If you’ve listened to any of their previous work, the sound on the new album will be as familiar as your trusty leather jacket. But in a world where everything seems to change faster than you can blink, it’s actually comforting that the band continues to build on their signature style of unrelenting, catchy, melody-infused songs, that barely need more than a minute to punch you straight into the ears.
If you we’re expecting another Crocodiles you may be disappointed, and I would be lying if I said I loved this album from the first listen, but no band should sound the same ten years later. After the third listen I really started to appreciate this album for what it is. The band sounds a bit more grown up, but not in a bad way. The energy of the band’s earlier releases is still there, it’s just a little bit more well put together.
Queen of the Pill boasts the raw snarl of the fuzzed out garage-punk found in Way Out and combines it with Shadow of Sound’s refined freakbeat influenced garage-psych style. However, what sets Queen of the Pill apart from the previous records is The Stooges-esque proto-punk attitude twisting with elements of King Khan & The BBQ Show’s style.
The album opens with ‘MPS,’ a catchy track that goes straight into discussing neoliberalism and society. It sets a good tone for some of the changes in this album. Lyrically, Readjusting the Locks is less personal and more political commentary. The name of the album itself comes from the notion that politicians promise change, but only “readjusting the locks” in practice.
Three years after their debut release, Who Will Play?, Game releases their full-length LP, No One Wins. In the build up to the release, the band put out a four-track promo cassette featuring four tracks from the album. The band has experienced a great deal of growth in terms of their sound between Who Will Play? and No One Wins. Their influences blend together much more seamlessly this time around, creating a more polished cross-generational sound.
I can’t say there haven’t been quite a few bands touching down on spacy vibes over the last few years, but Giuda does rock n’ roll space exploration in typical Giuda fashion. While EVA is very much a Giuda album, it still feels different from past releases. This seems like a very exploratory album for the band in more ways than one.
All four tracks on the EP, as well as the release title are listed in both Arabic and English. While you obviously can’t understand Haram’s lyrics unless you speak Arabic, that doesn’t entirely matter. Nader’s singing style combined with the instrumentals creates a lot of emphasis and depth for the listener. Nader has a strong presence, even on recording.
Intergalactic French space punks, The Scaners, second full-length LP, Scaners II, has the same catchy lo-fi space-age garage punk sound as the band’s first release. The songs are somewhat cleaner and it seems like they’ve put more thought into how their heavy use of synth can add different feelings to their songs.
London’s Los Pepes are back again with their fourth full-length album. Positive Negative is a straight to the point high-energy rock n’ roll album. It’s a lot less poppy than past releases and carries forward a lot more of the intensity you get from the band when they play live. A lot of bands lose steam as time goes on, but Los Pepes are quite the opposite.
Positive Disintegration is described on the band’s bandcamp page as a follow-up album years in the making, or a potential companion piece to Positive Energy. Positive Disintegration didn’t disappoint at all, and you can actually see tremendous growth between this and their 2015 release.
With glimpses of glooming guitar riffs that invite comparisons to the age-old Black Sabbath, to the more playful guitar riffs akin to contemporaries like Pig Frenzy, this double EP is a sonic timeline of rock n’ roll.
So these party dudes from Switzerland have made a perfect LP that sounds like a mix of GG, The Spits and The Kids. I Hope you OD is packed with ten tracks and seems like it’s barely 11-minutes long. Fast paced, yet efficient, this is one of the best straight-forward punk records I’ve heard in a very, very long time. Riffs, riffs and more riffs. The tonality has a semi-fuzz element reminiscent of punk records of the era the band is replicating – circa 79-81.
Hogtied remains parallel to the band’s past crude and raw soundscapes, while also illuminating the band’s refinement in both production and songwriting. ‘Consent Creeps’ and ‘F.W.B‘ assure Pig Frenzy fans that they can still bank on hearing the signature snappy drum tempo that spawned off the S/T album.
