The past couple weeks had quite an abundance of incredible short-form 2-track releases and i’m even shorter on time than i anticipated as, on top of my infamously unreliable brain chemistry, this week also came up with a family emergency for me to help mitigate, so i’m gonna take the liberty of just dumping the four strongest of the batch in a single post.
The most surprising of thiose was certainly the debut (?) single of Atlanta, Georgia group Assembly, covering a pretty wide and eclectic stylistic spectrum in the postcore, noise- and math rock field ranging from classic ’90s and early ’00s Dischord-flavored sounds of the Faraquet, Bluetip and Q And Not U variety over other ’90s phenomena like Polvo, Braniac and Chavez to more recent noise rock and art punk acts like Wax Chattels, Solderer, Body House, Haunted Horses and, most of all, Spray Paint and assiciated later acts Rider/Horse and During.
Australia’s Tee Vee Repairman – yeah, of course it’s another group of Gee Tee’s Ishka Edmeades – follows up a bunch of previous EPs and a brilliant LP with a new 7″ whose two songs can easily be counted as among the finest in a discography that’s never been lacking in infectious power pop melodies to begin with.
In a similar vein, there’s a new Smirk (aka Nick Vicario, also of Public Eye, Crisis Man und Cemento) 7″ that also sees the dude considerably upping his songwriting game, going places we haven’t seen of him before with Domestic Dog kinda fusing oldschool anarcho and post punk flourishes with a pronounced 77-ish melodicity and an almost Television-like spaciousness that also permeates the other tune Manhunt in Paradise, the whole of which sounds a bit like the most recent Institute LP being taken a step further in its art punk elegance.
And finally, in contrast to the previous bands, we have an example of a group plainly serving up more of the same and what a brilliant kind of “same” that is, the new 7″ of Brooklyn power pop group Shop Talk who’ve so far always blown me away with every new release and the new one can do no wrong either, with Museum Of Sex being another flawless instance of catchy and straightforward ’77-ish punk with that distinct Dickies flavor while the more intricately constructed Gaslight slows things down a bit, adds a more melancholy vibe and equal parts of a Buzzcocks- and Replacements quality to the mix. A knockout tune to say the least.
Considering the rave reactions i’ve heard so far about this Melbourne group’s shows, their good-not-great 2024 debut EP so far had convinced me that their probably incredible live sound has been struggling a bit to translate into recorded form. Well, i can certainly say that this is less of an issue for much of their new mini LP which makes an overall much stronger impression for their sparkling sound that at times kinda reminds me of the psychedelic and variably surf-infused garage rock of Crsytal Stilts and Disappears mixed with a hint of early No Age and maybe White Fence, in addition to the eccentric monotonous fuzz escapades of City Yelps and the ethereal, abstract post punk melancholia of Kitchen’s Floor and Mother’s Milk… A quirky mixture that is for sure but it works quite admirably. Even when the band runs an acute risk of overstretching their most airy qualities in the record’s slow middle stretch, the bet pays off and shit just refuses to come apart, however precarious it might look at first glance..
Just a couple weeks after their debut, the second EP of the Beta Máximo dude’s new synth punk project simply picks up the strands right where they left them on the predecessor, yet there’s also some neat experimentation and surprise to be found in there which we haven’t heard before like the airy synth polyrhythms in the verses of El Fin De Los Días showing SYT at their most aloof so far but also rewarding the patience by segueing into some of their most catchy moments in the chorus.
I found it a bit difficult warming up to last year’s debut LP by this group featuring, among others, Chris Natividad of Marbled Eye and Public Interest, as that record still struck as a bit too glassy, overindulgent and underdeveloped, severely lacking in direction and contour in an era where that’s kinda symptomatic of the sad state the current wave of shoegaze-y groups is operating in. Well, i can’t say that about their newest EP though, on which they’ve considerably sharpened the edges and reinforced the structural integrity of their compositions. Did i just say Shoegaze? Yeah that’s right! There’s relatively little in common here sound-wise with the slightly ethereal, dreamy post punk of the aforementioned groups. Rather, Blue Zero are distinctly channeling a certain strain from the more straightforward and direct edges of the old-timey Shoegaze spectrum with the likes of Swervedriver, Bailterspace, Pale Saints and early Ride springing to mind immediately.
