Reviews

Urge

Advoids Advoids cassette

The Los Angeles punk scene seems to be going through an atypically fertile period. New interesting bands are sprouting up all the time these days, a lot of which seemingly center around a handful of hyperactive weirdos who can’t help but compulsively start new projects. Take for instance this act, brought to you by the same folks behind DIODE and the FREAKEES. They play a cool mix of classic L.A. punk, funky hardcore, and jazzy no wave, sans saxophone. The five tracks on the release zip by in less than ten minutes, but they’re jam-packed with ideas and generally well-executed. I really dig this vocal performance, too—kind of a mix of Darby Crash, James Chance, and I’m even detecting a bit of Dave E., though every so often they throw a little more affect onto the delivery and it dips a little into Ian Svenonius territory, which I’m less into. Still, this is a solid release, and I’m stoked to hear more from them!

Concrete Lawn Aggregate LP

The plan is in place. Full destruction, full rejection. CONCRETE LAWN are the children of the “I wasn’t even alive back then why should I care?” generation, ready to invert that fucked logic til the blood rushes to your head, figuring out the cogs and wires not too far beneath the surface, jamming them up with piss, snot, vinegar, all in real time. No shit they don’t like it. This is far from a one-note group: Once I watched them murder (in a good way) a TALKING HEADS cover while an old man got me in a headlock and tried to kiss my neck. Maddison recently finished high school and was, I believe, sixteen when this group began. In fact none of them have burnt up much of their early twenties yet, but to be sure none of that shit matters and they certainly do not care for your creepy overtures either. Not going graciously. With furious posture and cavernous echo, this LP is a wicked, expansive progression from their quick ’n’ dirty demo. New young boots on that timeworn twist we know from the best of LA’s Dangerhouse groups they’ve been compared to already, lurching violently towards the gothic without any of the histrionics, from a GERMS-y buzz to screeching nighttime howls. There’s scheming outrage at Australia-as-a-façade, of course, railing against the climbing death toll of a colony gone forever berserk. Look, if we have to go with “snotty” here, like everyone else, then OK, sure, but only because snot is highly concentrated, a little bit naughty, gross but delicious. Put this on your tongue when everybody is looking.

Dead Finks The Death and Resurrection of Johnathan Cowboy LP

This album is a chameleon unstuck in time. Every time you look at it, it seems to be on a different plane, in a different form. This is all to say that DEAD FINKS continue a welcome tradition of breaking down and rebuilding what actually constitutes music being “punk.” The results of their experimentation takes familiar-enough roads of driving elastic rhythms and ringing guitars to arrive at destinations wholly fresh and new. Tracks like “Reanimation” lock into the head-bobbing groove of contemporaries such as PARQUET COURTS or even more psych-leaning bands such as WAND, but vocally and lyrically stand out as more impassioned and a good deal more present. The duo, Joseph Thomas and Erin Violet, really sound like they give a damn while coming across as no less cool than more detached present-day punk tinkerers. That’s probably what drives the whole project home for me, a wild-eyed emotionality that offsets the mastery of aesthetics and headiness. It’s no wonder, then, that the band finishes with a cover of the FALL’s “Frightened,” reportedly recorded on the eve of Mark E. Smith’s death. DEAD FINKS’ version is a beautiful closer that couldn’t possibly outshine the original but comes damned close.

Gee Tee Goodbye Neanderthal LP

These Sydney darlings of neo-garage/egg, who began as a one-man bedroom project and got regurgitated repeatedly until spewed out as an unhinged live force to give the SPITS a slow jog for reigning synth punk deviant kingship, are back. They’ve made the big time (as in Goner Records) and will probably be played on repeat in every cafe and kratom-slinging vape shop in middle America real soon. Very deserving are they though, as this might be their best. It’s big car driving music, and no two places have long distances like Australia and the US of A to cruise and enjoy hits like “I Hate (Drivin’ in the City),” “Heart Throb,” and “40K,” as well as the engine-revving title track. I feel like I’ve said enough here, and you could have written this a million times yourself from your prime seat on the bandwagon. Just nod hello and keep your cool.

