Thorougly enjoyable shit, this split LP on Big Neck Records. Blood Bags from Auckland, New Zeeland sure know how to trigger a deliciously blown out garage-/fuzz-/stoner punk riot evoking comparisons to The Cowboy and early The Men, completing the fun with some raw stooges power, strong Funhouse-esque propulsion. Salt Lake City’s Brain Bagz then produce a Sound that feels closely related in spirit and in its primal energy, but casts a much wider net in its choice of influences – starting off with a kinda Cramps-meet-Scratch Acid vibe and subsequently taking many cues from the 80s proto noise rock complex including the likes of No Trend, Flipper, Live Skull.
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.
A flawless debut EP by a Philadelphia Duo, delivering four precision blows of a quite smart and versatile mixture located somewhere in the contemporary postcore-/noise rock-/post punk neighborhood and reminiscent of such diverse acts as Dasher, Cutie, Donors, Little Ugly Girls, Hit Bargain, Street Eaters, Xetas.
Isn’t that the Marriage + Cancer guy groaning his vocals? Yep, same guy. The music on this Portland trio’s first EP ain’t all that different either. Noise Rock of an ultra-classic 90s variety with a hint of math, pretty much in the middle between the more smartass Touch & Go and the more sludge- and metal-affine Amphetamine Reptile universes.
Already a handful of releases into their discography, we kinda know what to expect from a new Flat Worms record by now. However, that doesn’t mean they’re standing still exactly. Rather, with every new release they managed to focus on and expand upon a certain facet of their garage-, psychedelic- and fuzz punk sound, keeping things fresh and interesting at all times. This time, recording with Steve Albini at Electrical Audio, the result does not only show Albini’s trademark sonic characteristics, but also their overall sound seems to embrace some of his legacy as a producer audio engineer, veering into a distinctly noise rock/postcore direction that, once again, was always subtly present on their previous records but never as much on display as here and might be compared to contemporary bands like Meat Wave, Metz or USA Nails. Other small but pleasant surprises come in the form of the title track – a garage jam you could almost describe as relaxed – as well as the 90s indie rock vibes in Market Forces.
Now this one’s a curious beast. Nashville group Donors already won my attention two years ago with their first EP and a somewhat more conventional mix of garage- and post punk, but this is a different level of weirdness altogether, as they infuse their sound with increasing amounts of dissonant no wave havoc and proto noise rock á la Flipper, No Trend. What in the world could i compare this stuff to? Tyvek or Constant Mongrel reimagined as a no wave act? Spray Paint as a garage band? I’m not entirely sure what they actually set out to do but there’s no doubt they’re succeeding with flying colors. Just when you thought you made sense of the whole thing, the closing track Fine Print manages to surprise once again by adding some Haunted Horses-style industrial flavor to the mix.
On their second EP, New York punks Signal brew up a strong potion consisting of raw noise-/fuzz punk and post punk/-core. To me it sounds a bit like an amalgamation of earlier Lié and Littly Ugly girls, but also contains quite some of the rough, garagey vibes similar to Warp or Vexxx.
Atlanta noise rockers Vangas stay beautifully unconventional on their new 7″ via Chunklet. On the A-side, a slow-burning groove creeps along toward an inevitable eruption at its midpoint, where shit finally gets weird. The even more unpleasant B-side then reminds me quite a bit of their Portland noise rock contemporaries Marriage + Cancer or canadians Nearly Dead.
This group, probably from Phoenix, Arizona, sets up some chemically unstable noise punk shit welded to a garagecore rocket drive ready to blow up in your face. At times you might feel pleasantly reminded of acts like Beast Fiend, Anxiety, Bo Gritz or Mystic Inane.
At first listen, i can’t help but think of the texan (neo) no wave/chaotic noise rock connection around bands like Flesh Narc, Gay Cum Daddies and a few other projects sharing much of the same personnel. However, this band is from Philadelphia, making any association with those rather unlikely. Also, on closer inspection, their sound and songs come across a lot more structured, compared with the kinda semi-improvised feel of the Denton scene’s output. Soundwise, this is somewhat less in the no wave camp, leaning more into the noise rock side of things and now that i’m thinking of it… I also see quite some similarities to their geographically much closer New York contemporaries Spray Paint and Big Neck Police, as well as a hint of canadian noise punks Sopcans.
