Tag Archives: new wave

Ride the Emotional Rollercoaster of “New Ways”, from CC Dust

CC Dust, “New Ways” (Night School (UK/Europe); Mystery Club (US))

The first breath of “New Ways”, b-side of the new single from Olympia’s CC Dust (VEXX’s Maryjane Dunphe and co-conspirator David Jaques), is a chilly one.  The duo’s follow-up to the stirring “Never Going to Die” (which we loved) proceeds along a rumbling, Joy Division-y bass line and a detached, whiplash-crack of a drum track – all portent.  Maryjane’s Lene Lovich-like croon speaks of waking in a “nuclear spring”, “bizarre fates”, a “crack in the self” – the feel of changes that could be the proverbial light at the end of the tunnel, or the oncoming train.

But then, the track slowly reveals itself to be of a more hopeful disposition, the mood lightening as Jaques’ bassline moves to a higher octave, pastoral synths enter and Dunphe sings of a return to the “old land”.  If “Die” was outwardly physical, “New Way” feels turned inward, more ruminative.  Chilly, perhaps, but there is space here wherein to to find warmth.  It’s an emotional rollercoaster, and I can’t wait to see where the band take us next.

The new single, “Shinkansen No.1/New Ways” is out October 7 in the UK and Europe on Night School.  In the US, Mystery? Club offers both a digital and cassette version.

“The Pressure”, Roxanne Clifford’s New Single As Patience, Is a New Wave-Inflected Jewel Box

The "Jewel Box", a cluster of stars in the Southern Cross - see what we did there?

The “Jewel Box”, a cluster of stars in the Southern Cross – see what we did there?

Patience, “The Pressure” (Night School, 9/30/2016)

Patience is the musical alter ego of Roxanne Clifford, formerly the lead singer of – amongst others – the underrated Veronica Falls.  Following on the spring release of debut single “The Church”, her new single is “The Pressure”, and it’s a glorious, new wave-inflected tune recalling Yaz(oo) and early Depeche Mode (think Speak and Spell).  So, basically Vince Clarke, I guess.

Whatever the source material, the song itself is a gem.  Starting with the sound of a receiver tuning – back to the future? (Ed:  ok, stop now) – Clifford’s lightly maudlin voice encourages an ardent former love (and/or, perhaps, herself) to “move on” from the past, while crystalline multi-layered vocal and synthesizer melodies punch shafts of light through the clouds.  It’s enough to make you want to stretch out and twirl ‘round, and it’s fantastic.

“The Pressure”, together with its b-side “Wait for You” (a Roky Erickson cover), is due September 30 on the excellent Night School Records (UK home of CC Dust).  Find out more about Patience here, here and, inevitably, there.  There’s also a great interview with Clifford over at Brooklyn Vegan that’s worth a read.

Something Borrowed, Something New: Anywhere, from Chicago’s Cassettes on Tape

Cassettes on Tape, Anywhere (self-released, 7/14/16)

We love a band that wears their influences proudly.  Cassettes on Tape is a four-piece hailing from Chicago, with a declared fondness for “shoegazy guitars and new wavey hooks”.  On their new long-player, Anywhere, the band stays true to their school(s).

Anywhere finds the band taking a musical journey through mid-80s to mid-90s indie music, recalling everything from 80s ‘college radio’, new wave, shoegaze, early 90s indie pop and even britpop.  It’s a wide range of (admittedly intertwined) sounds, and the band pulls it off by writing hook-filled tunes played with a super-charged emotion.  Jangling, resonant guitars courtesy of lead guitarist Shyam Telikicherla build epic sound scapes to match the dramatic vocals of singer Joe Kozak, who comes off like a cross between Suede’s Brett Anderson (minus the falsetto) and a less raspy Richard Butler of the Psych Furs.  Songs like album highlight “Shattered” manage to marry 80s indie restraint to Britpop rafter rattling, while “Modern Love” carries an “I Am the Resurrection” shuffle.  While the hi nrg tracks are great, the lovely slow burn of “Diamonds” and “Liquid Television” (above) are equally satisfying.  Great stuff.

Anywhere is out now, and available through the Cassettes on Tape Bandcamp page.  You can also check them out on the fbook, the twit and Instagram (don’t have a ‘witty’ shortcut reference for that one…yet).  The band also have a show coming up on August 5 at the Bottom Lounge in Chicago – check it out if you’re local.

Track Review: Nite-Funk, Let Me Be Me

Nite-Funk, “Let Me Be Me” (Glydezone)

G-funk maestro DâM-FunK (Damon Riddink) and new romantic Nite Jewel (Ramona Gonzalez) collaborate as Nite-Funk [see what they did there?].  Last year, the duo let loose “Can U Read Me” into the world, then fell silent.  Now, they’ve announced plans to release a self-titled ep on July 1.  “Let Me Be Me” is a taster track from that release, and it’s great.

