Tag Archives: wharf cat records

Check Out New Tracks from P.E., Vanity, White Flowers, and Activity

P.E., ‘Soft Dance’; ‘Hot Ticket’ (Wharf Cat)

P.E. is a new quintet comprised of former members of Pill and current members of Eaters. Two teasers from their forthcoming debut long-player, Person – namely, ‘Soft Dance’ and ‘Hot Ticket’ – have stoked much anticipation for the record here at tgh hq.

‘Soft Dance’ is a taut, deconstructed body mover. The bassline and sparse rhythm will have you grooving, but it feels almost detached from the rest of the arrangement – the lyric “the roots make shapes/interwoven – interwoven” sums it all up rather nicely. Veronica Torres’ vocals are reminiscent of Bjork in ‘oh so quiet’ before the storm’ mode, but here the storm doesn’t quite make it, just a plea to not “forget to have a good time”. ‘Hot Ticket’ rides in on a melody that begins like an interpolation ‘Born to Be Wild’ before heading off the highway to a basement club over a stuttering Kid A rhythm. Here, again, Torres’ slinky, commanding performance steals the show – her message requiring “strict compliance” to follow the groove exhilarating. Head over to the P.E. bandcamp page (link below) to also check a remix of ‘Hot Ticket’ from fellow travelers, Liars.

Person arrives March 6, courtesy of Wharf Cat.

Web: label bcamp 

Vanity, ‘Anticlimax’ (Feel It)

‘Anticlimax’ is lead track of the latest double a-side single from New York’s Vanity, an outfit which has previously layered elements of punk, glam and straight up rock across their releases like so many ‘suicide’ Slurpees. The new track sees the band flexing its muscles over a glorious slice of riffing power-pop.

The arpeggiated intro is a glorious rush sure to melt even the most frozen of hearts, but there’s more than enough salt to balance the sweetness. Rushing by in a tic under four minutes, ‘Anticlimax’ feels like a lost b-side from first album Cheap Trick, and finds Vanity (who now include former VEXX-er, Mike Liebman, on guitar) at the peak of their powers. Highly recommended. Released, together with ‘A Seat at the Table’ February 28, courtesy of Feel It.

Web: bcamp label

White Flowers, ‘Night Drive’ (Tough Love)

Back in 2017, White Flowers (née, Britain) seemed to blip, fully-formed, across our radar with the tracks ‘Day by Day’ and ‘Tried to Call’. We loved those tracks’ heady mixture of ethereal, Cocteau Twins’ style dream pop and rafters-raising psych reminiscent of early Doves. Fast forward, then to last month, which saw the release of ‘Night Drive’, the Preston, UK duo’s latest – produced by none other than Doves’ guitarist Jez Williams.

Part of a 12″ double-a side (with ‘Portra’) that was released on Valentine’s Day (hooray for the new music, since it appears their older material has been taken down) ‘Night Drive’ feels a step forward. Built on a similar musical foundation, the track’s multiple layers reveal themselves at a considered pace. There’s a directness in the composition that does nothing to blunt the pleasant buzz created by the combination of Katie Drew’s swooning vocals and a kaleidoscopic melody crafted by her and Joey Cobb. Great stuff – the double a-side is out now, courtesy of Tough Love.

Web: bcamp fbook twitt label  

Activity, ‘Calls Your Name’; ‘Earth Angel’ (Western Vinyl)

Activity are a new quartet featuring members of Russian Baths, Grooms, and Field Mouse. The band’s debut long-player, Unmask Whoever, is due soon and, based upon the evidence of teaser tracks, ‘Calls Your Name’ and ‘Earth Angel’, it’s going to be very good, indeed.

“Calls Your Name” (check the video, above) carries a hypnotic feel, woozy boy/girl vocals bringing to mind Tricky and Martina Topley-Bird’s work on Maxinquaye, et al. Vocalist Travis Johnson’s repeated invocation of a “lit’ral hell” where “houses spread and swell” is mirrored by the circular feel of the arrangement, underpinned by a sinuously insidious rhythm. “Earth Angel” (inspired by Laughing Stock-era Talk Talk, less so The Penguins’ doo-wop hit) has a bit more sprawl, but with a surface-level tension that adds menace to Johnson’s stated desire to “wanna fuck around” over a roiling, 90s industrial boil and even a bit of Hurting-era Tears for Fears. Both tracks manage to feel both insular and heady, and unsettlingly lovely.

I recently had the opportunity to re-watch Donnie Darko with my oldest (who – proud dad moment – loved it) and, if they ever decided to do a re-make, Activity should contribute to the soundtrack. Unmask Whoever is due March 27, courtesy of Western Vinyl – pre-order a copy here.

Web: label fbook twitt bcamp


Wharf Cat Records Announces ACLU Benefit Compilation – Preview Two Tracks Now

ACLU Benefit Compliation (Wharf Cat)

Artwork by Emma Kohlmann

I often view compilation records in the same way I view most festivals – too often, you need to wade through so much flotsam to enjoy the treasure.  When the tracks on the compilation in question are culled from the roster of a label like Brooklyn-based Wharf Cat, however, they are well worth the effort.

Happily then, Wharf Cat recently announced the April 20 release of a compilation benefitting the ACLU ($30 from every $32 double-LP sold will go to the organization) — an ever-worthy cause, and no more so in these times of heightened, and increasingly naked, race baiting and attacks on civil rights under those tired dog whistles of ‘law and order’ and ‘national security’.  Or, as the label puts it, the “ongoing assault on the Constitution”.

The bands on offer include tgh favorites like The Men, Snakehole, Profligate, Trust Punks (represented by Joe’s new band, Cheerleader – can’t wait to hear that one) and Psychic Blood, as well as a host of other notable acts.  Wharf Cat has shared two tracks to whet your appetite (check them out, below):  the freewheeling ruminations of “Too Sensitive” by Dollar Band (featuring members of Gun Outfit) and the glistening psych-wave of “Hourglass”, courtesy of Alice Glass.

The ACLU Benefit Compilation is up for pre-order now, via bandcamp or the Wharf Cat site.

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.

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.