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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.

Mr. Twin Sister Unleash the Post-Punk Dub of “Poor Relations”, Donate Proceeds to Standing Rock Sioux Tribe

Mr. Twin Sister, “Poor Relations”

New York quintet Mr. Twin Sister returns with “Poor Relations”.  Eschewing the smoothed out, continental r&b and squelchy indie electronica of 2014’s self-titled album (which, btw, is fantastic) “Poor Relations” fires up a downtown, post-punk dub party.  The band’s rhythmic sensibility, so strong through all of the prior releases I’ve heard, is more aggressive – more ESG than Sweetback.  The lyrics, also, are more forceful, seeming to rail against the dangers of the acceptance of an abusive relationship.  In the band’s own words: “[T]his song meant something else when we first wrote it years ago; recent events have made us hear it differently.  We believe in compassion, empathy, and tolerance, and hope that you will join us in speaking out against the erosion of their importance in our world”.

In that spirit, Mr. Twin Sister will donate all proceeds from the download of “Poor Relations” to standingrock.org – do it at their Bandcamp page (linger, and browse through their catalogue).  You know what to do…and, while you’re at it, keep up with all things Mr. Twin Sister on fbook and the twit.

Laurie Spector’s Debut as Hothead Hits All the Right Notes

Hothead, S/T (Sister Polygon)

Hothead is the solo alter ego of songwriter and multi-instrumentalist Laurie Spector, who has played in DC bands like Gauche, Foul Swoops and Chain and the Gang.  Her Hothead debut (released on cassette by the fantastic Sister Polygon) contains seven tracks, including a cover of “You Should All be Murdered” by Sarah Records sly indie pop titans, Another Sunny Day.

The cover choice feels apropos, since standout tracks here like “How It Goes” conjure up the same emotions, with jangle perk offsetting the more acerbic lyrical aspects.  Spector’s Hothead arrangements, though, are less wide-eyed, with each track smothered under a heavy cloak of reverb.  Spector sings withering kiss offs to “disaffected pseudo intellectuals” (“Rocco”) and and those for whom she “feel[s] nothing in love” (“Inside Loop”) at times  with a kind of drunken snarl, her voice buried deep in the mix (even when accompanied solely by acoustic guitar on the strummed ballad, “Marilyn”, her voice sounds like it’s coming from a different room).

Musically, in addition to indie jangle-pop, there’s shades of 70s AM rock (which, in turn, brings in aspects of folk and bluesy country) and power pop.  Add in some playful ornamentation (“Hothead” (the closing track) features what sounds like a recorder(?); “Rocco”, handclaps) and some eye moistening melodies – seriously, we double dog dare you to listen to the chiming guitar leads in “How It Goes” or “Inside Loop” without a wistful smile filling your face – and what you have is an immensely satisfying listen.  Is “lo-fi power pop” an oxymoron? Maybe, but who cares when it’s this good.

The self-titled album is out now, and is available digitally on Bandcamp (tapes are sold out).  A tour is also imminent (though, sadly, not near us *sniff*), so go say ‘hello’ if you’re in the area – dates here.  There are also some great discussions with Spector on the ideas and processes behind the album, courtesy of Impose Magazine and WAMU’s bandwidth.fm.  Check ‘em out.

Highlights include: “Inside Loop”, “How It Goes”.

“Fire Dance” Brings Together Members of Wall, Parquet Courts and Merchandise

“Fire Dance” 7” (Wharf Cat)

Sam York, Austin Brown and Carson Cox (of WALL, Parquet Courts and Merchandise, respectively) have joined under a groove to bring us “Fire Dance”.  York’s dead-eyed vocals ride a churning rhythm that calls to mind the downtown, honky punk-funk of Liquid Liquid (the break during the second half reminded me, at least, of the sample from “Sing Sing Sing” used in Mantronix’s “Big Band B Boy”, but that’s prolly just me), while layer upon layer of squelching synth leads worthy of early Cabaret Voltaire and Art of Noise launch the track into overdrive.  Described as Cox’s “ode to downtown New York”, it seems both an ode to the city as it was – searching for “lost memories” of things that “came before”, even though you’d “hoped for more” – and a call to break free of such nostalgia and “search for more”.  Fantastic.