Trash Culture is nihilistic and savage in their sound, showing obvious influences from bands such as The Stooges, Dead Kennedy’s and Adolescents. But they’re not just limited to great energy; their lyrics are clever and their music changes slightly to suit their lyrics and the feeling of each song.
It was great seeing Another Side of the Number Ones, as well as their drummer’s other talents with Music City, plus new music from some people back home in Baltimore (Glue Traps) and our friends here in the UK (The Speedways), and as always a boatload of great releases from our friends at Static Shock Records.
I’ve always felt that a good record sleeve should tell you all you need to know about a band, and well, for this 7-inch that is certainly the case!
When I decided to review both their debut album and the launch gig at Mannions Prince Arthur in London, backed by the grandiose Scumlord and Fryd Chikin and their relentless battle to win the ultimate-trash crown, I knew how distinct the album and live act were from each other. But I also knew how equally important they are to understand what the band is all about.
The Franklys are an all-girl garage group that blends a volatile mix of Hives inspired garage rock with indie-like psychedelic notions from early 1970s metal. I’ll admit to waiting eagerly for the release of their debut album Are You Listening. It has all of the hits to date.
‘Mindless Entertainment’ is both rock and roll without the pretentiousness and punk without the politics. If the mainstream rock journo-losers reviewed this record they’d no doubt mention the low budget recording quality but fuck those squares, THIS IS THE REAL DEAL!
If it sounds a bit weird or a bit out of this world, chances are I’ll dig it. I’ve been a massive fan of Dead Coast for a while now and with every release – they just blow my mind.
The masters of poppy garage are back with their new album Slow Down. Since The Madcaps last album Hotsauce was a hit for this reviewer, it’s not necessarily a surprise to see that with Slow Down they indeed have something special.
This album is definitely different from the band’s previous releases, but at the same time, it doesn’t necessarily sound like it’s not the Sonic Avenues. It’s got heavy post-punk vibes, but the sound and Max’s vocals maintain that classic Sonic Avenues sound, despite the fact that the songs aren’t really structured like a sort of “classic” punk song, like on their previous albums. This album is extremely complex musically and there’s so much you can take from each song.
Finally after four years in the making, across three countries and two continents, here’s the new record by the cult Aussie guitar slinger and songwriter Johnny Casino.
Whilst working on their long-awaited debut album and touring all over the place, Lucy and the Rats still managed to bring out a second single of pure sweet-sounding goodies.
NEED’s influences were probably welded to them in the darkest room of an abandoned warehouse. Like Hannibal and co they found the necessary amount of musical nuts and bolts needed. Musically there’s pleasure stains of fellow Dutch legends The Stilettos along with an 80’s hardcore vibe a la Adolescents and at times it’s whisky chased along with the cold chill of Joy Division-esque bass lines.
Stated for a January 2017 release, I’m throwing this one in for an early contender for bands to look out for next year. From Madrid, Biznaga are bringing to the table a very original sound of punk with intelligence that I haven’t heard since Miscalulations, or going back to that scene of bands in Sweden that were making the best records in hardcore punk 7 or 8 years ago and then turned a melodic route.
Pizzas rule and you probably don’t. But if you order this one from Slovenly, you can at least get a taste of the good sauce. It’s the perfect flavour to end 2016 on a good note.
Memories are made of this! Nostalgia is the keyword with Gloria’s debut album “In Excelsis Stereo” for it perfectly captures the sound of the 60’s. It’s recorded in Kerwax Studios, France’s best analogue studio, and you can tell, for the dreamy and fuzzy guitars sound like they could come straight from a Jefferson Airplane record
The initially impression that I thought I would find through the sounds of Dirty Rock ‘n’ Roll was those that are wrapped in the savage nature of blues driven garage rock. This is not quite the case with this album. Pussycat and The Dirty Johnsons seem to run with their own sound that proceeds to throw downwith a fast punk attitude and a distinctly contemporary rockabilly-style.
