Tag Archives: review

New Music: The December Sound, Real Reign

Posted on 2016/03/22 | Leave a comment

The December Sound, Real Reign (self-released, 3/11/2016)

Fantastic news that this long dormant Boston band has once again resurfaced.  Real Reign is a new, two-track release from The December Sound:  here’s hoping it’s a sign of more new things to come.

Lead track, “Speaking From Tomorrow” is a typically noisy cloudburst of a track.  Showcasing the band’s aural fission of shoegaze, industrial, drone and even a bit of britpop, the track thrums with a narcotic drumbeat, wall of noise guitars, and whispered vocals in the vein of Robert del Naja.  Second cut, “Just Let Go” shows a softer side, a psych drone and slow burning bassline reminiscent of Spacemen 3 or Loop slowly moprhing into a kaleidoscopic churn of, er, looped guitar effects and a mantra-like repetition of the titular refrain.

Real Reign is available now through on the band’s bandcamp.  In addition, you can – nay, should – now order The December Sound’s excellent 2007 debut, The Silver Album, directly from the band by messaging them via their Facebook page.

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Album Review: Running, Wake Up Applauding

Posted on 2016/03/21 | Leave a comment

Running, Wake Up Applauding (Castle Face Records, 1/15/2016)

Blistering, relentless new long player from Chicago’s Running.

Building on 2013’s excellent Vaguely Ethnic and subsequent singles, Running return with another set of vertigo-inducing punk/psych/noise/drone/whateverit’sgoodsojustlisten.  Wake Up is a loud record that begs to be played loud:  layers upon layers of reverb and drone textures mix with the jagged shards of feedback; largely indecipherable, muzzled vocals at the center of the sonic maelstrom.  This is the soundtrack to a paranoid schizophrenic’s psychotic break,  careening blindly through dark alleys in search of respite from the voices, the shadowy figures emerging from formless shadows.  Tension, tension, tension.

The lightning ride manipulation of guitar feedback is even more up front than on past releases, like 2014’s Totally Fired.  The band’s sound still includes a fair bit of the scorched earth hardcore of early Black Flag and of more experimental bands like Flipper, as well as early doom metal (lots of circle pit bridges).  There’s also room for aggressive, PiL post-punk, spazzy noise a la bands like Scratch Acid, and even a bit of a ROIR tape Bad Brains vibe (particularly on “Fucktown Reality”).

The album art appears to be a cross-section of skin, with an arrow indicating “running” just beneath the surface of the derma.  Appropriate, somehow, for a record that burrows deep.

Wake Up Applauding is out now, on Castle Face Records.  Since it’s basically impossible to find much of anything about this band – they have a Soundcloud page, in addition to the bio page on the Castle Face website – here’s hoping for some advance notice when next they emerge from the lab and tour.

Highlights include:  “We Never Close”, “Fucktown Reality”, “Wake Up Applauding”, “Art Seen”, “No Wave Jose”.

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Album Review: Choke Chains, S/T

Posted on 2016/03/16 | Leave a comment

Choke Chains, S/T (Slovenly Recordings/Black Gladiator, 1/29/16)

Full throttle, stridently miscreant rock and/or roll from Michigan’s Choke Chains.  Hints of proto-punk standard bearers The Stooges and Electric Eels, garage idols The Sonics and newer bands like Rocket From the Crypt can be heard throughout (perhaps unsurprising, given the band features alumni of bands like The Dirtbombs and Bantam Rooster), but the band makes room for their own, individual spin.

The groove-centered, r&b swagger on display is infectious, though the music feels more in the ‘punk’ vein than straight garage.  There are some cool production touches, too – the heavy, loose-stringed bass sound is great (particularly on “Let’s Try Suicide”), and the sax stylings on the understated “Rock, Paper, Rapist” are a welcome addition to the sound.  In case you hadn’t already surmised, the band like to play with tongues firmly implanted in cheek – other titles include “Cracked Dracula”, “Moisture Detective” and “Safe Word”.

Eruditely-monikered lead singer Thomas Jackson Potter’s vocals are heavily muffled on many tracks, painting an image of the band bashing away in a supposedly “abandoned”, makeshift practice space, while Potter screams for recognition (vengeance?) from an underground bunker – or maybe that’s just me…  Other tracks lift the veil a bit, with “Random Number Generator” even featuring a hint of – !!!- falsetto.  Throughout, Potter displays charisma to match the band’s assured playing.

The album is out now through the excellent Slovenly Recordings (via their Black Gladiator imprint).  Get to know the band on fbook and on their bandcamp page. While you’re at it, check out the meaty (sorry) vid for “Safe Word”, below, and catch them at their upcoming March 26 gig at the UFO Factory in Detroit, if you’re able – here’s hoping for a tour!

Highlights include: “She Collects Calendars”; “Safe Word”, “Rock Paper Rapist”.

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Review: Manhattan Love Suicides, Bikini Party/Birthday Kill 7″

Posted on 2016/03/15 | Leave a comment

The Manhattan Love Suicides, Bikini Party/Birthday Kill 7” (Odd Box Records, 1/15/2016)

We here at thegrindinghalt have been remiss in not expressing our joy at the return of Leeds, UK’s Manhattan Love Suicides, a band we loved during their first run; in particular, their eponymous 2006 debut and the follow-on extended single for “Kick It Back”.  The band’s new 7”, featuring a-side “Bikini Party/Birthday Kill”, comes hot on the heels of last summer’s excellent return album, More Heat! More Panic!

