Whoa, what a beautifully crude piece of DIY lo-fi fuckery in the twilight zones of slightly no-wave-ish post punk and garage rock, this digital release by some unknown Hicksville, NY entity. Kinda like an incredibly weird incarnation of The Woolen Men intermingling with Half Japanese and The UV Race. This is just gorgeous!
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Quality stuff from Goodbye Boozy Records, as usual. Liquid Face is a project of Cal Donald, who also plays in Draggs, although what we get to hear on this 7″ is even a bit quirkier than anything Draggs have ever done. Synth-/garage punk somewhat reminiscent of C57BL/6, Stalins of Sound, Puff! or anything Cruz Somers has unleashed upon us (S.B.F., Race Car, etc…). In regard to the australian scene specifically, this wouldn’t feel out of place alongside the Warttman Inc. catalog either.
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This Melbourne group’s debut 7″ pretty much hits the bulls eye at first try, setting off a flawless garage-driven, high-calories power pop extravaganza. Without doubt, admirers of Tommie and the Commies or Bad Sports, among others, will appreciate the shit out of this.
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Another moldy wet lump of ultracontagious punk shit, equal parts garage punk, KBD-style mischief and hardcore punk of the very old school. Not too far off from stuff like Liquid Assets, Fried E/M or Launcher.
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While their 2017 Pupal Stage EP still struck me as a bit undercooked, their newest tape shows these croatian punks (featuring members of Modern Delusion) refining their sound into something way more consistent and enjoyable, made up of straight-ahead punk rock that sometimes veers slightly towards the KBD-inspired garage sound of groups like Launcher, Freakees… at other times taking some cues from melodic, post punk-leaning acts in the fashion of Red Dons, Xetas, Anxious Living or earlier The Estranged.
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Having released a strong debut EP in 2017, Melbourne group Super-X now deliver their first full length, once again packed with tons of spaced-out sonic force. Classic Stooges energy collides with psychedelic fireworks á la early Telescopes, some unexpectedly high amount of post punk and a hint of MX-80, while they manage to keep things interesting and versatile throughout the whole journey, evoking a rather diverse cluster of comparisons such as Public Eye, Writhing Squares, Destruction Unit, Faux Ferocious, Bailterspace, The Cowboy or Open Your Heart-era The Men.
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Two noisy new artifacts brought to us by New York’s exquisite D4MT label. First, there’s a new extended play by hard-/postcore powerhouse Kaleidoscope on which their sound comes across a tiny bit more more simplified and straightforward than on last year’s killer debut LP, yet as inspired, playful and inventive as ever.
Similar things can be said about the debut album of Straw Man Army, a duo i can’t find much information on, but at a quick glance they seem to consist of none other than Kaleidoscope’s drummer boy and some other dude. Just as you’d expect, this is another quite adventurous ride through the realms of dark post punk both classic and contemporary, sometimes bordering on Crass-style minimalism, Wipers-esque melancholia while also reminding me of more recent eccentricities by the likes of Murderer or Wymyns Prysyn.
As was to be expected, this Atlanta group’s first full length effort is thirty minutes of pure post punk bliss, reminding me, at several points, of some of the genre’s best contemporaries – the rigid rhythms of Knowso and Nag come to mind, mixed with the more playful flourishes of Patti or Marbled Eye. Other valid comparisons might be acts like Bruised, Sarcasm or Labor.
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Seems i forgot to post this Barcelona group’s first demo a while ago, stupid me. Well, here’s their newest one to make up for it and once again this is a thoroughly fun little treat of quirky DIY garage punk bearing some similarity to R.M.F.C., Dee Bee Rich, Nuts or Erik Nervous.
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Another record by muteant Jake Robertson’s shapeshifting project Alien Nosejob. After last year’s 7″ on Iron Lung Records, this is the second time he’s venturing into hardcore punk. Taking advantage of the longer running time, we see him mixing things up and exploring the genre a bit deeper this time, resulting in a quite varied set of tunes. Everything Robertson tackles here, it just works admirably well.
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