Tag Archives: punk

Experiential Review: Girl Band, Paul

It’s hot; really, effing hot.  Sweat runs in rivulets down your back, sides, forehead; the back of your thighs.  The dank, still air of late summer envelopes you; a shroud, creating the sweat-stained outline of your human form in the soft pleather chair.

Outside, the urban thrum of car horns, jack hammers, sirens.  Closer in, a soft whisper comes from a box fan sat in the window on the opposite side of the room, it’s scant breeze causing barely a ripple in the heavy air.  Yet, this sound holds promise: the promise of moving air, however stale, however ripe with heat and the tang of perspiration and garbage, however leaden with asphalt and exhaust.

You inch closer.  Visions of trade winds; relief.  The fan’s soft purr becomes a drone, then a whirr; a building crescendo.  The once faint breeze now feels like a wind tunnel, buffeting your face as you lean in, closer…the sound now sending vibrations through your skull.  You smile, eyes closed, at the first patter of sweat beads on spinning blades.  The cacophonous wind – you let it wash over you, let it draw you ever closer, like a cartoon character floating on waves of aroma from a freshly cooked chicken.

The song is “Paul”.  The band is thegrindinghalt.com fave and pride of Ireland (ok, we think they should be proud), Girl Band.  Taken from forthcoming, debut full length “Holding Hands With Jamie”, out September 25 on Rough Trade (available for pre-order here in the US and on Rough Trade’s UK webshop).  The video is above, and is fantastic.  If you haven’t (and why not?), check out Girl Band on Facebook or their website.

Track(s) Review(s): The Ukiah Drag, “Open Room In Hell”, “Criminal Authority”

The Ukiah Drag, “Open Room In Hell”, “Criminal Authority” (Wharf Cat Records)

Two new tracks from The Ukiah Drag, the band’s first since last year’s excellent In the Reaper’s Quarters LP.

The first, “Open Room In Hell”, is swirling, vertiginous, reminiscent of early Butthole Surfers.  The titular chamber – a “monument of filth” where “every cocksucker’s mouth has been sewn shut” and third eyes are stabbed; where the narrator “lays [his] head”, “sick” and wanting you to die – is described in lurid detail, making the track a kind of aural Hieronymus Bosch hellscape.  Perhaps the room’s for let, and this is a kind of Craig’s List or Airbnb listing for the fallen – any takers?

The second, “Criminal Authority” swings with a Cramps-like, malevolent strut. The lyrics depict someone condemning with rising, crazed indignation, the “evil ways” of an unnamed other (or maybe the ‘man in the mirror’?) and the way they “play”.  Vocalist ZZ Ramirez rails and moans, and the swampy, acid trip production and use of distorted synth and organ gives the feel of a particularly off-putting tent revival, or the unsettling feel of hearing your unhinged neighbor rant, rave and break shit upstairs.

Both tracks will appear on The Ukiah Drag’s upcoming EP, fittingly entitled Crypt Cruiser, due September 4 on Wharf Cat Records. We can’t wait.

Check out The Ukiah Drag on Facebook and Soundcloud.

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”.

New (To Me!) Band of the Day: The Jack Bennies

New (to me) Artist of the Day – The Jack Bennies

Difficult to find a lot of info on this band, but here’s what we think we know about the band, after exhaustive* research:

– they may have six members (website lists Idle Edsel – Vocals, Bobby Conquer – Guitar, Paddy Bullocks – Guitar, Lance Brainstrong – Guitar, Johnny Davenport – Bass, and Jubal Fearing – Drums) or 9 (Facebook page has a different list of names, aside from repeat offender Fearing) – side note: 3 guitars!! suck that, .38 Special!;

– their name may actually be The Jacked Bennies (website is under this name, but not Facebook, and it also comes up on the google); not sure.

Here are the things we can say for sure about the band:

– they hail from the land of Gabe Kotter;

– members were previously in bands such as Saint Bastard and the Candy Snatchers;

– they kick butt.

