Reviews

Jabs

Adulkt Life There is No Desire LP

Excellent LP from this London band featuring Chris Rowley of HUGGY BEAR on vocals. There is a lived-in world-weariness to this music, a pull between remaining relevant and revolutionary amid a life of overabundance, as evidenced in opening track “Relationship Studies”: “And I see everything on these streets / I suffer from too much to eat.” Mid-tempo, chilly post-punk bass lines meet thick power chords on tracks like “Liberation Tags.” Pulsing with punk energy, the song edges into heavy alt/rock like HUM, with guitars that deliver both crunching crush and beautiful chiming textures. “4:33” is another standout that gallops for the first half before spacing into a swirling psych slow-down that fades into a field recording of bustling, honking street life. Rowley’s vocals sound like an exhausted exhale of frustration that matches the lyrics and downtrodden vibes. “Art of Boxing” suggests a person fed up with the drag of modern life and its constant churning change: “These kids got no boundaries / ‘Cause their folks got no boundaries / It’s not the same around here like it used to be.” It evokes a disconnect with the kids as well as an ironic throwback to the previous generation who undoubtedly said the exact same thing. The cycle continues—youth is a thrill until it’s over and the new crop gets under your skin. This focus on aging and growing makes so much more sense to me than the wallet-chain bands who sing about skateboarding and breakups well past middle age. ADULKT LIFE is vital grown-up punk that is highly recommended.

Modessa Aaah the Bats EP

There was no shortage of No Wave-damaged transmissions originating from Portland, Oregon around the turn of the millennium, and MODESSA was one of the briefest bursts of static to appear on that whole frequency, a brain trust of late ’90s international art-punk featuring Helen White of the angular Slampt-backed UK outfit PETTY CRIME, Ethan Swan of Portland’s EMERGENCY (the only ’90s band brave/cool enough to cover COME ON?), and Amy Henevald, also of EMERGENCY and formerly of DC’s legendary teen free-punk antagonists MELTDOWN. The group existed for only two weeks in May of 1999 during which they wrote and recorded the four songs on this EP, plus one live snippet committed straight to Walkman (so-called “efficient” post-punks of the current century should be taking notes). It has all of the off-kilter charm of three people working primarily under the guidance of shared instincts, with no time for or interest in belaboring the creative process—vocals take the form of overlapping chants and whispered incantations, backed by a brittle assemblage of needling single-note guitar, steadily cycling bass lines, and skittish drums that calls back to the messiest of late ’70s/early ’80 UK DIY. The defiant embrace of imperfection in pursuit of art truly never goes out of style, and MODESSA had the smarts to recognize that.

Open Mike Knight Open Mike Knight 12″

Oakland’s OPEN MIKE KNIGHT kicked out some majorly scrambled art-scree over the span of about seven months in 2001, where they effectively served as dual Y2K spirit hosts for MARS and the SHAGGS (if only the SHAGGS had been a gang of West Coast girls playing basement no wave and writing songs with titles like “Fist Me” and “Crotch Rot” instead of “Who Are Parents”). A seven-song demo was left behind in the wreckage, and now joins recent Jabs excavations from similarly-minded ’90s/’00s agitators SCISSOR GIRLS and MODESSA in the transition from cassette-to-vinyl permanence. You can almost hear vocalist Nel’s eyes rolling as she shrieks, shouts, and generally verbally baits anyone within spitting distance, as the guitar hacks and scrapes at inside-out chords, drums tumble and clatter in a rhythmic freefall, and a steady bass pulse holds everything together (however precariously) as the primary stabilizing force for OPEN MIKE KNIGHT’s jagged stabs. Some of the wildest neo-no wave meltdown sounds this side of MELTDOWN!

The Scissor Girls The Scissor Girls LP

Vinyl reissue of the seven-song 1992 demo tape from Chicago’s art school No Wave revivalists the SCISSOR GIRLS, who channeled the warped dadaism of the RED CRAYOLA circa Soldier-Talk and early ’80s CAPTAIN BEEFHEART, the controlled chaos of the MARS/DNA side of No New York, and the most antagonistic and damaged strains of ’78-’82 US/UK DIY post-punk, all in an early-to-mid-’90s underground landscape where that particular combination of reference points wasn’t exactly in vogue. By the time they split up in 1996, they’d started to stretch into the sort of meltdown noise territory that would later be the calling card of ’00s-era Load Records (who actually put out a SCISSOR GIRLS 10″ as one of their earliest releases), but these recordings document the band at their most concise, with every song just a fit of raw slash and scrape that combusts before hitting the three-minute mark. You can clearly spot the breadcrumbs they laid down here for others to follow after them—the wiry, stop-start “Insanitary Sanctuary” is an almost dead-on harbinger of contemporary Chicago post-punks NEGATIVE SCANNER (especially in bassist Azita’s defiantly sneering vocals), the scrambled-yet-danceable rhythms of tracks like “Riveted” and “Omens” will be instantly recognizable to anyone even passingly familiar with ERASE ERRATA, etc. Total visionaries!

Younger Lovers The San Pedro Sessions EP

A side project for GRAVY TRAIN!!! frontman Brontez Purnell, YOUNGER LOVERS are mid-2000s garage rock at its best. Recorded in a single night, these tracks are rough around the edges, aggressive, and to-the-point, like any garage punk that’s worth its salt should be. There isn’t much more to be said other than this 7″ kicks ass if you’re into some gnarly blues-inspired punk songs.