Where “Can U” veritably oozed 80s electro quiet storm romance – think Loose Ends, SOS Band and the Gap Band in full mack mode – “Let Me Be Me” bumps.  It’s a perfect twining of early 80s, electro-disco and g-funk hooks – new wave ch-chang guitars and glassy synth chords, a doggedly atomic bassline and funky keyboard solos that would make Roger drool.  Like Control-era Janet riding a D-Train groove.  The bright neon lights, big mauve city vibes given off by the ep’s cover (below) perfectly suit the track’s mood.

NITE-FUNK

Nite-Funk’s self-titled ep will be released on Riddink’s Glydezone Recordings label.  Get down on it – the soul train line forms here.

New Music: CC Dust, Never Going to Die

CC Dust, “Never Going to Die” (Perennial/Night School)

CC Dust is a project involving MaryJane Dunphy, lead singer of frabjulicious Olympia, WA punk band Vexx, and David Jacques.  With “Never Going to Die”, she brings the energy and passion of that band from the pit to the dance floor.

Dunphy here sounds a bit like a combo of Alison Moyet and Lene Lovich, croon-whooping over a long lost 4AD track, with Jacques weaving a Hooky baseline.  The deep echo and reverb overlay on the bass and vintage-sounding programmed beats cloak the song’s glistening new wave bedrock in a bit of a goth and early industrial chill – whatever you want to call it, it’s a well-crafted track as good for dancing to as it is for just being with.

As it is with Vexx, Dunphy’s voice inhabits the song.  Moving from gutteral to delicate and back, it’s physicality caroms around, over and through the melody in a way similar to Dunphy’s live presence (check the video below), further animating the already dramatic arrangement.

Recorded last year, “Never Going to Die” is taken from a forthcoming, 5 track 12” ep, due soon(?) from Perennial (US – preorder here) and Night School (Europe).  Speaking of Europe, CC Dust is playing dates therein (venues included where I could find).

June

5 – Osramhuset, Copenhagen (DK)
7 – Hamburg (DE)
8 – De Gym, Groningen (NL)
9 – Butcher’s Tears, Amsterdam (NL)
10 – Au Picolo, Paris (FR)
11 – DIY Space, London (UK)
12 – Hope & Ruin, Brighton (UK)
13 – Undertone, Cardiff (UK)
14 – Tenterhooks, Dublin (IRE) 
15 – Barcelona, Sala Almo2Bar (SP)
18 – Valencia (SP)
19 – Logroño (SP)
21 – Leeds (UK)
22 – The Poetry Club, Glasgow (UK)
23 – Servant Jazz Quarters, London (UK)
24 – Soup Kitchen, Manchester (UK)
25 – Berlin (DE)
27 – Klub Famu, Prague (CZ)

New Music: Innerspace Orchestra, One Way Glass

Innerspace Orchestra, “One Way Glass” (Different Recordings, 3/4/2016)

Innerspace Orchestra is a group comprised of Rose Elinor Dougall (formerly of The Pipettes, as well as an established solo artist), Tom Furse of The Horrors, and Cathy Lucas of Fanfarlo.

“One Way Glass”, a Manfred Mann rework, is their debut single as a group, combining the cinemascopic, prog/wave lushness favored of late by Furse’s main group, with Dougall’s dreamy, psych-inflected, halcyon pop and Fanfarlo’s rhythmic sensibility.  The single swirls and sways through 3 minutes and change of pure bliss – from the shuffling, baggy drum intro, on through the raga sitar breakdown towards its completion.  A song with so many elements that it runs the risk of coming off bloated, instead feels effortless.

Dougall’s voice is as enchanting as ever, inhabiting the groove and melody from within – she’s an artist whose post-Pipettes body of work deserves a wider audience; here’s hoping she gets it.

“One Way Glass” is out now on [PIAS] electronic imprint, Different Recordings (under license from Smile Recordings).  Enjoy the trippy video, below, and follow the band’s musings on fbook and the twit.

Preview: New Tracks from Lust For Youth

Preview:  Lust For Youth, “Better Looking Brother”; “Stardom” (Sacred Bones)

Two new tracks – “Better Looking Brother” and “Stardom” – were released this month from Compassion, the forthcoming album from Danish three-piece Lust for Youth.  Since the band’s 2014 release, International, was a particularly favorite ‘round these parts, it seemed like a good idea to have a listen.  Each track erects skyscrapers upon International’‘s lush new wave/electro bedrock, without sacrificing a certain intimacy.

The first, “Better Looking Brother”, swings and swirls, harkening back to Introspective-era Pet Shop Boys and other late 80s new wave/house music hybrids – as well as bands like Camouflage and Propaganda – as Hannes Norrvide sings of said brother’s “part to play, tonight/in whatever is to come”.  “Stardom” is, quite simply, epic.  Like the imperial phase of OMD (think Pacific Age), the track’s squelchy bass lines and chorale, glassy synths would have fit in nicely at the moment of romantic awakening in an 80s teen drama (yes, this is a good thing, you cynic).  Triumphal, hook-laden gorgeousness for “all you lovers out there”.

Compassion is released March 18 on Sacred Bones, but is available for pre-order here.  The band has a (very) few US dates set on their upcoming tour, so check them out if you’re able – all dates can be found on the band’s fbook page.