Gyrate Negative Excess cassette

Is there such a thing as too much icy post-punk? The answer is of course “no,” and here we have Sydney, Australia’s GYRATE to add to the list of bands currently excelling in this sort of thing, alongside LATHE OF HEAVEN and SYNDROME 81 (amongst others). GYRATE’s Negative Excess nails the noodling, clinical guitars, vocals more spoken than sung, and an overall vibe that’s slightly off-kilter. It sounds fantastic and comes together brilliantly on “Maze” and “Uniformed Choice.” The band cites LOW LIFE as forebears, and while I wasn’t terribly familiar with them before this came across my pile, I’m always happy to fill in some of the blanks in my musical knowledge, especially in this genre. Anyways, if you ask me, this shit never gets old, highly recommended.

Negative Gears Moraliser LP

Over the summer, NEGATIVE GEARS from Sydney released this great full-length Moraliser,  packed with bopping punk energy but also a wide range of sonic exploration. “Attention to Detail,” probably my favorite song on the album, reminds me of the ASTRONAUTS merging with KILLING JOKE, only to be a lilting instrumental towards its end. “Lifestyle Damages,” the song that follows, sounds like it could be a BUZZCOCKS or DAMNED song. I guess what I’m saying is it’s just great quality punk rock from the very start until the very end.

Nightclub Private Party LP

This Melbourne band featuring members of DEAF WISH, PARSNIP, and BITCH PREFECT has been kicking around for a few years, with a couple of cassettes under their belt. But Private Party, issued digitally in mid-2020 and pressed to vinyl later that year, is their proper debut, and it’s a good one!  NIGHTCLUB takes the ready-for-a-knife-fight attitude and amateur-psych production of the Teenage Shutdown comps and throws that on top of a punky homage to the VELVET UNDERGROUND and the STOOGES. Over the eight tracks on the LP, they conjure up images of empty streets, seedy backrooms, and amphetamine-fueled all-nighters. It’s like the audio equivalent of an early Jim Jarmusch movie, and it’s easy to imagine the distant sax that runs through these tracks being played by John Lurie’s character in Permanent Vacation. Even the seemingly odd choice to feature DUST BROTHERS-esque drum loops and production flourishes every so often adds to the surreal haven’t-slept-in-a-week vibes of the record. A real cool time!

Optic Nerve In a Fast Car Waving Goodbye cassette

Sydney hardcore band that’s been kicking around for the past few years issues their second release, a four-track cassette put out by Urge Records, the Sydney/Los Angeles label who have a track record for putting out cool shit. The Bandcamp copy on this release mentions JFA and MINUTEMEN as comparisons. I’ll give them the former, particularly in the vocals, but the latter is a bit of a stretch. Yes, the guitar is very trebly, but these guys aren’t really pushing the boundaries of hardcore in the same way D. Boon and company were, nor are they aping their sound in any noticeable way. Which isn’t necessarily a bad thing! In fact, these tracks are pretty solid, and the guitar tone certainly adds an interesting dimension. But rather than the punk/funk I associate with MINUTEMEN, I’m hearing more of a ’60s influence. A couple of these tracks even have a bit of a LINK WRAY/”Ghost Riders in the Sky” vibe. It’s an odd pairing but an interesting take on a familiar sound.

Optic Nerve Angel Numbers LP

Impressive debut LP from this Sydney band that mixes elements of post-punk, deathrock, and classic country instrumentation into a great punk record. Songs like “Bird Bath,” “Gargoyle,” and “Bead Shop” pulse with energetic bass, stabbing guitars, and vocalist Gigi De Lacy’s poetically cut-up (and cavernously reverbed) lyrics. The record would be a worthy listen if it stopped there, but the band crosses into cowpunk-inspired lands with twangy, bent-note guitar lines and rolling, snare-led drum beats reminiscent of the GUN CLUB and ICEAGE that give the songs a rollicking “tight but loose” sound. “Tonic” surprises with acoustic strumming and blues riffs like country-fried deathrock. “Trap Door” adds heavy-distortion alt/rock vibes for an even thicker sound. Imagine Factory Records existing in the American South, and you get the idea. Always engaging with unexpected influences and diversions from genre expectations, OPTIC NERVE is a band to watch.

