy), The Mind came together last year to make some kinda somethin’ on Edge of the Planet. And it was good. 

Bleary is the head that attempts to describe something made so intentionally difficult to describe, but here are a few muddled thoughts. ‘Blah Na Nothing’ and ‘Running on my Head’ sound like Joy Division on an extended acid trip. There’s a lot of tape hiss, 60s sci-fi flying saucer f/x, and heady, disorientating sonic explorations anchored, unexpectedly, by sweetly disembodied vocals. There’s elements of dub throughout and trippy ambient tones. Some Devo (‘Space is Binary’), and the guitar bend of ‘Baby Rats’ is disarmingly lovely. It’s all very whacked out in an intriguing and beguiling way. Go check it – you know you want to.

Out now, on Drunken Sailor.

Web: label

Thigh Master, Now for Example (Goner) 

Brisbane (via Melbourne) jangle champs Thigh Master has been developing into a favorite over the past few years here at tgh hq, and their latest long-player, Now for Example, sealed the deal.

Incorporating prior singles ‘BBC’, ‘Pity Run’, and ‘Exodus’ (already a fave), Now for Example is a brilliant example of high-functioning indie rock with more than a whiff of the Flying Nun brigade. Matthew Ford’s delivery veers between sweet and mischievous sneer, delivering bon mots such as “this conversation’s going/south/and you’re pride’s glued to your mouth” (‘Entity’). The band know their way around a hook, pulling off both the intricate (the guitar/rhythmic interplay of ‘BBC’) or straight ahead with equal aplomb, while still finding ways to sneak in an unexpected sound or two (the demented doo-wop backing in ‘Mould Lines’, the tubular synth on highlight ‘Prospect Patent’). Closer ‘The Ballad of the Caxton’ sounds like a more laconic take on the kind of closing time pisstake bands like The Specials used to fling about – and did I mention how much I love ‘Exodus’? Ok, fair do. Brilliance abounds.

Out now, courtesy of the lovely folks at Goner Records (distributed by the equally lovely Tenth Court in AU).

Web:  fbook insta bcamp label

Ben Woods, Put (Melted Ice Cream)

Ben Woods hails from Christchurch, NZ, and has played with/in local bands including Salad Boys. Woods released his debut solo record, Put, last fall and we’ve fallen for its surreal soundscapes incorporating elements of Spiritualized’s heart-crushing psych, slowcore, Velvet-y garage jangle and punk.

Including earlier singles ‘ROMANCY’ (which we wrote about here) and ‘Lozenge’, Put is stunning from beginning to end – both in the sense of being fantastic, but also more literally via the buzz emanating from the album’s nine tracks. Starting with the road-weary haze of ‘MARCHY’, it feels like a series of fractured lullabies, instruments and voice filtering in and out in all directions. There’s a haunted quality in the often muted production, focusing your ears on serpentine melodies that resolve at a deliberate pace. This sense of drain-circling makes the moments of relative clarity so arresting – notably, during ‘LOZENGE’, whose Buzzcocks’ worthy flounce feels like Ty Segall fronting a 60s girl group. ‘PRAISE’ encapsulates all of it beautifully, the track slowly slipping ‘neath the waves until, around the 2:30 mark, resurfacing with a gasp and riding to shore along a Bowie/Reed chug. Highly recommended.

Put is out now, courtesy of Melted Ice Cream.

Web: fbook label bcamp

Roundup, featuring BB and the Blips, CB Radio Gorgeous, Zerodent, Constant Mongrel, Corey Flood, Beta Boys, Pious Faults, Pink Thing and Permission!

We here at thegrindinghalt.com are often overwhelmed by the amount of great, new music that makes its way into our lives – whether via email or internet rabbitholing, it’s fantastic to make more and more discoveries. The consequence is that, like the proverbial magpie, we are often distracted by the excitement of the new, to the detriment of giving the written props existing discoveries are due. 