Gone are the Cramps and Gun Club influences, this is strictly latter day GG Allin puke-o-rama. The scorching opening track, ‘Savage,’ even reminded me of my scum punk favourites, the almost forgotten, Cocknoose. My favorite on the album is the hilarious and groovy ‘I Hate Art’. You gotta love a song that starts with the line, “Fuck Picasso, fuck Cezanne,” only to top it with, “Andy Warhol can kiss my ass.”
The northwest strikes again with this one, and it’s been in my to mention for a few months now. Seattle has been known for its pop punk and feminist themed bands, but V/H/S (Violent Human System) takes things to a darker, less travelled path. While it’s soaked in chorus guitars and heavy 80s goth influence, it still has that punk tinge that keeps things upbeat and interesting.
Robin Edwards has been at this for a while, and 2016 has been her year to bust out and for good reason. A fellow ally in the northwest scene with Tacocat, Childbirth, and Chastity Belt, she has been planning this solo record out for a while. Adult Teen is 100 percent proof that good things come to those who wait.
Indiana has been brewing some genius aggressive punk shit over the last few years, and Liquids seem to be leading the charge. There are so many bands now I can’t keep up. It seems like every few weeks some new demo surfaces. Whoever is running the operation definitely has the dumb punk sound to a very specific and controlled science. Cal and the Calories, the Coneheads, the Cowboys… I could go on.
In the world of what’s considered ‘classic modern’ garage rock, Angry Angles always come into topic due to the nature of the band’s history. These new recordings were supposed to have disappeared, that Jay had deleted them from his hard drive, at least that’s the rumour I heard years ago.
For fans seeking the freshness of a revival of the 1970s glam that birthed the likes of Slade of the Sweet, you are in for a treat with Italy’s Junkshop stompers, Faz Waltz. Since forming in 2007, each release see’s Faz Waltz continuing to produce a polished and vibrant sound.
If one had to provide a simplified description of Escobar’s new album, Bird of Prey, it would be summed up as a barrage of electrified grunge trash rock ‘n roll, which serves only to excite. This is more than obvious after checking out the opening track, ‘You Must Get Stoned.’ It sets the tone for Bird of Prey by inviting the listener to a sound that is profusely upbeat, wild and frenetic.
One of Britain’s more renowned 90s freakbeat/garage bands, the Embrooks, are back from their lengthy hiatus with a new single, the Nightmare/Helen 7-inch. It is their first record to be released in nearly ten years, so if you have heard these cats before, then you know you’re in for a treat.
When the Honey Time 7” is played, I suggest breaking out some malt ice-creams, and donning flashy poodle skirts and sporting slicked-backed pompadours. It should be no secret that anything that Shannon Shaw (Shannon and The Clams) touches hosts the impeccable delights of all that is weirdo rock n’ roll.
Artifacts from the 1960’s are among the holiest of recordings to bare witness to. Compilations like Garage Punk Unknowns, Nuggets, Pebbles and Back from the Grave are the highly spoken of collections that provide a mandatory experience for listeners to wander into depths of a decade of innocence and authentic teenage rebellion.
There are certainties in life like death, taxes and the Fleshtones. For the last 40 years, these New York garage rockers have been playing some of the most fun shows you could ever experience and have kept churning out albums and singles galore.
Madrid garage party rock ‘n rollers Los Chicos have been together for 15 years and show no sign of slowing down on their latest album, Rockpile of Shit, a joint release on Dirty Water Records and Folc Records. The band serves up a supercharged concoction of garage rock mixed with a splash of soul, rhythm & blues, and country.
At a time where the political scene is full of toxic masculinity and hate, albums like this could not possibly be more necessary. Transgender women in the US face higher rates of harassment, discrimination, poverty and violence, with most states offering no legal protection – knowing this makes the rage in their songs even more palpable. This 7-inch was released days after the Orlando mass shooting that targeted members of the LGBTQ community.
