Not too long after their brilliant debut EP we already get to hear the first full LP of this Minneapolis group which still delights with a pleasantly old-fashioned genre mixture that primarily appears to take inspiration from the more left-field and melancholy edges of ’80s -’90s post punk, hard- and postcore history, although the influences are a lot more varied here with the opening song Hello World having a strong ’90s Dischord vibe somewhat reminiscent of the likes of Jawbox, Crownhate Ruin, Bluetip, Smart Went Crazy or Kerosene 454 while Tectonic Plates comes across like a curious mixture of Rapeman, Brainiac and Mule. Kick Geneva and Steve remind me a lot of Angst and Moving Targets, BDFI has some Butthole Surfers-esque doominess and it’s not before the second-to-last track, the instrumental What Happens Next and the subsequent Mantle, that those Mission Of Burma influences – which were more strongly present on the EP – kick into full gear once again. Anyway, through much of the record, there’s a slightly folk-ish undercurrent goin’ on aswell that further calls to mind such eighties US groups like The Proletariat, Volcano Suns, M.I.A. and My Dad Is Dead.
Here’s a kickass holdover from last week that i failed to give a fair shake until now and honestly, i should have known better as finnish noise rock groups actually have had a pretty strong track record in recent years and beyond the obligatory comparisons to early Shellac and Rapeman, the next best thing i can come up with are indeed two other fellow Helsinki-based groups, Fun and Baxter Stockman and i’m sure you can picture my non-surprise upon learning that members of both groups are featured in this trio aswell. To a lesser extent, there’s also a bit of Jawbox or Jesus Lizard here and there and you wouldn’t be totally off either to find commonalities with more recent US acts like Multicult, Help, Hoaries or maybe Germany’s own Trigger Cut.
A worthy addition to the see/saw-sourced piss bands spreadsheet comes from some Raleigh, North Carolina dude or band creating a fun mix of noise rock and garage punk with hammering Big Black-esque drum machine beats, although i’m gonna say that despite some decidedly Albini-esque guitar noises being contained in here aswell, the overall vibe reminds me more of London’s World Domination Enterprises and, to a lesser extent, their fellow brits The Membranes who also had a quite Big Black-ish phase in the late eighties, while the most garage-leaning tracks like Meat Tenderizer evoke the way more stripped-down, minimalistic prototypes of Métal Urbain / Dr. Mix And The Remix with further possible references being the likes Scratch Acid and Brainiac. So yeah, this is good shit!
There’s just no other way to put it: Sophisticated oldschool-ish noise rock is going through kind of a rough patch right now with unique and outstanding releases in the genre being precious few and far between. Even in these times though, Germany’s genre overlords Trigger Cut just keep delivering the goods, reminding of – and hopefully also paving a way toward – better times. As usual this shit covers a wide range of the hallmarks of golden age groups such as Bastro, Cows, Rapeman, Distorted Pony, Drunks With Guns and Dazzling Killmen, even some slight hints of Tragic Mulatto in Crash Crew for example. Of more recent groups you may find similarities to the likes of Multicult, STNNG, Leaves, Body House, Elephant Rifle, Help and Overtime. All that said, more than ever – as has already been an increasing tendency on their previous LPs, – they absolutely transcend the obvious influences towards an unmistakable voice very much of their own while keeping us on our toes at all times, with each of these songs incorporating more unique decisions, twists and turns than your average contemporary noise rock/postcore act would come up with for a whole LP – you just can’t ever predict where they’re gonna go next!
What a neat little oddity, this second EP by Chicago group Forklift Rodeo, on which they’re mixing some weird-ass unpredictable bursts of cowpunk with small traces of 90s AmRep/Tough&Go-esque noise rock, postcore and occasionally also some kind of contemporary eggpunk quality, though in that regard i’m thinking more of early Skull Cult rather than the somewhat more codified recent crop of Lo-Fi-recorded insanity. Speaking of Lo-Fi… this record certainly ain’t that, giving a well-produced sheen and transparency to their equally quirky, sprawling and intricate constructions that would indeed have absolutely no need for hiding behind an obscuring layer of noise and grime.
Here’s a sensational debut EP by some band or project based in Lethbridge, Alberta containing six perfect blows of post punk whose ear-piercing walls of noise and pulsing electric beats at times sound a bit as if an eggpunk Big Black collided with the somewhat psychedelic qualities of garage greats like late Useless Eaters, Pow! and Mononegatives – or maybe the murky old experimental punk classics of Métal Urbain / Dr. Mix and the Remix – in a breathless succession of certified bangers. I also have a hunch that fans of spaced-out noisemakers á la Corpus Earthling or french magician Pablo X are gonna lap this shit up.
A neat little bag of tricks and surprises, the debut EP by this Memphis group. The opening track seems hellbent on reanimating the late ’80s / early ’90s vibes of the AmRep and Touch&Go multiverse and, though not affiliated with those labels, i’m particularly reminded of the Lo-Fi noise rockers Drunks With Guns. Diesel Disco then kinda smells of early UK DIY á la early Mekons, Swell Maps and Desperate Bicycles while being transformed into a contemporary fuzz punk context. The Junt is just a perfect midtempo blast of a proto-grunge eighties garage rock throwback. Newspeak cranks up the weirdness with its distinct stop-and-go dynamics and structure. Finally, Control is more like your standard stooges-indebted fuzzy garage rocker and, quite honestly, overall the least thrilling thing on this otherwise thoroughly engaging EP.
Quality shit as usual from the ever-reliable spanish post punk stronghold Flexidiscos. On their debut LP, this Valencia group conjures up quite the storm of smart and angular, yet never tiresome noise that comes across like an amalagamation of the No Wave-ish noise rock / post punk abstractions of Spray Paint with a number of similarly genre-fluid crossover acts like the contorted, interlocking garage punk grooves of Uranium Club, Reality Group and Vintage Crop on one hand, the eccentric post punk constructions of acts á la Rolex, Knowso, Meal, Exit Group, early Marbled Eye and Patti on the other. All of it feels way less grating and catchier than you’d expect, propelled ahead with unrestrained drive and concentrated, punctually applied energy.
Like a rougher companion piece to the Demo Rally LP i’m gonna be postin’ about in just a minute, the debut LP of this Leeds group from late summer – now given a cassette release by french label Discos Peroquébien – delivers more of that excellent noisy and no wave-ish post punk eccentricity, the possible influences of which alternating between such agents of dissonant chaos as Spray Paint, Brandy, Rolex, Lumpy and the Dumpers, Cutie and Soupcans, while comparatively slow and disciplined tracks like Bog Witch even exude a bit of a classic ’90s Chicago-style math-/postcore energy.
This Portland group’s debut EP delights with an effortlessly cool make of fuzz punk alternating between melodic noise pop gems that kinda resemble rougher and simpler variants of early No Age, Terry Malts, Male Bonding, Why Bother?, The Wind Ups or Deletions, and a couple of even more primal bursts that call to mind the likes of Buck Biloxi, Lumpy and the Dumpers, Giorgio Murderer, Bart and the Brats and that Zhoop/Djinn/Feed/etc. dude. Closing out the bunch is a neat acoustic tune that doesn’t shit the bed either.