Poison Ruïn Poison Ruïn LP

Crucial vinyl comp of two self-issued tapes, released about-simultaneously with the second (though you’re way late to grab either), by the solo project of Philadelphia’s Mac Kennedy. POISON RUρN is however operating as a band henceforth, which is good news as it invites the possibility of dragging this past lockdown-era online hype status and bringing it to the people. A huge, booming sound prevails across these ten songs, riddled with hooks and accessible in its own odd way: you might catch shards of WIPERS, the MOB, INSTITUTE…and then there’s Kennedy’s whole “peace punk in chainmail” vibe. I do think the dungeon synth element is overemphasised in the bulk of chatter about POISON RUρN: not saying those parts are irrelevant, or there for show, just that it shouldn’t make or break the deal for anyone. Essentially, we’re talking atmospheric keyboard intros, or interludes, which foreshadow bombastic anarcho-goth stompers with the arena-bound drama of NWOBHM. “Sacrosanct,” from the first cassette, fuses the rock and synth elements to a greater extent; “Paladin’s Wrath,” from the second, has both the most drawn-out section of new age tinkling and the fastest, arguably hardcore tempo once the rock kicks in.

Que Lindo Que Lindo demo cassette

Norwegian fringe music has always proved itself to be very nihilistic, and QUE LINDO’s debut demo is no different, as it is a wild ride through unconventional punk sounds. Their bold experimentation with different moods and sounds sets them apart in the punk scene. The raw energy and unapologetic attitude in their music creates a unique listening experience that leaves one wondering what else could come of this outfit. The weirdness is prevalent, and the only band that comes to mind is GISM—even though they sound nothing alike, there are some similarities in their adventurous “no fucks given” approaches to music. QUE LINDO’s demo is a refreshing break from the norm, offering a glimpse into the exciting future of punk music.

R.M.F.C. Club Hits LP

Yet another top-notch band out of Australia. I have said it over and over again at this point, but they really know how to rock in the Southern Hemisphere. Lovely dance punk that reminds me quite a bit of SHOPPING, CHERRY CHEEKS, and all things ADAM ANT. I am smitten with the guitar tones here. Very natural, but unique and ethereal. Lots of care and patience went into this recording and it really shows. Great work here, and well worth a spin!

Tee Vee Repairmann Patterns EP

Latest project from Ishka Edmeades, whom you may know from his extensive résumé—he’s played in/as SET-TOP BOX, SATANIC TOGAS, GEE TEE, and RESEARCH REACTOR CORPORATION, and runs weirdo cassette punk label Warttman Inc. (co-releasers of this EP). But as great as those projects have been, Patterns might be his best release thus far. He’s taking that same NWI-worship you know from all his other projects, but this time he’s using it to construct some power/garage-pop tunes. His songwriting chops have always helped him stand out from the other eggs in the overcrowded DEVO-core basket, but hearing them applied in a slower, poppier setting really lets you appreciate all the disparate influences he’s working with. Throughout the four tracks on this EP, you can hear snatches of HUBBLE BUBBLE, SUPERCHARGER, HUNX AND HIS PUNX, the theme from the Heathcliff cartoon (…I’m only kind of joking), and of course DEVO—all tossed together into some seriously catchy numbers. Jump on it!

Tube Alloys Magnetic Point LP

L.A. (by way of Australia) post-punkers with a knack for all the Colin Newman-isms. The songs on Magnetic Point deliver an encomium to the post-punk gods of yesteryear, with production that matches the time and place. Lots to like, for sure—a little GANG OF FOUR, with a lot of WIRE. If Mark Perry sang for SWELL MAPS, this would be the sound. The music is provoking and doesn’t get stuck in the rut of parody while mixing electronic ambient breaks like “The Redactor” and “Machine Learning” throughout the record. Was a good listen.

Utopian Demo cassette

You might find it hard to get a handle on UTOPIAN, even while their debut demo is getting its hooks into you. That’s partly because they remain mysterious, to anyone cursed with distance at least: they have a location (LA) and first names, but no clear web presence and a moniker that thumbs its nose at yer search engine’s surveillance. Moreover, these six songs pinball between goth, post-punk, hardcore, and noise rock without the result making you feel like the band ought to pick a damn side. Vocalist Sesamie introduces “Circle A” with some portentous spoken word but is swiftly revealed as a fiery yowling force, one which places songs like “Spiritual Vision,” the Spanish-language “Tierra Ajena,” and the pogo-fabulous “U.B.P.” in the orbit of COLD MEAT. Really hope UTOPIAN is built to last.