Tag Archives: punk

Slimy Member Craft Spellbinding Goth-Punk on Ugly Songs for Ugly People

Slimy Member, Ugly Songs for Ugly People (Drunken Sailor; Occult Whispers)

“depression/is so real/consuming my brain”

Slimy Member is a four-piece based out of Dallas, Texas.  Named for a Rudimentary Peni song, the band has been active since 2013, having previously released a demo and an EP.  New LP, Ugly Songs for Ugly People, serves as their debut, full-length release.

On Ugly, Slimy Member comes across to these (aging, constantly ringing) ears very much of a part with 80s punk/hardcore – hell, there’s even a two-fer song (“Bomb Blast/Age Old Time”), how 80s hc is that?  Their sound incorporates not only the urgent anger of bands like RP and The Exploited, but also those who, like TSOL (check the galloping bassline on “Age Old Time” and the morbid imagery of “A Sight to Behold”), Christian Death and current fellow travelers like Institute and Anasazi, cloak their abrasions in goth atmospherics.  Heavily reverbed vocals and flanged guitars amplify an almost suffocating tone of angst, stress and tension, a tension and energy that the band carry all the way through the fantastic closer, “Always the Victim”.  It’s a thrilling reminder of just how exuberantly visceral these sounds were, are, and can be.

Ugly Songs for Ugly People is out now, via Drunken Sailor (in the UK) and soon via Occult Whispers (in the US).  You can also snap up a digital copy through the Slimy Member bandcamp page while you check out their earlier releases.  The band is on tour soon for you lucky chucks on the west coast of the USofA – dates here.

Highlights include: “Oceanic Feeling”, “Bomb Blast/Age Old Time”, “Always the Victim”.

Check Out The Orielles’ Debut Single for Heavenly, “Sugar Tastes Like Salt”

The Orielles, ‘Sugar Tastes Like Salt’ (Heavenly)

Photo by Neelam Khan Vela

Halifax, England (not Nova Scotia).  Fun facts about Halifax (from ultimate lazy bastard encyclopedia, wikipedia): (1) it’s been a textile manufacturing hub since the 15th century – which is kinda cool; and (2) it’s the home of Rolo candy – which is extremely awesome.

What’s also extremely awesome, has six thumbs and currently hails from Halifax (and Liverpool)?  The Orielles, a trio comprising sisters Esme Dee (bass, vocals) and Sidonie Hand-Halford (drums) and Henry Carlyle Wade (guitars).  After self-releasing a few singles, and putting out last year’s fantastic Jobim EP via Art Is Hard, “Sugar Tastes Like Salt” (from a line in the movie Death Proof, per this great write up on the band in The Guardian) is the band’s first single for the mighty Heavenly Recordings.  Starting, innocently enough, with a ride down the neck of a swirling, arpeggiated psych melody, it turns out to be a trip down the rabbit hole.  The track bobs and weaves its way through a smorgasbord of styles (jittering rock steady, Blondie or Factory Records’ style post-punk disco, a sprawling Floyd-like interlude, straight-up Troggs’ garage, some space truckin’) without coming off overcooked.  And despite a modern day attention span straining length of 8 minutes and change, “Sugar” fixes your attention throughout, like some kind of goddamn Medusa.  Brilliant.

“Sugar Tastes Like Salt” is out now, on Heavenly.  You can follow The Orielles’ adventures on fbook, the twitt and instagram.  They’re also on tour in the UK – dates here.

Check Out “Schedules Align”, from Feature’s Forthcoming Debut, Banishing Ritual

Feature, “Schedules Align” (Upset the Rhythm)

Photo credit: Owen Richards.

“She’ living a dream/you’re willing to wait”

Feature is the UK-based trio of Jen Calleja, Heather Perkins and Liv Willars, whose collective CVs include memberships in such tgh faves as Sauna Youth, Metronomy, and Slowcoaches.  “Schedules Align” is the first track released from the band’s forthcoming debut, Banishing Ritual, and it’s chock full of hi-nrg, shout-along punk.

I stumbled upon this band a few months ago – specifically, 2015’s Tourists EP – working back via one of Calleja’s other bands, Gold Foil, and was immediately hooked.  I then read a brilliant piece she wrote for Queen of the Track magazine discussing her then recent discovery of The Misfits (a band whose initial run I hold near and dear), that was part fan letter and part send-up, filtered through a discussion of the masculine and feminine in harder rock circles, and was even more intrigued.

For these purposes, the focus is her admiration for The Misftis’ blend of cartoonish levels of aggression and violence with music indebted to gentil, 50s crooner rock – blue angels transmogrified into pregnant Mexican women birthing still-born monster babies.  “Schedules” does provide the listener with a taught display of truly fiendworthy (sorry) guitar, bass and drum work which, combined with the extra sung syllable in “ali-I-ign” and doo-wop backing vocals starting around 1:40, reminded of songs like “Hatebreeders”.  Where Danzig and co. would play this on 11, however, Feature juxtapose the arrangement’s raw aggression with a vocal that manages to be both insouciant and breathless.  It’s perfect for pogoing (do people still do that?) and you’ll need some kind of drill to get the giant earworm of a chorus out of your brain, should you want to.  Can’t wait to hear the rest of the album.

Banishing Ritual is due April 7, on Upset the Rhythm; pre-order here.  Follow Feature on fbook and the twitt.

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.

