Dead Finks - The Death and Resurrection of Johnathan Cowboy

Hav­ing re­leased a some­what hit-and-miss de­but tape last year, the Berlin group's newest LP shows off a con­sid­er­ably ma­tured, heav­i­ly roots- and folk-in­flu­enced fla­vor of post punk whose over­all vibe echoes the amer­i­cana-/cow­punk of Angst while al­so evok­ing with a bit of post-Mi­a­mi Gun Club and so­lo Rikk Ag­new. Among their con­tem­po­raries, you might com­pare them to groups such as Jack­son Reid Brig­gs & The Heaters and Low Life. Oth­er times, like in Re­an­i­ma­tion, Piss­ing and Look Of Dis­gust you can sense a cer­tain british in­va­sion-style melan­cho­lia with hints of The Res­onars or The Be­vis Frond. So in a nut­shell, this ain't quite your av­er­age se­lec­tion of in­gre­di­ents for a punk al­bum… which kin­da makes this a per­fect fit for Er­ste Theke Ton­träger who, as i just learned, are gonna be han­dling the eu­ro­pean vinyl re­lease of this beau­ty.

Al­bum-Stream →

Meal - Jimmy

NJ/​NY La­bel State Cham­pi­on Records has yet an­oth­er quite awe­some tape for us and this time it's by a group from Helsin­ki, Fin­land who de­liv­er a ful­ly re­al­ized sound tak­ing cues from so much of what's good in re­cent years, i don't re­al­ly know where to start… The EP starts out with propul­sive post punk that feels like a fu­sion of dark­er sound­ing groups in the Rank/​Xerox or Pi­geon vein with art­sy post- and garage punk groups like Pat­ti, Lithics, Re­al­i­ty Group, Vin­tage Crop or Yam­mer­er. The mid­dle two songs then in­tro­duce a more re­laxed, slight­ly in­die rock lean­ing vibe á la Go­tobeds, Sleepies, Tape/​Off or B-Boys, with the clos­ing track Plas­tic Ma­rine feel­ing like the per­fect sym­bio­sis of both ten­den­cies.

Al­bum-Stream →

Las Hiedras - Contradicciones

An awe­some lit­tle de­but mi­ni-LP by a Buenos Aires group. Re­volv­ing around a more-or-less old­school-ish, brass-en­hanced style of garage- and art punk vague­ly rem­i­nis­cent of Down­town Boys, they cer­tain­ly like to mix things up a bit here and there when they oc­ca­sion­al­ly en­ter post punk ter­ri­to­ry or try on a '77-touched Buz­zcocks-meet-Un­der­tones pow­er­pop vibe like in Sin tu amor, keep­ing this a fun and en­ter­tain­ing ride through­out. While not every­thing hits the bulls-eye quite yet (Ya no soy is sim­ply too lit­tle of an ac­tu­al song), most of it works out just beau­ti­ful­ly.

Al­bum-Stream →

Coach - Coach

An abra­sive yet quite melod­ic wall-of-sound piles up on this Aarhus group's de­but al­bum, a sound in­be­tween the worlds of noise pop, art- and post punk, equal­ly rem­i­nis­cent of Tek­sti TV 666 and Open Your Heart-era The Men, 80's Son­i­cY­outh-isms and some MX-80 edge. And as if all that weren't com­pelling enough on its own, the ad­di­tion of a rest­less brass sec­tion makes the whole thing out­right ir­re­sistible.

Al­bum-Stream →

Waste Man - One Day It'll All Be You

On their sec­ond long­play­er, New Or­leans group Waste Man have got­ten rid al­most en­tire­ly of the hard­core el­e­ments that were still front and cen­ter on their in­cred­i­ble 2018 tape A New Type Of Wor­ry, but that doesn't mean their newest LP is any less thrilling. Quite on the con­traty, this has be­come both their most am­bi­tious and well-round­ed re­lease so far, a cap­ti­vat­ing and un­pre­dictable ride at dif­fer­ent points re­mind­ing me of smar­ty­pants garage punk of the Vin­tage Crop, Dumb or Ura­ni­um Club va­ri­ety, art punk akin to Lith­hics or Pat­ti as well as con­tem­po­rary post punk in the vein of Pub­lic Eye, The Go­tobeds and Bam­bara… at the same time emit­ting some dis­tinct­ly old­school vibes - faint echoes of Wire and Sac­cha­rine Trust be­ing the most no­tice­able ones here.