Onstage Lucy channels the toughed-up sexiness of Suzi Quatro via Kurt Cobain’s plaid shirt drawer. It’s a strong look, no messing around, and this hotly anticipated debut single is just as suave.
Public Eye is a new post-punk band out of Portland comprised of Adam Becker, Alex Tryon, Nick Vicario, and Seve Sheldon. They previously played together in the punk band Autistic Youth. Their debut EP, Mood Change Party combines melodic, indie rock sensibilities with laser sharp technical precision.
Cerulean Veins brings me my forever fresh recollections of bands like Joy Division, Bauhaus, New Order, The Chameleons, Siouxsie and the Banshees, or even The Cure, Depeche Mode and Ultravox.
When music veterans meet, everything is possible. Only one thing is certain, they know their business. The Phantoms are different and, at the same time, you feel like you’ve known them forever. This is clear-as-spring-water pure classic rock’n’roll. They are easy on the ear and the heart.
What we have on their new record #2 is a true work of art. Call it a masterpiece if you want, I would fully back you. It is such a great record and with summer casting it’s blazing heat upon us, it makes the ideal soundtrack.
It makes sense that the latest Summer Cannibals’ release is on Kill Rock Stars, a label long associated to bands like Bikini Kill and Sleater-Kinney, as there is a definite 1990s girl band vibe to the album.
Mean Jeans are back and in a big way. They have joined forces with long-time
punk/hardcore label, Fat Wreck, for their third LP, and I have to say this is the most important record this label has released in recent years. Hearing the Nite Vision 7-inch leading up to this release was definitely an eye-opener, as it may be their cleanest sounding record, but I really enjoy what’s going on here.
Fumaça Preta is known for its experimentation with different sounds, rhythms and musical genres and the latest album continues to exemplify that ascription. The opening and title track of Impuros Fanáticos sounds like some kind of haunted rain forest before transitioning into something that can only be described as singer Alex Figueira ranting/singing over a fuzzy spaced out synth beat.
Bloody hell, these Auckland kids come with a bang! Listening to their debut self-titled
album is like being in my own pit, surrounded by savage ghosts from former gigs. I can almost smell the sex, drugs and rock n roll infused sweat and the rotten beer on the floor.
These Brits are truly, madly and passionately everywhere when it comes to rock n roll! The new album, Ugly Mobile, is like an encyclopaedia of rock n roll. There is a little bit for everybody – old-school rock ‘n rollers, surfers, rockabillies, greasers, cowboys, hillbillies, swamp voodoo priests, bluesy garage rockers, you name it! And it’s all packed in a crazy-frenzied, yet very mature punk attitude.
Upon dropping the needle it is clear OBN III’s flawlessly knock out some solid rock n roll
that needs to be played ear-splittingly loud. I mean, the speed of the guitar riffs that open up on ‘Rich Old White Men” alone is incredible and threatens to overtake my ability to comprehend my surroundings. However, that is not necessarily what holds my attention. This single boasts some of the finest politically inspired rock n roll that I’ve come across recently.
This record is a further departure from the fast Ramones spurts that hooked me in when I first heard the Mean Jeans back in 2008, I guess it was, but I’m loving this record, as I feel it’s a mature one.
Mind Spiders are back, and wow, this one is a little different. Not to say this hasn’t been a
project that has strived to pull away from the sound of the Marked Men, but this is definitely Mark Ryan’s most prolific effort yet. This could have been a completely different band in my eyes. It’s smeared with Screamers, Devo, and Units influence, but still holds a pop hook sincerity that keeps pulling you back in for more.
One of the most talented and, need I say, underrated bands from this area. They have brought us, what I believe, is their best record yet, and dare I say it, one of the best records of all of 2016. It’s more than that though. This record has it all – hooks for days, weeks, and miles. It’s a classic in its own right and I’d argue this with anyone.
There are a handful of bands that I love that are the exact blueprint for post-punk. It’s safe to say that Spectres are one of them. Their new record is about to release and it oozes very early sounds of the Cure, Josef K and possesses a chilling atmosphere that can be found in the likes of Bauhaus and Sisters Of Mercy.