With that in mind, please to enjoy the following first in a (likely) series of mea culpas to the ones we didn’t write up, with a new year’s resolution to do better:

BB and the Blips, Shame Job (Thrilling Living)


BB and the Blips are based in Sydney, Australia, comprising members of bands like the sadly departed Good Throb (we wrote about them here) and Housewives. Following (quickly) on the release of a blistering, low-fi demo (on Blow Blood (AUS/US) and Nervous Energy (UK/EU)), last September’s full-length debut, Shame Job, shows the band adding an amazing amount of depth in such a short time. Everything’s great, from razor-sharp opener, “Matribuxy” to to the acid-surf closer, “Whinge and Whine”. The vocals, in particular, are a revelation – so much passion and energy transmitted, but rather than being all ‘in the red’, there are subtler shades. Highlights include: “Lucky Country”, “Matriduxy”.

Web: Thrilling Living

Corey Flood, Wish You Hadn’t EP (Fire Talk)


Philadelphia, PA’s Corey Flood released the four-track EP, Wish You Hadn’t, last February, and we’ve been coming back to it ever since. Combining insistent, post-punk rhythms with the vertiginous guitar/bass interplay of 90s indie pop bands like Breeders, the band crafted a subtly sinister mood piece. The arrangements charm like that snake in the Jungle Book, while vocalist/bassist Ivy Gray-Klein’s whispers of lies and deceit are like a wasp in your ear. Excellent. Highlights include: “Feel Okay”.

Web: Insta Fbook Fire Talk

Constant Mongrel, Living in Excellence (Anti-Fade; La Vida Es Un Mus)


Melbourne, Australia’s Constant Mongrel released one of the album’s of any year last September with Living in Excellence. A potent mix of post-punk, garage and darkly melodic early new wave (I kept hearing early Psychedelic Furs), shot through with psychedelic drone and sung-spoken vocals. The overall mood of cloistered angst is shot through with moments of beauty (see the synth middle in “Lifeless Crisis”), and if you aren’t up out of your seat when the drums crash in at about the :50 mark of the title track (punctuated by a Tom Warrior-approved ‘ooh’), you need some help. Highlights include: “Lifeless Crisis”; “Living in Excellence”; “Action”.

Web: Anti-Fade LaVidaEsUnMus Fbook

Personality Cult, S-T (Drunken Sailor; Sorry State)


Personality Cult, a project led by Ben Carr of North Cackalack-based Natural Causes, released a self-titled debut back in August, and it’s one of the most rapacious earworms this side of those gross things in that one Star Trek movie. “Fed to the Lions”, while sadly not an interpolation of the Adam and the Ants song of (almost) the same name, does feel like a kind of sequel. In fact, as much as there are shades of everything from Devo to Cheap Trick to Magazine to Jay Reatard on display here, there is a strong whiff of the early Ants’ (e.g., pre-burundi drumming) buzzy playfulness. The album practically throws out infectious melodies like so much cake to assembled masses. Punky, new wave-y, power-poppy delirium. Highlights include: “Brazen”; “Fed to the Lions”; “Motivation”.

Web: Drunken Sailor Sorry State Bcamp Fbook  

Beta Boys, Late Nite Acts (Feel It; Erste Theke Tonträger)


Olympia, Wash-based Beta Boys (we previously wrote about them here) continue to align themselves with a proud Northwest tradition of in your face, cheerfully perverse hardcore bands like Poison Idea and The Accused. The band’s debut full-length, Late Nite Acts, was released in August, and it’s a cacophonous thrillride of blunt, flanged riffs fused with a brutally tight rhythm section topped off by a voice that is the closest I’ve heard to the seared larynx outbursts of M. Blaine Cook since, well, zippy himself. It’s a belter, from start to finish. Highlights include: “Laugh/Cry”; “Red Devil”; “Already Dead”.

Web: Feel It Erste There Tonträger

Pious Faults, Old Thread (Feel It; Aimless Wander)


Old Thread, the latest from Brisbane, Australia’s Pious Faults (who we previously discussed here), was released last August. The album’s nine tracks are thrillingly disorienting, each threatening to spin off their loose axis off into the ether. A claustrophobic desperation envelops the record, with tracks like opener, “Cope” and “Worship the Surface pt. 1” making this a kind of Damaged for a new era. Summoning as much old school hardcore like Black Flag and Die Kreuzen as freeform industrial experimentalists Throbbing Gristle and newer post-punk noiseniks like Girl Band, it feels somehow familiar and completely singular at the same time. Amazing. Highlights include: “Worship the Surface pt 1”; “Field”.