Review: Wall, Wall EP

Wall, Wall EP (Wharf Cat Records, 1/15/16)

Wall are a 4-piece hailing from New York City, not that you’d need me to tell you that upon listening to their new, eponymous EP.  Each track feels like a glaze of detached, old school downtown cool stretched over the twitchy, black/white UK version of early “post-punk” (used in quotation marks, ‘cuz I’m not really sure what that means anymore) and new wave.  A no wave new wave, then?  Right.  I’ll just get my coat…

Who can be bothered over categories, really, when the songs are this good.  Upon first listen, several familiar sounds come through:  Slits, Bush Tetras, Gang of Four, Crass, Basement 5 (lead track, “Cuban Cigars” reminds of “Mind Your Own Business”), on through riot grrrl, and newer bands like Savages and Vexx.  Over tightly coiled arrangements, vocalist Sam York (duties shared with bandmates Vince McClelland and Elizabeth Skadden) careens between the raised fist delivery of lines like “fresh baked bread/keeps the pigs well fed” (“Cuban Cigars”) and the detached, shrug of the shoulders and flick of the cigarette towards the gutter malevolence of “those mistresses/they don’t just lay there/at night/they prowl.…” (“Milk”).  Closer “Milk” is a highlight, swirling all of the band’s various elements in a compelling symmetry.

The Wall EP is out now, on the great Wharf Cat Records label. Check the band – and their current tour dates – on their website.

Album Review: SROS Lords, Rule

 

SROS Lords, Rule (Earyummy Records, 05/12/2015)

Debut long player from SROS Lords, a “reborn” (as of 2013, Alleluia!) garage/wave/punk trio from Motown.  We here at thegrindinghalt.com HQ received our copy directly from drummer, Jamie Cherry.  Thanks, man!

The band (named, according to this 2014 interview, in honor of the studio in Detroit, from whence they record) play loud, fast, twitchy music drawing as much to older punk, new wave and hardcore bands like Electric Eeels, The Ramones, The Misfits, Die Kreuzen and Devo, as well garage vets like The Gories, as it is to the more recent work of Jay Reatard (RIP), and thegrindinghalt.com faves Nots and Ausmuteants.

Churning, buzzsaw guitars trade shots with whipcrack drumbeats, accompanied by droney synth and the fuzzed out vocals of singer Morgan, the album whizzing by at break neck speed (“epic” tune “Erica”, the longest, boasts a 2:24 run time).  The energy on display across the album’s 13 tracks is both palpable and infectious; like going to an amusement park with a kid with ADD who wants to go on all the rides, simultaneously.

The group’s description of itself as “slimernetik” punk makes no sense and perfect sense – it feels like a kind of “back to the future” evocation of a time when punk kids and early punk/new wavers saw themselves as “alien” and made music designed for people who felt the same way, eff everyone else.  There’s a whiff of late nights in basements, gaming and gorging on B-movie horror, scifi and reruns – (“Dragonflex” sounds like a bizarro reworking of the theme from “Gilligan’s Island”).

“Music to make soylent green to” could work, too.  Equally, a great soundtrack to an afternoon doing lines of Cheetos dust and spazzing out on peach Faygo.  It’s your life, man; we don’t judge.

Rule is out, like, NOW on Earyummy and is available on iTunes. Check out SROS Lords on Facebook, tumblr and enjoy the seizure-inducing graphics on their website.

Highlights include: “Erica”, “Sniper”, “Dragonflex”, “Baby Centipede”.

Album Review: Viet Cong, Viet Cong

Viet Cong, S/T (1/20/15, Jagjaguwar)

Fantastic, debut long-player from Calgary, Alberta’s own Viet Cong, a group featuring former members of Women.

Having previously made some noise with the Cassette ep in 2014, the full length feels a much different beast, altogether.  Where Cassette sounded a bit like Television if they recorded on Stiff Records, Viet Cong – having been saddled in many places with the now de rigueur ‘post-punk’ tag, which (while at least partially accurate) seems reductive – sees the band running through a whole host of influences and sounds:  here Joy Division or (if you prefer) early New Order, there shards of (um) Television, Wire, The Fall, Killing Joke, kraut rock, new wave and danceable industrial, totally not danceable No Wave, here and there pastoral psychedelia and Syd Barrett vibes; hell, the breakdown around the 7:00 mark of epic closer “Death” sounds almost metal.  Singer/bassist Matt Flegel’s vocals are placed in the middle of the mix, themselves a melange of Berlin-era Bowie, Fad Gadget, a less croony Ian McCulloch or Peter Murphy, even the singer from Longwave.

If this sounds like the aural equivalent of a Jackson Pollock splash and drip painting well, maybe it is; however, just like Pollock, Viet Cong have a purpose and a design behind what might otherwise be a total shitshow car crash of styles and tastes.  The band’s ability to slither in and around their collected influences throughout (indeed, through the course of each track) is truly impressive – this is a tight sounding unit and, for all the sonic touchstones on display here, they manage to carve out something unique.  Highly recommended.

Visit the band here and catch them on tour if you are fortunate enough to reside in a city on the itinerary (I, sadly, am not).

Highlights include: Bunker Buster, Continental Shelf, Death.