Gloriously sloppy, sweaty, down and dirty rock and/or roll from NYC.  Not young, perhaps, but definitely loud and snotty.  Chancing upon a magical spike found lying, unassuming, in a trash-strewn alleyway in the Bowery, The Jack(ed) Bennies tapped the Dead Boys/Heartbreakers vein, throwing in some Stoogey proto-punk and Motör(head)boogie for good measure, vocalist Edsel/Diedrick snarling and yowling like the reincarnation of Stiv himself.  Boss tunes that never go out of style.

Debut full length, Chopping Down the Weeds, is out now on Human Head Records and can be purchased through Goner, Slovenly or Juno in the UK, among other places.  Go forth and like them on the usual social media blah blah and celebrate them live July 25 at Otto’s Shrunken Head, if you happen to live near New York City.  Shout out to the mighty Late Risers’ Club for the pro tip.

Check out: “Sweet Sally”, “Plastic Pat”, “What You Want”.

*Actual research may not have been overly exhausting.

Review: Flesh World, The Wild Animals In My Life

Flesh World, The Wild Animals In My Life (Iron Lung, 6/2/15)

Debut long player from San Francisco-based Flesh World, a fave of thegrindinghalt.com (check out our review of their mini-lp here).

In the proud tradition of bands like TSOL, Lords of the New Church, 45 Grave, The Damned, Siouxsie and the Banshees, The Flatmates, Savages – bands grafting elements of other music onto a musculature of punk – on The Wild Animals…, Flesh World continue to push and prod at the edges of their sound:  goth, rough C86-styled indie pop and shoegaze shiver and shake together over rumbling punk and hardcore undercurrents.

The title track adds a glaze of shoegaze swirl atop Scott Moore’s jangly guitar line.  “Just To Tear Me Down” starts like a ramshackle take on “Under the Milky Way”, then morphs into a buzz saw goth/punk rocker, vocalist Jess Scott channeling Morrissey as she sings to someone who wants to “tear me up just to tear me down”.  “Strawberry Bomber” sounds like Dance With Me-era TSOL fronted by Mikyi from Lush.  Personal fave “Poolside Boys” recalls the JAMC covering “Everyday Is Like Sunday”.

Comparisons only go so far though – these songs live and breathe as a result of the band’s great sense of melody, pacing and energy.  Earworms abound here for the digging.  Dig in.

Gloomy and glorious.  Check the stream above and support the band here.  Also, be sure to go seek out the band at one of their upcoming shows (sadly, the halt exists in lands outside the current itinerary – *sniff*).

7/30 New York              Baby’s All Right
7/31 Philadelphia          Philamoca
8/1 New York                 Williamsburg Music Hall
8/2 Baltimore                Windup Space
8/3 Richmond               Strange Matter
8/4 Washington, D.C.  Black Cat

Highlights include:  “Poolside Boys”, “Strawberry Bomber”, “Shaved Head”, “Your Love Is Like a House”.

Spotlight Dance: Girl Band

I’ve been onto this band since last summer.  No excuse why it’s taken me so long to get ‘round to writing something about them, but my recent good fortune seeing them absolutely destroy the stage opening for Viet Cong had me at least attempt to get some thoughts on (virtual) paper.  These guys are a breath of wonderfully sweet, stale, fetid air drifting forth from a newly opened basement, and should be experienced.

Girl Band are a four-piece hailing from Dublin (Ireland, not Ohio) who make an insanely appealing racket.  The music is tightly wound, claustrophobic, often without a cathartic chorus or change of key to relax the mood – you sit there, fidgety yet transfixed, until it stops.  Noise built around chaotic rhythms tripping over words that start out mostly stream of consciousness and then dissolve into yelps, howls and shrieks; guttoral discharges often signifying much about the emotional impact of the songs themselves.