“Bikini” features paint-scraping peals of feedback and distortion o’er a whipcrack drum sound reminiscent of the JAMC.  Singer Caroline’s sneering vocals reply “unable to attend” (in a not-so-nice way) to the aforementioned party in favor of a “good birthday kill”. Emily Post would not approve. Emily Post can do one.

The very ‘80s hardcore-titled, composite b-side (so many slashes!) “Deserted Coastal Town/Action&Memory/What Am I Supposed To Do?” – think of it like the indie rock version of a German compound word – showcase different sides of the band.  The book ends here are both highlights:  ballad “Deserted” has bit of a Smiths vibe with its jangled chords and orchestrated chorus, while “What” is a delightfully short, sweet, fuzzy kick in the face.

The single is available now at the MLS bandcamp page, via Odd Box Records.  You can also check out the band here. Earlier releases can be found via Magic Marker Records and Squirrel Records – do yourself the favor.

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New Music: bummed, smoking jewels

Posted on 2016/03/14 | 2 comments

bummed, “smoking jewels” 7” (self-released, 3/13/2016)

A lovely slice of swooning dream-pop/shoegaze from Somerville, MA’s bummed (we’ve retained the band’s e.e. cummings approach to punctuation – please refrain from rioting with pitchforks and copies of Strunk & White).

This new single sees the band moving away from the more lo-fi aspects of their 2014 self-titled release (which is also well worth checking out).  A-side, “smoking jewels” features a jangly, finger-picked guitar melody over a muscular, start/stop rhythm; sheer, largely indecipherable vocals are dead center in the mix, swaddled in reverb.  B-side, “no reward” adds peals of feedback and a more steady, driving beat.

The 7” – as well as a digital version – is available now via the band’s Bandcamp page; hopefully, it’s a teaser for a new long-player. Check them out there, and here.

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Preview: New Tracks from Lust For Youth

Posted on 2016/02/03 | 2 comments

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.

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Review: Wall, Wall EP

Posted on 2016/01/29 | Leave a comment

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.

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New Music: Fat White Family, Whitest Boy on the Beach

Posted on 2015/12/01 | Leave a comment

Fat White Family, “Whitest Boy on the Beach” (Without Consent)

New single from one of our favorites, taken from forthcoming new album, Songs for Our Mothers.

“Whitest” thumps and bumps it’s way through the consummation of an unholy matrimony of groups like Throbbing Gristle (the band pic promoting the single bears more than a passing resemblance to this), Suicide, Plastic Bertrand – triumphal, synthesized horns invoking Sparksian levels of quirky art pop, thundering o’er a ‘Heart of Glass’ shattering bassline.  As ever, there’s more than a hint of menace lurking beneath the glitter ball, singer Lias Saoudi rolling around on the trash and glitter strewn floor of a deserted disco, cooing lines like “who’s the weakest link in the chain?”.

Songs For Our Mothers is set for release January 22 on the band’s own Without Consent label – purchasing a copy is the easiest resolution you’ll ever make.  Tickets are on sale now for their UK tour – you can find all dates on their Facebook page.

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Track Review: Feels, Bitched

Posted on 2015/12/01 | Leave a comment

Feels, “Bitched” (Lolipop Records)

Joyously rough-edged rock from new (to us, at least) LA-based band, Feels. “Bitched” is a compact, three minute burr of surf rock, ‘70s punk, garage and ‘90s groups like Sleater-Kinney or even Elastica.  The buzzy guitar and sweet ‘la la la’ and ‘whoa, oh h’ backing vocals stick in your brain and won’t let go – kinda like those weird worm thingys in that Star Trek movie (google it, kids), but in a good way.

“Bitched” is taken from a live lp, recorded last summer at LA studio, Gauchos Electronics, out now on the ever-fantastic Lolipop label – it’s been out since January, but only recently burbled to the surface of our Soundcloud stream (we’ll hit “refresh” faster next time; promise).

The band’s debut long-player will be released in spring, 2016 on the equally loveable Castle Face, with production by neu-garage (is that a thing?) hero, Ty Segall. Go forth and like them on the Facebook.

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New Music: Savages, The Answer

Posted on 2015/10/21 | Leave a comment

Savages, “The Answer” (Matador, 10/21/2015)

A new Savages track appeared today, together with a release date for the band’s new album – huzzah!

Savages’ debut, Silence Yourself, played with tension and barely contained fury through a dark, post-punk glaze; cathartic spikes poking through in patches.  The songs caromed between slow burning intensity and raucous indignation.

With ‘The Answer’, the raucous is turned up to ten (eleven?).  Vocalist Jhenny Beth howls like Siouxsie at the center of a druggy, hypnotic maelstrom with hornet’s nest guitars and a driving rhythm that brings to mind psych/space rock, punk, metal, even early industrial.  This dizzy intensity matches the lyrics, wherein the ‘answer’ (in case you were curious) is love – a possessive, desperate love that leaves you panicky, insecure (“If you don’t love me, don’t love anybody/And you’re glad it’s you/…Love is the answer/I’ll go insane”).  Healthy?  Perhaps not, but many of us have had moments where the thought of getting to be with, or hanging on to, someone we desire is the only thing; alternatives too dire.  There lies madness…

“The Answer” will appear on Savages’ forthcoming album, Adore Life, due January, 2016, on Matador – and on this evidence, not a moment too soon.  It’s available for preorder now, through the band’s website.

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