The Dirty Coal Train is brilliant and the new freakishly superb Super Scum is a goddamn fine exemplar of their fire.
There is nothing quite like the awesome power of high voltage rock n’ roll to shock one into absolute attention. Audacity does that and more with their new album Hyper Vessels.
Well, I’m going to just come out and say it, after checking out The Electric Pencils self-titled release I’m a fan.
Garage Rock, regardless of the language it is sung in, should translate to all as being rowdy, fun and something to truly let loose to. It should have elements of insanity and an unconventional soothing effect. It doesn’t matter which country the band in question is from or what their mother tongue is. All that matters is how the music makes you feel.
As if through divine intervention the Telegram’s Operator has finally been released and I can be blessed with their impressive and unique sound whenever I want or need. It’s safe to say, I’ve been under their spell ever since my first encounter with their phenomenal single Follow.Follow illustrates a sound that captures the raw elements of indie, like garage rock, while professing something between a glam like psychedelic Frankenstein.
The Madcaps’ new album Hot Sauce is quite possibly the best thing to infect my ears so far this year. Hot Sauce perfectly represents a sound that is addictively savvy and is instantly likable.
It is clear within seconds of switching on Temporary Mutilation, that Useless Eaters produce a sound that is both provoking and edgy but is above all ominous. This is an EP that requires one to start at the beginning and go through to the last track to fully appreciate its certain brilliance. If you survive this listen, great, if not you’re probably not listening to it correctly or on the right substances.
Now here with Choke Chains’ release, we have an extremely hateful and dark record. I have to admit it took me awhile to understand where this band’s allegiance lies. It’s not quite garage: it’s not punk really. It’s not a rock and roll record either.
They mix garage with noise and post-punk antics, while Wet Ones seems to stick to the sloppy garage formula with some good screaming thrown in there for good measure. It reminds me a lot of the second Black Lips’ record– out of tune and all over the place, but still manages to find clarity somehow in its mess.
The Long Beach sensation, Radiohearts, has come across my desk again and their new EP tops anything they’ve done thus far. They are taking a more traditional power pop direction.
You know when you hear thunder after you hear lightening? Well, if you put that thunder on loop, very, very low – that is Phase Out.
A dark, sax-driven rock and roll band– this is how Harry Violet & the Sharks define themselves, and rightly so. It’s delightful to see such a big revival of the saxophone; it played a vital part back in the golden days and it’s astonishing to see what the new bands are doing with this grandiose sax appeal
So here we have a subsidiary for Slovenly called Mondo Mongo, which features bands writing music in their respective languages. Sometimes it is difficult to express the aggression shown in music if the language being presented isn’t used as often as their native tongue. Here are three records that show off the ability to get things done– no matter what the tongue. Music is a universal language, right? That is most certainly confirmed here
If you haven’t heard of Klammer yet, they are a mixture of post-punk and gothic rock. Their sound reminds me of The Cure, Joy Division, Bauhaus and, at times, even the Ramones, New York Dolls and other new wave acts.
The great thing about discographies and re-releases is that it makes you think about that band you used to listen to and like again, and that’s exactly the case with a Coke Bust’s discography, The Early Years, put out by Carry Weight Records and released on a 12″ red or black vinyl.
“We are gonna fuck you with our music and you’ll get pregnant. Giving birth is wonderful. I love you!”
…is what it says on Billy Carter’s Twitter page. When you listen to them you would never guess this trio is from South Korea.
A second EP from Fleckt Pets is filled with the kind of songs that will make you want to stand on your desk during the math test and dance. It’s eccentric, dark and political– garage punk at its best. As the band suggests on its page, it would probably be enjoyed better live.
Dead Coast is about to release their debut record, Shambolic, on 5th February 2016. If the Beach Boys were new now, they’d probably sound like this band.
