Winky Frown have been kind of an oddity right from the start even in the – by definition – quite odd eggpunk genre in that their songs on one hand seem to perfectly fit in with a number of thoroughly established eggpunk formulas yet never fail to surprise and transcend the genre’s limitations, putting a lot more effort, ideas and songwriting finesse into their tunes than you’d usually expect. Their new digital 2-track single has yet another surprise in store for us when we’re greeted with a slow-jam tune kinda channelling a lost artifact of Chairs Missing-era Wire in turn channeling a lost artifact of Syd Barret-era Pink Floyd and the best thing is that shit fucking works! The second tune Upside Down Frown then is closer to the sonics we’re used to from the group, which is to say: another marvellously crafted high-momentum electrically driven garage punk smasher that unrelentingly builds up towards a massive payoff.
Brilliant new shit on Berlin’s noise boutique Flennen Records by a group most likely based in Leipzig though i’m not entirely sure of that. This being another way above-average example of german-languange garage punk after that recent Ronny Spoiler single, i increasingly get a feeling there’s something bigger brewing over here. Quite fittingly, their ever-so-slightly egg-leaning make of catchy garage goodness strongly reminds me of a colorful bunch of other german groups like Bremen’s Wax Minds, Nuts of Cologne and Benzin from Berlin, but let’s not overlook some striking similarities to bands of their (likely) Leipzig neighborhood with acts such as Exwhite, Ambulanz, Laff Box and Autobahns all scratching one or the other somewhat similar itch.
You can’t ever go wrong with a new EP by Drew Owen’s Sick Thoughts who have been a crucial joint in the american garage punk backbone for well over a decade now! Accordingly their new EP is yet another souvereign and self-assured blast of top-notch garage punk songwriting and effortless high-energy performances with quite a bit of variety as exemplified by the equally Buzzcocks-informed and new-wave-ish vibes of the title track, the hardcore attack of Just Die Fast, a sleazy hard-rockin’ acid rock flourish in The Doom, the linking element of it all being a super catchy power pop-ish ’77 vibe running all the way through these tunes.
Melbourne group Shepparton Airplane first caught my ear when they exploded right into my face with their 2018 sophomore LP Almurta, then quickly followed by a 2020 album that just didn’t hit quite as hard for me – ambitious, sure, but also feeling kinda forced, like it’s just been trying a bit too hard. After a radio silence of five years, just when the group had basically dropped off my radar, whe unexpectedly get to witness what is without doubt their most mature, accomplished record to date. Now their sound somewhere inbetween the realms of post punk, noise rock and postcore has always felt a bit old-fashioned, more comfortably fitting in the late 2000s to late-2010s, but that’s also part of their charm, delightfully oldschool i’ll say and certainly in the same league with some of the best groups said era had to offer like Sleepies, Bench Press, Diät, Batpiss, Rank/Xerox, the early works of USA Nails, Protomartyr and Gotobeds to name just a few… yeah even a slight vibe of Open Your Heart-era The Men may be hidden there in tunes like Stereo Youth. Anyway, each song on here is an elaborate, self-contained post punk drama taking its sweet time to unfold but never failing to lead straight into a rich and spectacular payoff.
I’m a bit short on time this week so here’s just a quick digest of quirky punk releases with varying degrees of egg-ish-ness of which these three particularly stuck out to me. For starters, there are the comparatively rough sounds of Athens, Georgia group Mr. [Redacted] whose tunes rapidly alternate between the parameters of a hard-/art-/weirdcore sound not entirely dissimilar to groups like Judy & The Jerks, Warm Bodies, Sniffany & The Nits, and the more egg-intensive sounds of early Snooper, Print Head, Awful and early Skull Cult. If you’re more interested in classic egg punk territory, you may get tons of enjoyment out of the new Tape by Lovebomb from Hildesheim, Germany (man, the krautwürstle are really punching above their weight this week, aren’t they?), wo deliver a densly packed bundle of snappy textbook eggpunk goodness most similar to shit á la Prison Affair, Beer, Winky Frown, Molbo and Goblin Daycare. If you prefer it more weird and Lo-Fi, try the new one of Leipzig (again!) group TTTTurbo whose recorded output’s overall aesthetic is the sonic equivalent of an n-th generation document that’s been xeroxed a couple times too many – beneath a thick layer of burnt monochrome pixels and copy-of-a-copy xerographic grime there’s plenty stuff left to the imagination but nonetheless you can’t escape the ridiculous appeal of the catchy bubblegum pop nuggets buried in there.
