Moth - Machine Nation

Mel­bourne group Moth al­ready had a de­cent de­mo out not too long ago, but this new set of tunes is so much stronger. This is your typ­i­cal con­tem­po­rary garage-/synth punk stuff, plain and sim­ple… but al­so quite com­pe­tent­ly done, pack­ing some se­ri­ous punch and adding a slight psy­che­del­ic touch to the mix - oth­er­wise rough­ly ad­her­ing to the Use­less Eaters, Pow!, Flat Worms and Ex-Cult core for­mu­las. You can't go wrong with these.

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Eugh - The Most Brilliant Man Alive

While we're at it, speak­ing of Kitchen Peo­ple and Warttman Inc., here's an­oth­er blast of synth punk in­san­i­ty by some Kitchen Peo­ple-af­fil­i­at­ed so­lo project, bear­ing ob­vi­ous sim­i­lar­i­ties to Warttman acts like Set-Top Box and Re­search Re­ac­tor Corp., with maybe a bit of Dig­i­tal Leather or Trash­dog sprin­kled in from time to time.

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Kitchen People - Planet Perth

The mighty Warttman gang's newest re­cruits are Kitchen Peo­ple who have al­ready done a few re­leas­es be­fore, al­though - let's be hon­est here - none of those has been quite as rip­ping as their newest EP of ap­pro­pri­ate­ly weird, quirky muteant garage-/synth punk. These dudes should fit in com­fort­ably with the rest of Warttman's fucked up bunch.

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Isotope Soap - An Artifact Of Insects

So far, the synth-/garage punk project Iso­tope Soap a.k.a. swedisch punk vet­er­an Pe­ter Swe­den­hamar has re­leased noth­ing but top qual­i­ty stuff in the form of three EPs, all of them were reis­sued last year on a com­pi­la­tion al­bum via Emo­tion­al Re­sponse. His first long­play­er doesn't dis­s­ap­point ei­ther. On it, Swe­den­hamar con­sid­er­ably ex­pands his eclec­tic raid of ob­scure punk his­to­ry, re­sult­ing in his most var­ied and play­ful re­lease yet, in­cor­po­rat­ing among oth­er things mo­ments of trip­py space punk, pure synth pop, dreamy krautscapes. And of course al­so a lot of his more straight­for­ward sig­na­ture De­vo-meet-Aus­muteas­nts style that made up the bulk of his EPs.

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Trashdog - Dipshitticus

What a beau­ti­ful­ly de­ranged kind of mess, the sec­ond Al­bum by Trash­dog a.k.a. An­drew Jack­son, the dude al­so re­spon­si­ble for Austin, Texas la­bel Dig­i­tal Hot­dogs. I didn't ex­pect a lot of nor­mal­cy here to be­gin with, but nonethe­less i'm kind of as­ton­ished by the mas­sive amount of top notch good­ness scat­tered wild­ly across this record, es­pe­cial­ly af­ter i found Trashdog's first ef­fort to be of some­what in­con­sis­tent qual­i­ty. Rough­ly one third here con­sists of dumb jokes and var­i­ous shades of fuck­ing around. An­oth­er third turns out to be bril­liant­ly weird and in­ven­tive songcraft in a spec­trum of garage punk, pow­er pop, synth-/elec­tro punk and a tiny hint of glam. And as for the re­main­ing third, i'm some­what un­de­cid­ed in which of the first two cat­e­gories i should file that stuff. The whole of it makes for an awe­some, if at times over­whelm­ing, dis­ori­ent­ing roller coast­er ride. Some kind of white al­bum on stu­pid pills.

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Warm Exit - Demo

On their de­mo, Brus­sels out­fit Warm Ex­it come up with a flaw­less lit­tle dose of synth-en­hanced garage punk, al­ter­nate­ly re­mind­ing me of con­tem­po­rary genre pow­er­hous­es like Aus­muteants, Dumb, Erik Ner­vous or Pow­er­plant.

Dee Bee Rich - Demo

Not too long af­ter a rather synth-heavy tape by that guy who re­cent­ly seems to be in­volved in pret­ty much any oth­er Berlin band, we get a small en­core ex­hibit­ing a more gui­tar-cen­tric sound, shift­ing the son­ic co­or­di­nates clos­er to the garage. The over­all vibe here kin­da re­minds me of ear­ly Erik Ner­vous.

Spray Paint - Into The Country

For the austin noise rock­ers with that dis­tinc­tive no wave edge, the past three years were marked ex­clu­sive­ly by sev­er­al col­lab­o­ra­tion projects, re­sult­ing in one al­bum, an­oth­er EP and two 7"s, all of it first rate stuff. Now we get a new "reg­u­lar" al­bum, al­though the record­ings al­ready date back to the year 2016. Ac­cord­ing­ly, these songs sound more like the log­i­cal evo­lu­tion from their last LP Feel The Clamps, re­leased that same year. As al­ways with this band, there's no rush to rein­vent them­selves. In­stead, their sound is evolv­ing grad­u­al­ly and dili­gent, re­veal­ing on­ly a few new facets at a time. Most no­table this time is a more min­i­mal­ist ap­proach to their com­po­si­tions as well as the in­creas­ing use of drum ma­chines and synths. And as al­ways, the re­sults are quite thrilling.

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