Fans of the classic yet simple punk melodies will find a comfortable familiarity with Nervous Twitch’s Don’t Take My TV.
No Landing Plan ought to have a disclaimer that warns listeners of the involuntary volatile spasms that follow from listening to the infectious nature of this upbeat poppy garage rock ‘n’ roll.
There is a little something for everyone here, and now there is even an archival series, which potentially puts in your hands previously unreleased records and demos. Just the stuff that you had no idea existed and, if you did know, there is no way you could get your hands on it.
Here comes another Denton attack and it’s the 4th round. Orville Bateman Neeley III’s are back and this is certainly their most powerful yet
I always get super stoked when new power pop records are sent my way, and Radiohearts are next in line to carry the torch. First off, these guys are from Long Beach, California, which I had no idea had any power pop bands.
To suggest that something like Dust Wave borders on the experimental would be accurate, but perhaps a little pervasive. So after giving this album a few listens, I have found Dust Wave to hold 10 tracks that represent sounds of the terrifyingly abstract and oddly provocative that defines the result of the mechanical alienation that is 21st century life.
Gino and the Goons Check This Out EP has all the fury of Johnny Thunders and the Heartbreakers mixed with the aggressive emotions of primal R & B.
These dudes from Glasgow came across my desk recently. Aside from them, I haven’t heard much from Scotland as far as a punk scene is considered. The Jackhammers are definitely a warm welcome, as their sound seems to channel different aspects of the genre.
Whenever I hear a Coachwhips’ song, I usually think of three things: 1. Did the volume suddenly get turned up? 2. Am I drunk? 3. Did someone just punch me in the ear? The sound is raucous, dirty, sloppy as fuck, raw and sleazy: basically, all of my favourite adjectives when talking about a garage punk band.
First, to be clear on this one, I was wondering where Born Loose went after we (Satans Youth Minsters) played a show with these dudes close to 5 years ago in Brooklyn. Damn, Born Loose was sick.
Oh boy, here comes some dirty stuff. After two singles from Madd Blake Y Los Stalins’ upcoming album Primitive, and I can confirm primitive is right. The Cramps-esque in nature, this sound grew on me right away. It’s rockabilly that is actually good.
There is always a certain comfort to know the familiarity of a sound as it drifts across the airwaves. Nelson Y Los Filisteos has the psych garage punk wall of noise down to the T—so well, I swear I’ve heard it before.
It is safe to say I have yet to be disappointed with any of Giuda’s releases. I’ve followed their progress since witnessing them perform in 2011 at 12 Bar in London— after hearing “Get It Over,” I was hooked.
You never know what you are going to get from King Gizzard and the Lizard Wizard and their latest album, Paper Mâché Dream Balloon, is no exception. While they seemed to be headed to a slightly more mellow place with their Quarters! release earlier this year after 2014’s much heavier chaotic psych of I’m In Your Mind Fuzz, the latest album is ultimately another experiment and change in direction from the Australian psychedelic garage band.
I love the Italian music scene. In the last 6-8 years, it has seen quite a strong resurgence in the punk, garage, glam and psychedelic genres. I got my first taste of this revival several years ago with an opportunity to book a Mummies-esque band, The Ultra Twist. It was at that moment when I became quite intrigued with Italy’s music scene.
Okay, I should just get this over with first– I’m not majorly into this kind of music. I struggle to stay interested, as I like energy along with a clear point and drive to a song. I like when there is noticeable passion and meaning. The Naturals’ Hive isn’t quite there for me.
I’ve been to Muscle Beach. It stinks of weed and there are little shops lining the beach, selling weed-memorabilia and stuff with Tupac’s face on it. But, at least, there is a skate park nearby. I can see why native Californians would rebel against it, but, to be fair, I was sucked in and bought a Disney-themed “Cali” vest and tourist jumper when I was there. If anyone can articulate frustration against consumerism and the idealism of the American Dream, then it’s probably Night Birds. They are in a band, yes, but they are also part of the daily grind. They, themselves, say that they do the band stuff for fun- not because it makes them any money. And that is where we find Night Bird’s new release, Mutiny at Muscle Beach.