The Wonderful and Frightning World of…-era The Fall, Ideal Copy-era Wire, the Throbbing Gristle of “Discipline (Manchester)”, elements of techno, drone, no wave; newer bands like Prinzhorn Dance School or Eighties Matchbox B-Line Disaster (RIP) – a swirling eddy melting through a cacophonous gloryhole of sound into your waiting brain.

Their earlier, self-released singles have been collected and released (cheekily, given the band was “founded” in 2011) as The Early Years on the fabled Rough Trade, which will also release their debut full length later this year (September, possibly).  Highlights include the churning, chugging “De Bom Bom”, “Lawman”, and their cover of Blawan’s techno slice “Why They Hide Their Bodies Under My Garage”.  If you can still find a download of the singles, the b-sides (particularly “Heckle the Frames”, from “Lawman”) are also splendiferous, as are earlier songs like “Busy At Maths” from France 98.  Gotta catch ’em all!

Challenging, rewarding.  Not often you can say something is overly “unique” these days – this is one of those times.  If they’re playing out anywhere near you, do yourself a favor and go see them – footage (courtesy of Youtube) of them playing in-studio for KEXP below for your aural and visual pleasure.

Go like them on Facebook and support them on Bandcamp – now!  Website here.

Review: White Manna, PAN

White Manna, PAN (Cardinal Fuzz (UK); Captcha (US))

A dose of riff-heavy psych candy from White Manna, a five-piece band hailing from Arcata, California.

Arcata is a city in Humboldt County, an area of Northern California known for (based on my own, incomplete understanding – and Wikipedia):  dense, lush forests; long, beautiful stretches of coastline; earthquakes; and, um, weed.  These natural elements and wide-open vistas (and, um, weed) are all in evidence throughout PAN, the band’s new offering.

PAN’s six tracks soundtrack a space truckin’ joyride through time, veering off the road and over the “Land of the Lost” waterfall into a primordial world filled with the roar of ten-story riffs, looming above a dense fog, while underneath tectonic rumblings roll and buckle.  Tracks such as “Evil” and the relentless “Dunes I” churn with the stomp and kick of bands like The Stooges, Hawkwind and Machine Head-era Deep Purple, with a bit of a garage and punk slant and a Sabbath-worthy buzz.  Swirling cascades of reverb bump and grind with organ lines that sing praises to the (Jon) Lord; out front, the Danzigian croon of singer David “J” Johnson.  Several songs linger past the seven-minute mark, but maintain the same, tensely coiled punch of shorter, faster tracks.

PAN is out now on Cardinal Fuzz (UK) and Captcha Records (US).  The digital version on iTunes includes two bonus tracks, a live reworking of Hawkwind’s “Master of the Universe” and “Slow Dust”.

Go, like the band on Facebook and, if you’re fortunate to live close by, check them out June 19 at The Peg House in Leggett, CA or June 20 at the Brick and Mortar Music Hall in San Francsico.

Highlights include:  “Evil”, “Dunes I”, “Pan”.

New Track: Taiwan Housing Project, Maintenance of An Application

Taiwan Housing Project, Maintenance of An Application (M’Ladys Records)

In a post-Memorial Day world, where ears often tune to vacuous pop paeans to partying, dancing, being hot for some girl, guy, Barbie robot, zombie sex god …there’s this sweet bit of dissonant, raucous, noisy relief from Philly’s Taiwan Housing Project.  A feel good hit for a different summer.

This is a gloriously disorienting, careening, mess of a song.  Peals of feedback screech, dive, swoop and swirl like so many banshees around the shouted vocals of Kilynn Lunsford, held together (just) by a steady, ominous rhythm – the aural equivalent of the psycho dude with the flesh mask and the power tool whose lurching, relentless pursuit is undeterred by gunshot, stabbing and/or burning.  Sweet dreams!