After their previous LP, though pretty fucking good already, still sounded a bit like stereotypical Berlin post punk on autopilot in some places, their second album (or third maybe, depending on what length you actually consider an LP) considerably widens their stylistic breadth and feels way more deliberately crafted and well thought through in comparison, imbuing their repetitive grooves with a heightened sense of feverish urgency while still calling to mind a number of primarily Berlin based groups like Pigeon, Pretty Hurts, Glaas, early Diät, Clock of Time or Exit Group.
Right away the debut EP of this group based in Eugene, Oregon radiates a vibe reminding me of a number of short-lived noisy and melodic punk groups from the early 2010s like Milk Music, Fins and Dharma Dogs as well as the fairly recent bands Jolana Star and Psychic Dogs who seem determined to revive that timeless sound of borderline post punk-ish catchy punk tunes paying tribute to the eighties Homestead, SST Records and Touch & Go eras. So now you can add Liquid Cross to that list but also, there’s a notable hint of early-days Protomartyr present here, most notably their second and third LPs, in no small part due to the singer’s voice channeling a weary and melancholic quality quite similar to Protomartyr’s Joe Casey.
These australians’ 2023 mini-LP was tons of weird-ass dungeon- and fantasy-themed fun already and their newest longplayer has an even stronger batch of headsplitting tunes made up of elements of garage-, synth- and post punk that right out of the gate delights with a distinct flavor of vintage Useless Eaters and Ausmuteants action in the opening track Pillager, complemented with a note of psych-/acid Punk á la Pow! in Moneyman while Big Hat – one of two holdovers first heard on their 2021 Mammon Machine EP – has a bit of a Strange Attractor vibe and Dopaminer may easily fool you into thinking it’s an exceptionally strong Why Bother? tune. Further, i can imagine friends of the likes of slightly more dungeon-flavored like Curta’n Wall or Oslo’s own eggpunks Molbo getting a kick outta this shit.
The Nashville, Tennessee eggpunk übergroup is back with a second LP that ain’t nearly as radical a departure from their previous work as the thumping electric beats of the preview track Worldwide would’ve had us believe at first. Rather, after the culture shock of their first LP which saw their first live band incarnation ripping through most of the early EPs’ material with unrelenting hardcore intensity, this new one is in parts a bit of a return to the playful and varied experimentation of their early days. Like with its predecessor, we’ve heard some of these tunes before in one form or another, most notably Subdivision, which has first been heard all the way back in 2022 on their Town Topic 7″ and the Beatles cover tune Come Together which goes even further back, first appearing on 2021’s G.T.R.R.C. III compilation, though both have been given a thorough makover here and so have most of the previously known tunes. What can is say, this album is yet another fun, glorious freakout of quirky, catchy noise on the fringes of garage- and post punk that never seems to run out of steam and ideas.
Two years after their super fun debut EP, Philadelphia’s cleanest finally present us with their first LP which doubles down on the chaotic energy of their disjointed art punk that sits comfortably between the chairs of dissonant, oldschool no wave-ish noise, artcore elements akin to early Minutemen and also plenty of more recent phenomena from artsy post punk groups like Patti, Reality Group and Brandy to more postcore-leaning acts like Big Bopper, Cutie, Mystic Inane and Rolex. And i gotta say, their math-y convoluted sound does a pretty decent job of approximating the mental overload and challenge the task of cleaning up the cave presents to my ADHD-cluttered, probably mildly autistic brain… but they sure make it sound like the most fun activity in the world.
This Melbourne group’s third EP has five new outbursts of post punk for us that i wouldn’t exactly call surprising or innovative but it gets all the basics right, is competent and well put together while holding a neat balance alternating between cold, clinical tension and warmer, melodic relief in their confident and actually quite varied songwriting, frequently reminding me of shit á la Girls In Synthesis, Corker, Criminal Code, Rank/Xerox, Negative Space, Shepparton Airplane, Batpiss or Bench Press.
