Reviews

Tenth Court

Wireheads Potentially Venus LP

I’d somehow gotten the impression that this was a new band, but nope! Turns out this Adelaide sextet has been at it since the early 2010s, and this is their fifth LP! How about that? I guess that explains why they sound like they know their way around a song. In any event, you can file this record alongside your LPs by bands TERRY, UV RACE, PRIMO!, etc. WIREHEADS play a distinctly Australian brand of garage-y post-punk, heavily influenced by the VELVET UNDERGROUND, but also a little twee. Unlike those acts, these folks tend to go on more indie rock-ish digressions, at times getting closer to MODEST MOUSE or BUILT TO SPILL territory. But I think the thing that will stand out to most folks is the band’s technically poetic lyrics. The vocalist delivers them in a sprung rhythm full of alliteration, half-rhymes, full rhymes—basically all of the poetic devices—sounding like a mix of Gerard Manley Hopkins, Mark E. Smith, and the dude from SLEAFORD MODS. It’s genuinely impressive and, at times, like in the first handful of tracks, tremendously satisfying. But over the course of eleven tracks and forty minutes, it can also feel tediously clever. Overall, I’d say it’s worth your time—there really are some fantastic songs on here.

Zipper Dreamer’s Gate cassette

ZIPPER includes a couple of members from recent Australian deathrock/goth candelabra-carriers NYLEX and RULE OF THIRDS, and some of the stark SIOUXSIE-isms of those projects have definitely been carried over here, but Dreamer’s Gate pairs its strict rhythms and needlepoint guitars with a more dreamy ’80s pop shimmer; a new wave mirage in soft-focus pastels refracted in the distance of a monochromatic post-punk desert. Vocalist Haruka gives ZIPPER much of that spark, alternating between Japanese and English in animated shrieks and shouts (like the ones playfully pushing against the moody, straight-out-of-the-BUNNYMEN bass line of “High War”) or gossamer sighs (the early/mid-’80s 4AD-referencing context of “Flower”), often in the same song (“Ice”). Keen debut, especially in a typically staid subgenre that has little interest in coloring outside of the lines.