Web: Feel It

Permission, Drawing Breath Through a Hole in the Ground (La Vida Es Un Mus)


Drawing Breath Through a Hole in the Ground, released last July from London, England-based Permission, is a relentless hardcore record. From the first peals of distortion on opener, “Ambition” through (about 17 minutes later) the bent notes closing “Sequence”, it’s quite a ride. The stop and go tempos invoke that invigorating, yet slightly panic-inducing, feel of being in a circle pit you can’t quite make it out of, reminding of bands like Christ on Parade, Crucifix or Void (DC). Highlights include: “Atmosphere”; “Sick Things”.

Web: LaVidaEsUnMus

PiNK THiNG, The Curtain EP


Following on their 2017 demo, Dallas, TX-based quintet Pink Thing released The Curtain EP last May. It’s a powerful mix of old school punk/hc and death rock, with the kind of dead-eyed, taunting vocals that make you want to throw your fist up. While the opening bars of “Avoid/Devoid” summon the Sex Pistols, there’s an overarching early 80s SST feel, which makes the band’s choice cover of Saccharine Trust’s “I Am Right” apropos. Highlights include: “Creamy”; “Natural Thing”.

Web: Bcamp

Zerodent, Landscapes of Merriment (Alien Snatch)


Perth, Australia’s Zerodent returned in October with Landscapes of Merriment, released on German label Alien Snatch. Landscapes retains the ℅ ’77 punk and buzzed, Stiff Records’ style rock of 2017’s fab Soul Mender (which we fawned over here), now burnished with greyscale shades of post-punk. The inclusion of more active basslines compliment Predrag Delibasich’s soaring guitar melodies and the classically earnest vocals of Lee Jenkins, particularly on (current) personal fave, “I Live a Lie”. Fantastic. Highlights include: “I Live a Lie”; “Utter Power”; “The Ring”.

Web: Alien Snatch Fbook Bcamp

CB Radio Gorgeous, S-T


Chicago’s CB Radio Gorgeous feature members of local bands like Big Zit and Negative Scanner. The band’s debut, self-titled full-length, was self-released last June (followed by a cassette release on Not Normal Tapes). It’s a relentless mix of driving hc, downtown punk cool and pogo/Buzzcocks’ new wave – sometimes all at once, as on highlight double-shot “Love Countdown” and “Shelley”. Highlights include: “Love Countdown”; “Shelley”; “Babylon”.

Web: Bcamp

Check Out “Three”, New from Bikini Cops

Bikini Cops, Three (Drunken Sailor; Televised Suicide)


Bikini Cops are a quartet hailing from Perth. The band have been putting out music since 2015 or so and Third, their third (the title should’ve tipped you off), is the strongest yet. Building on the momentum of the band’s first two releases, these tracks feel more focused and fully-formed, but without losing any of the raw energy.  Musically, the album teeters frantically between barely hinged blasts of MC5-esque rock and fantastically blunt, ‘old school’ (™) hardcore. The band is both tight and constantly on the verge of collapse, in the grand tradition of bands like First Four Years-era Black Flag. Singer Chris Balch’s cracking yelp carries the feeling of desperate antipathy of that band’s Keith Morris or Ian MacKaye in his Minor Threat years.

The one-two crotch kick of opener, “(Not) My World”, and “Stupid System” is, alone, worth the price of admission – but don’t go just yet, or you’ll miss out on personal fave “Total Control” and epic (over two minutes!) closer, “Lost in a Dimension”. Three makes its point quickly and succinctly, six tracks careening by in under 10 minutes (by my math), providing little time for assessment or breath, but eff me if it didn’t get more exciting with each repeat. Do circle pits go counterclockwise in AUS?

Three is out now, courtesy of Drunken Sailor in the UK and Televised Suicide in Australia. You can also pick up a copy on the Bikini Cops’ bandcamp page, while following the band on fbook.