Al­bum-Stream →


DWP is the cur­rent so­lo project of Sloane Flash­man who has al­so been play­ing the gui­tar in Seat­tle post punk group Nail Pol­ish. If you're al­ready ac­quaint­ed with the lat­ter band's no-wave in­spired noise, you might al­ready sus­pect this EP is gonna be a rather bumpy, ad­ven­tur­ous ride as well and you'd be to­tal­ly right. Over the course of eight ab­stract, dron­ing sketch­es a sound­scape of ex­per­i­men­tal Art Punk un­folds that ap­pears to draw equal amounts of in­spi­ra­tion from Sui­cide, Wire and Glenn Bran­ca, among many oth­er things.

Al­bum-Stream →

Germ House - World's A Chore

An­oth­er ex­cel­lent EP by Rhode Island's Germ House, a so­lo project of Justin Hub­bard who al­so hap­pens to be play­ing in Far Cor­ners. These three songs once again sparkle with his fa­mil­iar stripped-down lo-fi charme and a son­ic range that stretch­es from abra­sive post- and art punk - which sure­ly owes a thing or two to The Fall or Des­per­ate Bi­cy­cles - to clas­sic garage rock and con­tem­po­rary garage punk, while al­so re­veal­ing a sur­pris­ing catchy­ness, deep melan­choly and a play­ful vibe rem­i­nis­cent of The Woolen Men.

Vintage Crop - Serve To Serve Again

Con­sid­er­ing the Mel­bourne group's pre­vi­ous track record, i didn't ex­pect their third full length to be any­thing less than su­perb… and sur­prise: This is yet an­oth­er very strong record oc­cu­py­ing a spot of their own in this par­tic­u­lar niche at the junc­tion of play­ful smar­ty­pants garage-, post- and art punk. Wor­thy new pre­mi­um fod­der for ad­mir­ers of Ura­ni­um Club, Pinch Points, Re­al­i­ty Group… you might al­so find a bit of Sauna Youth or Pat­ti in there.

Al­bum-Stream →

Pork Belly - Jinx & Chew

Promis­ing and fun shit, this first dig­i­tal sin­gle by some San Fran­cis­co group. Post-/art punk of the par­tic­u­lar­ly quirky, play­ful kind that ad­mir­ers of bands like Pat­ti, Rolex, Re­al­i­ty Group or Emer­gency Con­tact will sure­ly ap­pre­ci­ate.

Glen Schenau - Jhumble​/​​Jearnest 7"

Glen Schenau, oth­er­wise prob­a­bly best known as the Front­man of Bris­bane group Kitchen's Floor, has so far re­leased two EPs of bor­der­line-avant garde art rock, con­vinc­ing by virtue of its sheer weird­ness, marked by dis­so­nant, hy­per­ac­tive gui­tar strum­ming - kin­da like an out-of-tune funky al­ter­nate re­al­i­ty ver­sion of The Wed­ding Present - com­ple­ment­ed by crude pots-and-pans style per­cus­sion. On his newest 7", the lat­ter gives way to an ac­tu­al drum kit as well as a full band sound and as a whole this takes on a slight­ly less ex­per­i­men­tal, way more tan­gi­ble form on the fringes of post punk, noise rock and 90s in­die rock while re­tain­ing the quirky, in­ven­tive qual­i­ties of its pre­de­ces­sors. Melk­bel­ly-meets-Live Skull? Nah, not quite… but not too far off ei­ther.