Another Tunic record, another veritable kick in the teeth. After their recent compilation LP Exhaling, collecting their previous singles & EPs, their second "real" album pretty much continues where they left off with those, while only very cautiously expanding their sonic vocabulary. At times this can feel a bit repetitive to the point where you catch yourself wondering: "Haven't i already heard that song just a minute ago?" That's a minor nitpick though. As long as these dudes continue to wield their noisemaking powertools with such determination and raw, overwhelming force, that's more than enough for me.
Cleveland punks The Cowboy have yet to release a record that doesn't totally rip and their third LP won't dissapoint either with their sound feeling perfectly worn in and at this point, i'd say they've established their very own, instantly recognizable micro-niche on the intersection of propulsive garage punk and abrasive noise rock while still breaking things up enough to keep shit interesting.
The London postcore/noise rock duo once again convinces by way of sheer force coupled with unerring precision, every single detonation on their second LP using a rather minimalistic recipe in the most focused way possible to achieve maximum damage. Don't miss this spectacle if groups like Tunic, Death Pedals, USA Nails or Metz are your thing.
Not too long after the recent During 7" on Chunklet Industries (a full length of that group should be expected drop soon) we already get to hear another group featuring Spray Paint vocalist and guitar player Cory Plump. As Rider/Horse he's teaming up with a dude named Chris who has in some unspecified capacity worked with the likes of Les Savy Fav and Trans Am. Together they're creating a sound that's taking the more electrically driven vibe of the most recent Spray Paint releases into a dark and hazy, heavily industrial-leaning psychedelic nightmare kind of realm somewhat reminiscent of Exhaustion, Haunted Horses or Danyl Jesu, as well as the dub-infused soundscapes of Exek, with whom they also share that certain taste of Swell Maps.
Doesn't look like these texans are gonna run out of tunes anytime soon, having just cranked out their second album over the course of just a few months. Thankfully the mix is a bit less tinnitus-inducing this time while the new songs seamlessly continue the wonderful chaos Big Bopper established earier this year, made up of post- and garage punk, noise- and math rock elements roughly in the vein of Patti, Rolex, Cutie, Mystic Inane or Brandy, plus some traces of early Minutemen.
Following their 2018 album Hunk, which somehow didn't really click with me, the Reno, Nevada group's newest EP manages to hit all the right spots this time while never repeating itself, covering a sonic range spanning from oldschool AmRep- and Touch & Go-style noise rock, hardcore punk reminiscent of early Die Kreuzen and in its closing track, some Drive Like Jehu-esque Postcore.
Some weird-ass shit, this archival release containing the complete recordings, made in or around 2016, of a short-lived Brisbane group… and of course it doesn't take a fucking genius to figure out this is yet another project revolving around eccentric avant-garde guitar torturer Glen Schenau of Kitchen's floor, plus two other dudes who played in Sydney 2000 and Piss Pain respectively. It might be their involvement rendering this stuff almost approachable for a Schenau-related artifact, although by approachable i mean: No more approachable than, say, early The Fall or Membranes records are approachable. If that sounds approachable to you, then this will too!
A Cleveland, Ohio group presents a rough and dissonant mix of noise rock and post punk with a sharp garage edge on their first EP which, in the current music landscape, positions them roughly inbetween such Groups as The Cowboy, Spray Paint, Flat Worms and Plax, at times supplemented with a certain Flipper vibe.
Phew… this thing must've been mixed/mastered by a deaf person. I'm pretty much used to all kinds of sonic extremes by now but this must be the first time ever that i can't bear listening to a thing without at least applying some heavy EQ. Maybe the actual cassette release is less painful to listen to though…
Otherwise this thing kicks butt with unerring precision. Don't know how i managed to overlook this so far but somehow stupid me needed another reminder in the form of a (digital only?) reissue on Goodbye Boozy to finally notice its qualities. These texans play some pretty wild and unpredictable amalgamation of post- and garage punk, noise rock and postcore which you might, at different points, compare to groups like Patti, Cutie, Rolex, Mystic Inane or Brandy.
Another kickass EP by this Philadelphia group. This time they crank up the garage factor considerably while maintaining their taste for oldschool proto-noise rock and -sludge. Think of a curious mix between NY's Cutie and aussie garage groups like Mini Skirt, Pist Idiots on a collision course with old-timey noisemakers of the U-Men, Scientists, X (Sydney, not L.A.) variety plus a slight touch of Mudhoney.