Quirky LoFi-ish toy synth punk goodness from Cleveland, Ohio dude Emmett O’Connor who may already be a familiar figure to some as a member of Archie and the Bunkers and MK Ultras. Now on this solo longplaying effort he’s creating a warm, rich and full sound out of minimal means, poured into a number of strikingly simple but infallibly excellent power pop tunes that often have the feel a slightly sedated, toned-down and bedroom-dwelling budget version of Digital Leather’s most catchy pop moments.
With the recent Cruelster LP still quite hot out of the oven, here’s the newest artifact of another Nathan Ward-fronted group already, the significantly more angular and methodical yet unmistakably related Knowso, whose recent Optimism / Foot Of Pride cassingle had also landed just mere weeks ago. As usual this shit is operating pretty much on the bleeding edge of repetitive post- and art punk weirdness, performed by a bunch of flawlessly rotating, well-greased man machines. Really i can’t think of many other bands able to present such rigid and choppy compositions with such a frictionless drive and unbroken momentum. That’s not to say their music weren’t also catchy as fuck most of the time and especially in the second half here, tunes like Consumer Talk and Panopticon show them expanding on their melodic undercurrents for some of their most immediately striking and accessible tunes so far.
Man, it must have been ages since we last heard of this Philadelphia group, which for a long time has been one of the probably less then ten bands you could plausibly qualify as “pop punk” that doesn’t make me desperately flee the room in a matter of seconds. Dark Thoughts still prove they’re capable of pulling off that impossible trick and all it takes them to do so is one of the most beefy yet slick garage punk sounds around, a feisty, determined performance and a perfect hit ratio when it comes to simple, tried-and-tested but always perfectly to-the-point punk songcraft.
And again, there’s two New Snarewaves releases already! Not only did a digital EP drop like two weeks ago, there’s also a new cassingle via Knuckles on Stun with an epic length of exactly one minute on which you’ll have to make up your own mind about whether or not it’s worth shelling out four-and-a-half USD for the running time equivalent of three-fifths your average punk tune. Anyway, as usual these are a bunch of excellent new burst of quite singular and eccentric, blown-out garage-/synth-/electro punk that’s equally simple, catchy and explosive.
Tom Lyngcoln, previously probably best known for his old groups Pale Heads and The Nation Blue, really hit upon something special with his 2020 solo LP Raging Head and its larger-than-life dramas combining oldschool postcore with rustic americana elements, condensed down to fit into a super-economic, minimal footprint. So now we get to witness his newest band and kind of a spiritual successor to that one-off project, featuring further familiar faces like the garage punk supreme being that is Jackson Reid Briggs (currently of Split System), Callum Foley of The Blinds, The Stevens (he also played on Raging Head) and old gun Jay Jones, who had also provided the drum recordings Raging Head was built around and who apparently has played in a shit-ton of groups all the way since the mid-’90s that i’m just a bit too young to remember. Most of all it’s still Lyngcoln’s own distinct handwriting that’s front and center here though, with the whole thing playing out like a considerably rougher spin on his solo LP, more spontaneous and immediate, compraratively messy and cluttered in a good way. There’s one other thing i’m reminded of a little here and that’s the bands of Atlanta’s Josh Feigert and particularly his more recent groups like Uniform, Glittering Insects and Mother’s Milk.