Yeehaw! A Punk Roundup Featuring The Lowest Form, Exotica, Good Throb, and Urochromes

Ok, so there’ve been a few punk/hardcore/whatever releases over the past few months that I’ve been trying to get around to and haven’t – so now I am.  I intended to write up something individual and special to say about each of these but, fuck it, I’m gonna just put ‘em all into one, shortcut “combo” review.  Since I said “fuck it”, that makes it kinda punk, no?  No?  Oh well, here goes…

The Lowest Form, Personal Space (La Vida Es Un Mus; Iron Lung)

Personal Space is the latest from UK hardcore punk band, The Lowest Form, and it slays.  It’s part old school hc (I keep hearing alot of Wattie in the vocals, and Black Flag in the crumbling guitar sound (provided by Michael Kasparis, also part of Anxiety’s brilliant debut)) mixed with just good ol’ noise, all to great effect.  Highlights are many, and include the repeated face punch of opener, “Interplanetary Bad Boy”, which slowly drowns in its own, rich stew of hiss and feedback, and the utter chaos of “Evol”.  This record is cathartic in the ways of many a great, viscerally angry records.  In years such as this one (have there really been any?), sometimes it’s more than worth it to swallow the bile in your throat, let it burn, then scream it out.

Fitting for a band that sound like they spend a lot of time ‘off the grid’, the band don’t seem to have much internet presence.  Be sure to go and grab a copy of Personal Space (digital or “Bad Boy” vinyl) via the band, La Vida Es Un Mus or Iron Lung (in the US).

Highlights include: “Interplanetary Bad Boy”, “Gak Attack”, “Personal Space”.

Exotica, Musique Exotique #01 Demo (La Vida Es Un Mus)

Exotica wield bludgeoning, 80s (to these, admittedly, old and tinnitus-riddled ears) reanimating hardcore (I hear some of the old NYHC bands like (pre-crossover) Agnostic Front or Kraut, as well as the churning guitars of Hear Nothing, See Nothing, Say Nothing-era Discharge on tracks like “Depresion”. Lead singer Lauren Gerig’s bilingual sing/scream/shriek is a revelation.  The members of Exotica are based in New York, but hail from Mexico, Argentina – play this loud enough to be heard through your own wall.

Like The Lowest Form, no real interwebs presence to allow fawning – grab a copy of Musique Exotique #01 (digital or cassette) from the band or La Vida Es Un Mus.  They also have a show coming up 12/29 in Guadalajara, MX – deets.

Highlights include: “Pesadilla”, “Passive Victim”.

Good Throb, Good Throb (La Vida Es Un Mus)

From earlier this year, the latest release from London quartet, Good Throb – and, regrettably, the last for a while, as members are now apparently geographically displaced.  Good Throb (the record) adds layers of noise and feedback to the rhythmic, punk-funk hc of 2014’s also great (and succinctly titled) Fuck Off, with tracks like highlight “SCUM” and “The Queen Sucks Nazi Cock” recalling Crass, early Butthole Surfers and Flipper.  Tasty.

Good Throb is available from the band and La Vida Es Un Mus (no, we’re not a label blog – honest!).

Highlights include: “SCUM”, “Welcome Break”.

Urochromes, “My Dickies” (Wharf Cat Records)

“I’ve got a queer theory…” so beginneth “My Dickies” is the new one from western MA, USofA band, Urochromes.  This 1 minute and change track bounces around like a kid hopped up on pixie sticks in a rubber room.  Light speed hardcore.  Cracked garage fuzz.  Avant-noise skreech.  Squirrel!  Do yourself the favor of being tugged along in its wake.  Here endeth the review.

Taken from forthcoming Night Bully EP, due January 27 from Wharf Cat Records (pre-order a copy and/or digital download here) – one more reason to be anxious for this year to end(eth).

The Bellamys’ Debut EP is Jangly, Lo-Fi Goodness

The Bellamys, S/T EP (Odd Box Records)

With their self-titled EP, Cardiff trio The Bellamys (though one member now resides in Vancouver), have crafted an indie pop winner.  Opener, “Motorway”, sets the tone nicely – chiming guitars cling and clang over an urgent drum beat and synthesizer that sounds a bit like the droning of a hurdy gurdy, as boy-girl harmonies and counter-melodies delve into the delights of well, driving.  Apex, “Best Friend”’s punk jangle underpins a wistful diary entry describing a would-be companion (“but you don’t notice me/you look right through/me/you think you are so cool/that’s cause you are”).  Closing ballad, “For You to See” conjures Super 8 quick-cut images and is quietly affecting without going full twee.  An absence of artifice makes this a charming, hand-hold of a listen; like having a conversation with an old friend over a beer – hopes, dreams; weighty stuff made to feel less onerous.

That press release accompanying the digital recommends the EP for fans of The Pastels, C86, Tellulah Gosh (I’d add The Vaselines and Thee Headcoats) and, erm, Slayer.  Sly, and (very) thinly veiled Haunting the Chapel references notwithstanding, this is a damn fine, lo-fi indie pop record.  Get on it.

Odd Box Records (which, with a roster boasting such artists as City Yelps, The Manhattan Love Suicides, T.O.Y.S., and Nervous Twitch, has quickly become one of my favorite labels over the past few years of doing this) will release the EP on December 2.  Here’s hoping The Bellamys continue doing their thang, in spite of the geographic separation.  Check more on the band on fbook and delve into their earlier catalogue (the demo from February is also great – paricularly, “it’ll be ok”) on Bandcamp.

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).