What might, back in the day, have come out on a label like Celluloid now sees the light courtesy of the reliably great Wharf Cat Records, who will release it January 6.  You can pre-order the vinyl here, and/or a digital copy here and on iTunes.

London’s Girl Ray Added to Moshi Moshi Singles Club, Share “Trouble”

Cover art for Girl Ray's "Trouble" single.

Cover art for Girl Ray’s “Trouble” single.

Girl Ray, “Trouble/Where Am I Now?” (Moshi Moshi Singles Club)

Girl Ray are a three-piece based out of (North) London.  They’ve only been releasing music for a titch over a year now, gathering ‘blog hype’ (sorry, we’re late to the party) and scoring a session with venerable BBC6 deejay – and former Fall guy – Marc Riley.  New single, “Trouble”, is due November 25 through the Moshi Moshi Singles Club.

Both “Trouble” and its b-side “Where Am I Now?” have a timeless quality that makes it hard to attach to a particular era or sound – there’s elements of 60s and 70s ballady power pop, as well as 80s and 90s indie.  Each feature Poppy Hankin’s genial, yet insouciant lead vocals (her phrasing evokes folks like Nico, Laetitia Sadier and Euros Childs from Gorky’s Zygotic Mynci – a stated influence of the band), combined with sun-dappled harmonies over mellow, indie pop grooves.  For a band apparently so young, there’s an assuredness on display that borders on the frightening.  Can’t wait to hear more.

So, next steps, then:

a.  pre-order your limited edition 7” vinyl copy of “Trouble” via Moshi Moshi, here;
b.  check out more of Girl Ray on fbook, twit, and Soundcloud;
c.  while on step “b”, make certain you also flatter your ears with the previously released tracks “I’ll Make This Fun” (personal fave) and “Ghostly”;
d.  watch the video for “Where Am I Now?”, courtesy of the good folks over at Brooklyn Vegan.

Make Contact with Rose Elinor Dougall on “Stellular”

Artwork for "Stellular", the new album from Rose Elinor Dougall.

Artwork for “Stellular”, the new album from Rose Elinor Dougall.

Rose Elinor Dougall, “Stellular” (Vermilion)

We’ve made no secret here at thegrindinghalt of our admiration for Rose Elinor Dougall (it’s been mentioned here, and there).  It’s embarrassing, really.  Except it isn’t, damn it, because she’s just that good.

Dougall’s voice has an effortlessness that’s enthralling.  It reminds of singers like Tracey Thorn – ostensibly pop singers, the restraint in the vocals provides an extra dimension/gravitas/oomph (call it what you will) that elevates from the typical boring and overworked pap on the radio (insert music critic diatribe re: “popular” music in 3, 2, yawn…).

Which brings us, then, to her new solo track.  “Stellular” – which serves as the title track/lead single to a new album – is a heady, uptempo blend of new wave, Motown and psych that matches the extraterrestrial vibe of the lyrics (and official video, which you can watch below).  It’s deserving of a close up – and radio play.  Make it so.

“Stellular”, the album, is due in January from Vermilion Records, and is available for preorder from Rough Trade here (in the UK) or on iTunes.  In the meantime, Ms. Dougall can be followed on many of the usual points in our collective social ether.  She also has a show upcoming at The Victoria in London, if you are fortunate enough to live in the area.

Listen to “Black Plate”, by Profligate and Elaine Kahn

Profligate, “Black Plate” (Self-Released)

Profligate is the alter ego of Noah Anthony, a producer/composer of sparse electronic music containing elements of experimental new wave, industrial and techno.  He self-released a very good EP earlier this year entitled Abbreviated Regime, Vol. 1 (“Enlist” being a particular fave), which I discovered after being blown away by his latest offering, “Black Plate”.

“Black Plate”, a collaboration with poet/vocalist Elaine Kahn (who also records as Horsebladder). is a terrific slice of new wave noir.  Opening with a strong beat that recalls the likes of Cabaret Voltaire, the track soon settles into a sinuous groove – Kahn’s hushed voice dead center amidst an elegiac synth melody and a come hither, new romantic bassline – that manages to come off simultaneously opulent and seedy; silk sheets under a black light.  Though the track speaks of ‘desire’ (and there’s a lustfulness in the composition), lines like ‘touch what’s/sweet like/there’s no one home’ over an intensifying buzz feel more like a decoupling. The tension is compelling.

