Reviews

Tomothy

Celebrators Wipeout! / Ex-Explorer 7″

The New Weird L.A. freak flag flies on this debut single from CELEBRATORS, which also serves as the first release from the new label spun off from local DIY space and recording studio House of Tomothy. A-side “Wipeout!” tangles with the sort of repetitive, mutant-rockabilly rhythm that the FALL were enamored with on their early records, augmented by the rapidly ticking pulse of a drum machine and various layered electronic blurts that ultimately tip things more toward a contemporary post-DEVO-core reality. On the flip, “Ex-Explorer” starts off similarly in a bass-centered flail with vaguely PERE UBU-ish yelped vocals, before quickly settling into a drawn-out and knotted instrumental outro that gave me some serious and wholly unexpected flashbacks to the mid-to-late ’90s Chicago/Louisville math-rock axis. Limited to 165 copies, housed in a stylishly risographed sleeve, how much art can you take?

No Knuckle No Knuckle 12″

Staunchly DIY label Tomothy Records might be releasing things at a slow drip—this is only their fifth release in the two years they’ve been at it—but that’s what happens when you eschew modern conveniences like digital recording and mixing. Thankfully, they make up for a lack of quantity by making sure they’re only releasing some real good shit. Like this debut LP from Portland’s NO KNUCKLE—a trio of dudes who were all in blistering hardcore act GIMMICK, like, a few seconds ago. But this ain’t no hardcore! Actually, if there’s an immediate comparison point to make for this album, it’s eluding me. At times it sounds like GANG OF FOUR playing lite-prog, and at others it sounds like the COWBOYS covering DRIVE LIKE JEHU. Throughout the nine tracks on the record, you’re getting a somewhat baffling mix of dubby post-punk, noisy post-hardcore, straightforward punk, and arty proto-punk. But it all ends up fitting together pretty spectacularly, thanks in large part to an excellent vocal performance. Gage Maurie (who does pretty great stuff under his own name, but also fronted GIMMICK and FIB) sounds like a teen with a flair for drama trying his best to channel a mix of Ian Svenonious and Ian McCulloch. I love it. Listen to a track like “Adult Supervision” to hear what I’m talking about, then buy the record because it’s great!

Prized Pig PPEP EP

PRIZED PIG is a noise rock band out of Los Angeles, whose commitment to old school recording techniques and a DIY ethos is admirable. This whole EP was recorded, mixed, and mastered using analogue tape. They also designed and printed their own sleeves. Good stuff! And you can hear this same dedication in the performance—these guys are going for it! I can see this working really well live. Unfortunately, the tunes themselves are a little ho-hum. The opening track, “Mistake,” is maybe the best—the vocalist does a passable CRAZY SPIRIT impression over a sped-up, dumbed-down CHUCK BERRY groove with breaks for noise noodling. “Toothless Tom” sounds like a deconstructed dance-punk song. And “Race Car” sounds more like PRIMUS than I would guess they were aiming for (although, who knows—with that song title, it might be on purpose). I really like these guys’ moxie! I just wish I liked the songs more.

Rearranged Face A Rare Caged Fern 12″

The third release from Tomothy Records, continuing their locals-only focus on committing overlooked corners of the modern Los Angeles weird-punk underground to vinyl—one where entirely analog processes are used from start to finish for every component of their records, which are then packaged in exquisitely designed and printed sleeves, a reminder of what the term “DIY” actually meant before it was co-opted into a meaningless genre catch-all for bands trying to climb the status ladder. REARRANGED FACE shares at least one member with L.A.’s reigning Messthetics obsessives SHARK TOYS, and both groups definitely have a similar nervous, wound-up disposition. There’s some gestures toward DEVO in the anxiously hiccuped vocals, wavering synth lines, and deconstructed but thoroughly locked-in rhythms of tracks like “Titular Story” and “Dreadful Apparition,” but fortunately without any of the forced, egg-caked cartoonishness that too often accompanies a DEVO comparison in a post-CONEHEADS punk landscape, while “Chin Brute” works up some kicked-out disco beats and sharp cuts of guitar that could have been lifted from the other side of a split single with any number of late ’90s/early ’00s Southern Californian post-punk revival acts (GOGOGO AIRHEART, the RAPTURE, you get it). Certified flipped-out fun for art freaks and closet new wavers alike.

The Freakees Freakee Deakee EP

The FREAKEES have been kicking around the Los Angeles punk scene for the past five or so years, and in that time they’ve put out a bunch of stuff. So, it’s a bit surprising to learn that this is their first solo vinyl outing. Everything else has been a feature on split, a cassette, or a digital-only release. Well, they’re starting off with a 7″ to be proud of! They’ve toned down the vocals a bit from earlier material. They’re still wild, but they’ve been pushed closer to the front and are no longer drowned in reverb. It’s a welcome change. The A-side features three quick tracks of bratty, hardcore-influenced garage punk.They have some of the trappings of egg-punk, particularly the warbly effects on the guitar, but they give off more of a REATARDS vibe than you’d get from your typical DEVO-core band. It’s solid stuff. But let’s talk about this B-side—holy moly is it good!  “Freakee Friday” slows things down to a snail’s pace and allows the band to really wallow around in the muck. While the rhythm section lumbers along and the vocalist emits pure negativity (who even cares what he’s saying), both guitarists just kind of do their own thing—one plays sustained, feedback-y notes and the other alternates between noodly licks and half-assed rhythm guitar. It sounds like In My Head BLACK FLAG at half speed, but, like, way dumber—a fantastic little downer punk dirge to rival BLACK PANTIES or LIFE STINKS.