Tag Archives: punk
Here are 15 tracks that are sure to meet your fancy. Featuring hits from Monster Rally, The Chemical Brothers, Black Lips, The Hold Steady, Pixies, La Luz, Bill Callahan, First Base, The Limiñanas, The Velvet Underground, Epicycle, Troubadour Dali, The Undertones and Elvis Perkins In Dearland. Enjoy.
Though it may have its origins in the US and UK, Canada sits atop the punk throne these days. Our latest favorites to emerge from up north are PUP. Their latest single “Reservoir” recalls Japandroids, Gallows and METZ, and fuck if their video for the track isn’t one of the gnarliest things we’ve ever seen. Give it a watch above, and if you like what you hear you can stream the rest of their self-titled debut on Soundcloud.
DOWNLOAD: PUP – “Reservoir”
A Jam Packed Thursday with Joanna Gruesome (covering Galaxie 500), Snowbird (a Cocteau Twin), White Lung And Eagulls
There’s just one problem with Joanna Guresome’s cover of Galxie 500′s “Tugboat” for a digital only B-side to their “Sugarcrush” single (11/19). It’s digital. Otherwise, the Cardiff noise pop band get it all right. They treat the source material with respect, getting that hypnotic bass line just right, and have some fun with it, too. I don’t remember banshee screeches and guitar squeals much in the original. I don’t remember Galaxie 500 screaming much at all.
With Simon Raymonde of Cocteau Twins fame attached to Snowbird, you should have some sense of what you’re getting in to. The music is going to display patience and a maestro’s sense of nuance. The vibes are going to be chilled, not chill in a bro sense. With Stephanie Dosen on vocals, Raymonde also has a new twin, or bird, or muse. Her hushed vocals are an ideal fit on “Porcelain,” the lush piano ballad serving as the band’s broad introduction.
Where have all the riot girls gone, you ask? Have you met White Lung?
Did you hear that jam? The question is no longer where have the riot girls gone, it’s why haven’t had bought their new single yet. It’s out now on Deranged Records. Fans of Bikini Kill, L7, and Hole, well, pre-tabloid fodder Hole, at least, will find plenty to like in their uncompromising, feminist punk. When the band sings of “Going South” they’re not talking about a road trip to the States from their native Vancouver.
Leeds outfit, Eagulls, have all of the traits statesiders like in their UK post-punk bands — guitars like shards of glass, big, booming drums and accents. The real British accent is always better than an American pretending to be a tough bloke. They also happen to have one top jam in “Tough Luck,” the single most important trait of theirs, and the one that should keep their name fresh up to the release of their debut this coming March on Partisan Records. Now can we do something about that name? Eagulls are cool, but the name is a little too close to Eagles for comfort. I fuckin’ hate that band, the Eagles.
Did you come here looking for the Obnox Appreciation Association? If so, you’re in the right place. No one, and I mean no one, is doing more exciting things within the supposedly tired genre of Rock ‘N’ Roll than Cleveland’s Bim Thomas, aka Obnox. “Molecule,” is just the latest example of his forward-thinking work.
At first, Obnox was an outlet for lo-fi, nasty garage punk. Corrupt Free Enterprise, Thomas’ latest release, added elements of soul and hip-hop. “Molecule” is something else.
The lead riff, when combined with those squelchy noisemakers, calls to mind early Detroit techno. Think “No UFOs” and that album the Dirtbombs made where they covered Detroit techno classics, but forget about being true to the source. Obnox rips it up and writes his own script. He sings like an angry robot and that groove is his theme of destruction.
Rock and hip hop, and rock and techno, don’t always mesh. That’s my udnerstatement of the day. Most times, these misguided mash-ups head for the lowest common denominator and are painful for the listener. Clunky beats? Check. Weak rhymes? Check. Lifted riff from the Def Leppard outtake pile? Check and we have a hit, bros.
Obnox ain’t gonna do anything weak like that. An Obnox crosss-genre mash-up is gonna have drive and it’s gonna be noisy and it’s gonna have personality in spades. That’s “Molecule.”
Look for Obnox’s Louder Space LP to drop early 2014 on 12XU Records.
Today is Halloween and do you know what that means? Indie rock Misfits covers. Whether it’s Ted Leo, Evan Dando, or Superchunk, I never tire of indie rock Misfits covers. This year’s indie rock Misfits cover is a special one, too. Superchunk’s take on “Children in Heat,” while largely done by the books, servers a larger purpose. It’s also the introduction to Merge Records’ 25th Anniversary singles club called, Or Thousands of Prizes. For $125 you get 12 limited edition 7″ singles (including the Superchunk Misfits song), one bonus 12″, a t-shirt, other miscellaneous goodies and that feeling you get when you do something good for your fellow man. All proceeds from Or Thousands of Prizes are going to Oxfam America.
The name Stephen McBean should be familiar to those versed in modern doom. His band Black Mountain have been responsible for some of the heaviest and headiest albums of the 21st Century. The names Austin Barber (Saviours) and Sam James Velde (Night Horse) maybe aren’t as familiar, but rest assured, they have heavy resumes, too. As a trio, Obliterations have dived face first into ’80s west coast hardcore, but, this is key, they kept their musical chops in tact. “Wage Slaves” has all the thrash and trash of Black Flag; it has the drive of classic Motorhead, and it’s done by guys who know how to do it better than all of those other imitators. Obliterations debut 7″ EP is out now on Outer Battery.
Disappear’s cover of Kraftwerk’s “Trans Europa Express” may be as surprising as an indie rock band covering The Misfits, but that doesn’t mean it isn’t welcome. With their mix of krautrock, NYC art rock, and early post-punk, the Chicago band have been threatening such a release for years. The only surprise is it took them this long to record a krautrock cover. It’s ace execution is not a surprise. That’s what Disappears does. Disappears’ “Trans Europa Express” will be available on a split 7″ with Cloundland Canyon out 11.25 on Sonic Cathedral Records.
At times, I feel as if I have an obligation to listen to Mogwai. The band has been part of my life for ever a decade, and are personally responsible for one of my favorite Cleveland concert memories. It had to be some time around 2003, or 2004 (I don’t have the ticket stub) and Mogwai were their typical loud selves at the Beachland. Typical Mogwai loud, for those who don’t know, is one notch below My Bloody Valentine loud. Typical Mogwai loud is so loud that when I saw two young women sitting against the back wall, shedding rivers of tears, I became convinced they were crying because Mogwai made them deaf. I’m sure of it.
However, Mogwai really haven’t had a catalog-defining release since 2003′s Happy Songs for Happy People, or in my case, the good old days when they’d make young women cry. Still, I buy (most of) their records and keep (most of) their records.
Rave Tapes, coming out this January 21st on Sub Pop, may just hold something new for long time fans. First, there’s the artwork where it looks as if the band has gone full Tron. Then, there’s the first single, “Remurdered.” It’s not nearly as burly as its title would apply, and it’s moody and more electronic than what one would expect from the Scottish vets. Hell, there isn’t even a big crescendo. Maybe, just maybe, Mogwai have figured out how to make this thing of theirs work without going the build to a crescendo and release the crescendo route.