Hopefully, there’s more in the works.  In the meantime, click away through Profligate’s discography yourself on Soundcloud and Bandcamp.

Quick Thoughts on “Contact”, the New One from LA’s Froth (New Album, Outside (briefly), Due Next Year on Wichita Recordings)

LA's Froth announce new album, Outside (briefly).  (Image taken from Froth's Facebook page).

LA’s Froth announce new album, Outside (briefly). (Image taken from Froth’s Facebook page).

Froth, “Contact”

LA-based Froth (whose 2015 release, Bleak, we drooled over at length) is back!  The ink drying on their new deal with esteemed Wichita Recordings, the band have announced a new album, Outside (briefly) (check the Saville-esque artwork, above), and shared the video (courtesy of the good folks over at The Line of Best Fit) for new track, “Contact”.

“Contact” is, at first, a bit of a departure from the more raucous swirl and burn found throughout much of Bleak.  It’s more downtempo – low-end synth burbles loom over a steady, robotic drum beat, creating a heady, detached psych feel.  After that ominous beginning, though, the fog gradually lifts at around the 3:45 mark, revealing an absolute rapture.

Wichita Records will release Outside (briefly) on February 17 – it’s available for preorder here.  Froth can be found on the fbook, and you can make contact (sorry) with their earlier work on Bandcamp.  The band also have some tour dates coming up (more are listed in their page feed) – here’s hoping for more when the album drops.

Washington DC’s Flasher Shine (Darkly) on Debut, Self-Titled EP

Flasher, S-T EP (Sister Polygon)

Members of Washington, DC's Flasher.

Members of Washington, DC’s Flasher.

Flasher are a three-piece project involving members of several current members of the new Washington, DC DiY scene (I’ll refrain from collapsing them all into the ‘punk’ category).  Their debut, self-titled EP for Sister Polygon records is a thrilling journey through a panoply of late 70s and early 80s indie sounds.

Goth, death rock, new wave.  Those willing to reduce these genres to Dippity-do’d hair, corpse paint and Tiger Beat pin-ups, whose bloated corpses are reanimated on throwback radio and by tribute bands, miss the point (we dig Rio as much as the next blog, but there was more to it than that).  This was (largely) meant to be music for an uncertain future and, at its best, the attendant razorwire nervousness underpinning much of the musical output reflected the feelings of anyone actually paying attention to what was going on in the world at the time.  Small wonder, then, in the current climate, that so many newer bands are turning to this brooding, greyscale music as a framing device.

Flasher nails that feeling of unease right from the off on opener, “Tense”, with its tightly coiled, nervily picked guitar lines and short stabs of siren-like synths, and doesn’t let go.  In fact, it’s quite difficult to tease out one particular track here, as the whole EP plays more like a series of movements than individual songs.  For a band who, according to a write-up in WAMU’s bandwidth.fm, are still settling on a sound, it’s remarkable the way their energies fuse, the feel and texture of the tracks seem fully realized.  Highly rec’d.

Flasher’s self-titled EP is out now, digitally and on cassette, through the band’s Bandcamp page.  Sister Polygon Records will release it on vinyl November 18 – preorder your copy here. The band is also on tour (dates below):

Oct. 24 – Quebec City, QC @ Le Cercle w/ White Lung

Oct. 25 – Ottawa, ON @ House of TARG w/ White Lung

Oct. 26 – Toronto, ON @ Lee’s Palace w/ White Lung

Oct. 27 – Chicago, IL @ Empty Bottle w/ White Lung

Dec. 7 – Philadelphia, PA @ PhilaMOCA w/ Swim Team

Dec. 8 – Allston, MA @ OBrien’s Pub w/ Swim Team

Dec. 9 – Washington, DC @ Black Cat w/ Swim Team

Dec. 10 – Queens, NY @ Knockdown Center w/ Parquet Courts

Highlights include: “Tense”, “Throw It Away”, “Destroy”