For his second 7" on Goodbye Boozy Records, Cal Donald aka Liquid Face increases both the energy- and distortion levels considerably, making his special sauce of garage-/synth-/post punk come across kinda like a weird crossbreed between Powerplant, Mononegatives and the noise punk of Brandy.
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I somehow managed to overlook this enchanting album of not-your-average post punk fare when it first came out as a cassette on Future Shock and damn, i should totally hang for that. Here's my second chance however, as this thing has now been reissued on vinyl by Drunken Sailor Records. The Drin is a solo project of Dylan McCartney with whom you might already be familiar as part of groups such as Vacation, The Serfs, Crime Of Passing and The Switzerlands, among others. The record starts off with a Joy Division-esque beat getting drenched in drones that have a certain Suicide-meets-Chrome vibe to them. Next up is a track that sounds kinda as if early Ride had reached dub-enlightenment. Subsequently, this shit appears to cycle through random iterations of early british DIY post punk, more than once conjuring up the spirit of The Membranes, Desperate Bicycles and Swell Maps. Of more recent acts, you might draw some comparisons to Exek at its more dub-heavy outgrowths as well as the neo kraut and space rock explorations of Moon Duo. The whole thing's such a beauty all the way through.
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Wow, i didn't expect this vancouver group's debut record to be such a perfect smasher. It should also turn out to be quite the crowdpleaser as far as contemporary post punk is concerned, turning back the clocks by a decade or two with its decidedly melodic approach, refined songwriting and tons of catchy hooks, combining the strengths of several strands of the genre. The most obvious comparison would be early 2010's bands like The Estranged, Criminal Code, Holograms, Autobahn or the more recent Girls In Synthesis… but i also pick up some echoes of the more straightforward punk side of things á la Xetas, Daylight Robbery or Anxious Living. And last but not least, groups bordering on noise pop territory in the vein of Piles, Wild Moth or Die! Die! Die! have sure left their mark here aswell.
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My favorite british punk group of the moment has yet to write a song that isn't as infectious as fuck and their most recent digital (?) single release delivers another two of their strongest so far and once again will effortlessly conquer the hearts of every connoiseur of Television Personalities-influenced strumming á la Suburban Homes, Neutrals or Freak Genes.
Zoids keep things classy and weird on their newest tape, which will soon be physically available via Goodbye Boozy. Still clearly operating on the outer fringes of crude and dissonant garage-/post punk and highly demented space rock, this group or person of mysterious whereabouts remains a charmingly broken machine that doesn't need any fixing.
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A wondrous and strange little EP full of otherworldly garage-/power-/fuzz pop from a Philadelphia Duo. The tape starts out as if the insane pop qualities of, say, Booji Boys or Daughter Bat & The Lip Stings collided with the smart rhythmic post punk of Lithics, while the remaining three songs then settle into a slightly more low-key kraut-leaning psychedelic groove, the likes of which you might suspect somewhere in the lo-fi pop worlds of acts like Germ House, Far Corners, Violent Change, Honey Radar or even early Woolen Men. Excellent shit throughout.
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This Barcelona group plays a certain breed of post punk - the catchy and melodic kind that has been rarely heard in recent months - which i'd say is reminiscent of a rather diverse cluster of genre powerhouses such as Nightwatchers, Sievehead, Red Dons, Criminal Code and early The Estranged. Occasionally they overlap a bit into hardcore territory and in these moments, Acrylics come to mind.
Album-Stream →Social Graces releases April 26th via Fat Cat Records.
Pitva releases February 22nd via Statik Age Musik.
Repeater releases April 29th via 12XU Records.
