Tag Archives: review

New (To Me!) Band of the Day: Sheer Mag

7” (Wilsuns RC)

“Button Up” (Katorga Works)

Sheer Mag are a Philadelphia-based outfit with an obvious love of ‘70s rawk.  Many reviewers have pointed to the obvious indebtedness to blues/hard “classic” rock stalwarts like Thin Lizzy (hell, the band’s logo on their Bandcamp page even looks like a cross between those of Lizzy, Van Halen and, um, early Voivod) and their take on muscular, blues-y riffage.  I can’t help but hearing tuneage that would’ve fit nicely with a lot of the 70s output of labels like Stiff Records.

That is, gloriously throwback rock and roll; a messier version of the slick sound of ‘70s FM rock radio.  Bands indebted to a leaner, simpler, catchier vision of blues rock; more T. Rex stomp than Led Zeppelin pomp.  There’s more than a hint of the fuzzed-out power pop of a Wreckless Eric or The Only Ones on songs like “Hot Lovin’” and “What You Want” from their debut 7” (even the song titles are as ‘70s as bellbottoms and shagwagons, no?).  Singer Christina Hallady’s pipes sound like they’re fittin’ to burst under the weight of all that fuzz, as she channels the fiery throatiness of the likes of Joan Jett.  On new track, “Button Up” (from an upcoming 7” to be released on Katorga Works), the band sound (a bit) less charmingly messy, but more anthemic.  Building from a straight-up Chuck Berry as channeled by Angus Young riff, the song uses an overlay of surprisingly shimmery guitar to accent the proceedings.

This shit is fun – get out your hair brush and sing along, then get out of the house and check them out on tour.

New Track: Pile, The World Is Your Motel

Pile, “The World Is Your Motel” (Exploding In Sound)

This little tornado blows through your farm in less time than it takes to scream “Auntie Em!”, so I’m gonna give it a short and sweet write-up.  The track bucks and kicks amidst Fugazi-style stop/start pacing and stabbing guitar work, while singer Rick Maguire starts off sounding like Black Francis channeling Lee Ving and ends sounding a bit like Mark E. Smith.  Great stuff.

There; you can come out of the cellar now…

From the album, You’re Better Than This, out now on Exploding in Sound (US) and Fierce Panda (UK).  Also available on their Bandcamp page.  Go forth and purchase.

New Track: Ezra Furman, Restless Year

Ezra Furman – “Restless Year” (Bella Union)

The title says it all, really – this song bounces around breathlessly from style to style like that guy trying to bust out of the comic book at the end of that A-ha video:  a 70s cheese ooh-la melody, a bass line that sounds like a spazzy version of the same from a Three Dog Night “classic”, a frenetic bridge that starts off sorta sounding like The The’s “Infected” played on pots and pans and closes with Ezra shrieking over power chords of “death” being his “Tom Sawyer”.  He’s like the guy who gets distracted in the middle of telling a story to start another one – and you go with it.  Ezra Furman’s back, with his Boyfriends – hooray!

From his as yet untitled new album, due this summer on Bella Union.

New (To Me!) Band of the Day: Landshapes

Two new tracks, representing my first exposure to this London-based four piece. Both are taken from sophomore album, Heyoon, to be released by the consistently great Bella Union label.

The first, “Moongee” is trippy, moody, and vaguely psychedelic.  A turn down down a dark, cobblestoned street, lamp posts encircled in fog, the moon creating a corona of misty, distorted light, stalked by a churning rhythm underpinning a swirly interplay between tense guitar work and detached vocals.  Reminds a bit of Mezzanine-era Massive Attack.

The newest, “Stay”, is less languid – all stabby, post-punk guitar shredding and insistent drum/bass work.  Think everything from the Banshees, up to Savages and Wytches, with more than a bit of the low end thump of early Bunnymen and even Interpol.  Music to pogo to, ‘neath the strobes; sweaty, propulsive stuff. Check the video, directed by David Graham.

For a band that, I believe (at least in it’s current iteration), has only been around for 3 years or so, they have a very strong dynamic.  Lead guitarist Jemma Freeman is a revelation; she has the ability to command through both the front and back of the mix.  Vocalist Luisa Gerstein carries a bit of a Joni Mitchell-like vibe with her phrasing and intonation, while the rhythm section of Dan Blackett (drums) and Heloise Tunstall-Behrens (bass) keep it tight.

Their artist bio page on the Bella Union site ends with a suggestion – “climb inside and explore” – I second that emotion.

Heyoon debuts May 4.  Check them out on their Facebook page.

Review: Flesh World, S/T; A Line In Wet Grass

Flesh World, S/T MLP (La Vida Es Un Mus, 12/18/2013); A Line In Wet Grass 7″  (Iron Lung, 6/24/2014)

A band I first stumbled upon last winter through great Late Riser’s Club program on WMBR, and then again more recently via the MaximumRocknRoll page on Facebook – apparently, the universe was trying to tell me something (or just reminding me that I was going to write this review, like, several fucking months ago – but who’s to say, really?).

Flesh World is a great new(ish) punk band out of San Francisco, whose members are long-time denizens of that city’s diy punk scene (SF Gate went so far as to describe singer Jess Scott as a “scene figurehead”). Their debut self-titled mini-album is a prickly blend of Dead Boys styled punk, the JAMC, C86 distortion-blurred indie pop, Belly-style 90s indie rock (“Reckon and Know” sounds a bit like the Primitives pogoing with the Breeders) and newer “noire rock” bands like Rakta and (early) Raveonettes. One of those great records that manages to pack in the (right) hooks while making your ears ring.

