Reviews

Episode Sounds

Living Eyes Peak Hour Traffic / Almanac 7″

DIY Geelong garage rockers the LIVING EYES deliver the goods with their latest 7″ single. Both tracks were unreleased demos that suddenly saw the green light just before the band embarked on a Japanese tour, executed and recorded in record time.  First, a song about the modern day frustration that is getting stuck in traffic during peak hours. A guitar-driven upbeat rock anthem that makes being in traffic not so bad if the right tune is playing on the radio. Seems like something we all can relate to. Then, on “Almanac,” a more serious tone is set with a post-punkier edge to it. A cool companion for the morning commute indeed!

M.A.Z.E. / Nicfit split EP

A split 7″ featuring two songs each from two representatives of Japan’s contemporary post-punk underground, NICFIT from Nagoya and M.A.Z.E. from Tokyo. NICFIT has been around since 2009, which is long enough that they still technically have a Myspace page, and while they may or may not have lifted their name from a SONIC YOUTH (cover) song, they’ve definitely picked up on some of their arty, free-noise guitar damage. It’s not full-on screwdrivers in strings, though; there’s also a pull toward the whiplash energy of Dangerhouse-era L.A. punk that was a little more apparent on some of their earlier releases (they covered SUBURBAN LAWNS on a 2014 EP), and plenty of nods to the freaked-out flailings of the more transparently No Wave-inspired Load Records bands. On the flip, M.A.Z.E. builds a ramshackle bridge between Japan and the US Midwest, bashing out wound-up, halting rhythms citing the same ’80s oddball DIY/punky new wave references that have been central to the Lumpy Records brand—a label that, not surprisingly, put out a M.A.Z.E. 12” not long after this 7” surfaced last year. Props to both bands for avoiding the always risky “uneven quality of sides” pitfall inherent to the split single format.

Die Group / Tenement Rats split 7″

Tokyo label Episode Sounds, who specialize in wrapping some of the gnarliest low-budget punk in some of the most exquisite packaging, are here to bless us with another instance of everyone’s least favorite format—the split 7″ (if you prefer these to a 10″, you are insane)! With a total running time that barely cracks three minutes, at least this one is short enough that you could theoretically just stand over your turntable while it plays to make spending merely a minute-and-a-half with each band as painless as possible. Anyway, we’ve got a track apiece from two L.A. punk bands here, and apparently the release was put together for their joint tour of Japan. The DIE GROUP cut is some solid downer punk with a little street swagger sprinkled in and a guitar sound that could cut concrete. The TENEMENT RATS track is fast, loud garage punk from what sounds like one of the rowdier bands in the Dirtnap stable. I get why this exists, and these songs are fine, but it could stand to have at least another track on each side.

The Geros Freak Out / Dr. Hoo Hoo 7″

The GEROS from Osaka have an uncanny knack for channeling the pure mischievous spirit of early punk from the ’70s and ’80s. This talent, embellished by the mastering of GEZA X, results in an orgy of raw and snappy punk on the band’s third 7″. This single oozes KBD juice and memories of the MAD, and both songs have an addictive quality that’ll keep you flipping the Japanese wax til it’s well-worn. Enhance your existence with this and the other two excellent GEROS records at your earliest convenience.

The Smog First Time, Last Chance / Noise Noise 7″

I almost thought I was listening to a reissue when throwing on this release by Osaka’s the SMOG, and that’s not to say it sounds dated. It’s power pop with a major emphasis on power, but feels a part of the pantheon rather than an echo. In just two songs, this single has got hooks and teeth—beautiful songwriting that sounds like it’ll step on your neck if you get in the way. “Noise Noise,” the B-side here, hits like a chain but also has a disarmingly vulnerable melody—the perfect intersection between late ’70s-indebted sneering punk and heart-on-your-sleeve lyricism that will never wear out its welcome.