“Maintenance” is taken from a new EP, which gets a physical release July 28, courtesy the awesome (or, should i say, esteemed) M’lady’s Records out of Portland, OR – you can preorder a digital copy now on the label’s Bandcamp page (while you’re there, you can listen to another great, Sonic Youth-y track, “White Frosted”).

Go like the band on Facebook, and check out their other releases on Bandcamp.

New Track: Dot Dash, Rainclouds

Dot Dash, “Rainclouds” (The Beautiful Music)

 

This D.C.-based quartet has been releasing records since 2011 – though, in the interest of full disclosure, I must admit to having missed the boat on these guys up ’til now.

The lineup is packed full of D.C. scene muscle, featuring vets of acts such as Minor Threat, Government Issue, Youth Brigade, Swervedriver and Julie Ocean. “Rainclouds”, taken from new album Earthquakes and Tidal Waves – out now on The Beautiful Music – arrived in our inbox from the band themselves (THANKS!).

The song cleaves a channel between the punkier side of power-pop and the woozy, post-punk take on pop of mid-period Wire (the band’s name is taken from the title of a Wire song, though not one from that period).  Lead singer Terry Banks sounds…go with me…a bit like a two-faced Janus – one side Colin Newman; the other, Robyn Hitchcock – fronting first album Cheap Trick, The Records or Hoodoo Gurus, throwing kiss-offs to a friend ‘neath a perpetual dark cloud: “summer breezes dancing through the trees/and you can put, the blame on me/your concrete shoes are giving you the blues/I’m footloose and fancy free”.  Throw in some sweet falsetto and you’ve got the makings of a breezy, yet muscular track.  Can’t wait to listen to more from the band.

Check the band out on Facebook and/or Twitter.  Earthquakes and Tidal Waves is available on iTunes or via the band’s Bandcamp page.

Link

Review: Ex-Cult, Cigarette Machine EP

Ex-Cult, Cigarette Machine EP (2/17/15; Castle Face)

New from the Memphis, TN gang, wherein we find the band shifting gears with an ep chock full of cuts that will surely be in the running for “jam of the summer”, courtesy of your local Clear Channel, mind-control radio station.  Just kidding:  Cigarette Machine is a continuation of what Ex-Cult has been honing since their debut in 2012; all manner of punk goodness to soundtrack your next street fight.

For the label obsessives amongst you, the ep’s six tracks run the gamut from proto- to post-punk and even heavy psych, with a stray elbow here from post-Damaged Black Flag, riff-heavy west coast hardcore and even a cuff there from oi’s rhythmic chanting to round out the mix.  Chris Shaw channels Rollins with his propensity for placing emphasis on…The. Last. Word. Of. Every. Line – drummer Michael Peery and bassist Frank McLallen bring the hammer and nails for this well-stocked garage.  Bottom line: whatever the funk you wanna call it, it works.

On tour in May (dates below; taken from their fbook page) – check ‘em out live, and on their website.

May 8 DALLAS, TX @ THE FOUNDRY
May 9 AUSTIN, TX @TBA
May 10 EL PASO,TX @ MONARCH BAR
May 11 PHOENIX, AZ @ CRESCENT BALLROOM
May 12 SAN DIEGO, CA @ THE HIDEOUT
May 13 LOS ANGELES, CA @ THE SMELL
May 14 LOS ANGELES, CA @ SECRET RENDEZVOUS
May 16 SAN FRANCISCO, CA THE HEMLOCK
May 17 SANTA ROSA, CA @ TBA
May 18 EUREKA, CA @ TBA
May 20 PORTLAND, OR @ THE KNOW
May 21 SEATTLE, WA @ BLACK LODGE
May 22 BOISE, ID @ NEUROLOX
May 24 DENVER, CO @ THE HI DIVE
May 26 ST. LOUIS, MO @ THE JUICEBOX PLAYER’S PAD
June 9 MEMPHIS, TN @ HI-TONE W/ ICEAGE, LOW LIFE