Subsequent single, “A Line In Wet Grass” dials up the goth side of the band’s sound – the ritual drumming and guitar melody reminiscent of early Banshees. Another winner.

Highlights include: Reckon and Know, Sturdy Swiss Hiker, Lost My Heart in Transit Thru the Post, A Line In Wet Grass.  Go like them.

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.

Band to Watch: Communions

Communions “Cobblestones” ep (4/23/2014, Posh Isolation); “So Long Sun/Love Stands Still” (Tough Love, 11/10/14)

First wide releases by this young Danish band, based out of Copenhagen and comprised of two brothers (Martin and Mads Rehof) and two others (Jacob van Deurs Formann and Frederik Lind Köppen), both released in 2014.  A part of the much-discussed “Copenhagen scene” (patent pending), Communions do share similarities with bands like Iceage:  drunken vocal phrasing, reverb-heavy post-punk married (on newer material) with travellin’, road-song aspects of older country – but come across as more wistfully romantic (with all of the heart warming and rending that this entails).

Much of Cobblestones takes 60s and 80s jangle indie/college rock (early Smiths, late Joy Division/early New Order), post-punk and even a bit of punk urgency (the insistent drum and bass on the title track are reminiscent of “God Save the Queen”), and buries them ‘neath a heavy coverlet of reverb.  A strong effort – particular faves being the final two tracks, “Children” and “You Go On”.

So Long Sun/Love Stands Still shows a good deal of growth in a short period of time.  “Sun”, begins with a bright, John Squirely guitar hook, before the bass and drums crash along as Martin Rehof’s vocals seem exhaled through a hookah (the higher register he employs on this single made it almost impossible for me to believe it was, in fact, the same vocalist).  “Love” might be my fave of all, though – it is, in fact, quite lovely – Rehof adding a falsetto over a straight ahead rhythm and melody recalling the jauntier moments of The Smiths.

Very much looking forward to more from these guys in 2015 (and beyond).  Check them out on Facebook and on their website.

New Music: The Soft Moon, Black

The Soft Moon, “Black” (Captured Tracks)

New music from The Soft Moon (the alter ego of multi-instrumentalist and producer Luis Vasquez), ahead of new full-length, “Deeper”, due March 31 on Captured Tracks.  You can pre-order the album here.

Where previous output largely worked within the grey scale of post-punk and gothic new wave, “Black” is shot through with bursts of obsidian.  Dark rumblings of the kind of late-80s, dancier (but no less menacing for it – think early Ministry and Skinny Puppy) industrial heard also in new bands like LA’s great Youth Code.  The track opens with a throbbing bassline and martial drum tone that grows closer like a descending fog.  No cat paws here, however- more like an army of Terminator machines from the year 2029 – the song bursting through with peals of air-raid siren synthesizers and the repeated phrases “I don’t care what you say/live life my own way” and “I don’t care what they say/live in life your own way” (or something to that affect).  This kind of thing can easily devolve into pantomimed angry disaffection, but the quality of the arrangements and the urgency of it all makes this a very strong single.

New Music: Rose Dougall, Take Yourself With You

Rose Dougall “Take Yourself With You”

Been I while since I’d heard anything from/by Rose Dougall (aka Rose Elinor Dougall), former Pipette and renderer of many lovely solo tracks – including personal favorites “Another Version of Pop Song” from 2010, and “Start/Stop/Synchro” from 2009.

Now, here comes new single “Take Yourself With You”, posted today on her Facebook page via amazing online journal The Quietus, and the promise of a new full length in 2015.  “Take” is 4:00 and change of light as air, shimmeringly glorious sophistipop.  Think a more lush, less fey Prefab Sprout or early, pre-clubland Everything But the Girl.  Dougall’s voice, which has always had the ability to be light as meringue without being saccharine, is in full bloom.  A welcome return.

New Music: THEESatisfaction, Recognition

THEESatisfaction “Recognition” (Sub Pop)

Seattle-based spacefunk/funk’nroll duo THEESatisfaction released their debut album “awE naturalE” on local Sub Pop records in 2012 – it’s a good’un, so check it out if you haven’t already (I’ll wait…).  Now, a new track – ‘Recognition’ – is currently making the rounds as the first taster from forthcoming sophomore effort, “EarthEE” (to be released in February, also on SubPop), featuring vocal contributions from long-time collaborators and fellow travellers (and Seattleites), hip hop collaborative Shabazz Palaces.

Where much of the debut seemed informed, sonically, by 80s soul and Native Tongues’ era hip hop, this new track has more of a heavy, tripped out 70s soul/psychedelic vibe – think Sun Ra, Funkadelic, Gil Scott-Heron.  Repeated, hypnotic spoken word phrases (‘no work goes without/recognition’) over tabla and conga drums starburst into a middle third filled with spacejam synths and righteous, wailing vocals, before returning to the beginning.  A tidy, 2:30 minutes plus groove.  Looking forward to the rest of the album.

Expand your mind.  Mind power.  Power to the People.  See it.  Feel it.  Dig it.

You can download ‘Recognition and pre-order “EarthEE” on iTunes, as well as here, here, and here.  Visit Sub Pop’s page for more information on special offers, bundles, etc.