Baby Shakes are back !! Its been a long time coming. I was super bummed when the announced their initial breakup. And now, they have made their return in a fantastic way with this new LP. It’s like ATL the way i remember. Let’s take a step back in time. I need to elaborate this. The Atlanta music scene from the early 2000’s was everything you could possibly imagine. The Black Lips, Coathangers, and Deerhunter were the top dawgs in those days.
Rumors were all over the place for many years that some recordings like these existed, and now finally they have surfaced. Totally worth the wait ! It’s kind of a long story, and it all has to do with one man and his quest to start as many bands as possible over several year period all across the western US from 93 to 99.
Those of us at Heatwave have been among the lucky few to be given access to the latest compilation on the Girlsville label. A fun, loud, punk collection of songs entitled Stupid Punk Boy.
As described on their own Bandcamp page, Role Models is “good old rock”. The Go-to Guy is their debut album, after sprinkling small releases in 2014, EP Lost in the City and single “This Eventually Leads Nowhere”. The group involves Rich Jones of past punk rock bands The Yo-Yo’s and the Loyalties.
The forerunners of the Barcelona’s rock scene, Mujeres’, newest release directly follows their buzzy surf style. Pop punk influences abound and the ample vocal distortion creates a bending, lo-fi garage flair that’s effortless to bop your head and thrash your feet to.
The “I’m Lookin’ For a Heart” 7-inch has sold out, but the “Can Ya Tell Me (How Life Goes On) has just recently hit the streets, and trust me when I say, you need it. Don’t sleep on this catchy summer hit.
Sharp like a razorblade’s edge, the electro-punk quartet, the Miscalculations, are an electrifying field of distorted passionate fury of agitated post-punk brilliance.
I’ll take this with a side of cheap shitty beer any day.
It’s dark, but surfy tones set you up for a wild, psychedelic ride. It reminds me of the Fresh and Only’s with a little more balls.
A+. Dont miss out on this one for sure.
Last year the Stops put out a four-song demo tape recorded by guitarist and lead songwriter, Ruby, in the basement they practice in. It revealed an impressive grasp of melodic and dark lyrical content. Now they’ve spent some hours with Adam Becker, a recording engineer at Red Lantern Studios in Portland, and have recorded an LP (and more) in a much more polished way.
Badgirlcore is a thing and G.L.O.S.S. are defining it.
Spain has always been known as a country that’s on top of the punk game, giving us some of the rawest, most energetic and most original bands in the scene. This record is no exception to the rule.
Dark, twisted and bleak, with haunting and foreboding guitar chords and sexed-up matter-of-fact lyrics, Scotland’s latest post-punk offering is anything but the usual sound. You’re forgiven if you think that on paper Baby Strange is nothing but an unruly, unfair stereotype of a band from the rough streets of Glasgow.
Hailing from Milwaukee, the Platinum Boys are a very talented, creative and powerful group
. In my opinion, Milwaukee is one of the best cities in the U.S.
Originally from Yokosuka and now living in Tokyo, these dudes are Japan’s biggest secret, and I hope with this little push these dudes can get the exposure they deserve. Labelled as “soulful garage rock,” this was the first band in a long time that really stuck with me, after seeing them live as an opening act for Nobunny on their Japan tour.
Hailing from Falmouth, The Red Cords label themselves garage punk –I agree with this. I also agree with the press release accompanying the recently released EP, Vile Guy, when it states that the whole thing could be an A-side. There are a couple of really good songs on here, but on second listen, it is just a reminder that maybe it is time people dropped the Ty Segall reference and tried something new.
It might be a master complot of these maniacs to make every living soul dance, but I gladly surrender. With that being said, their third album It’s… MFC Chicken Time! is yet again an extremely solid dance album.
This sound is garage in its most raw form. And, although, The Arrogants like to explore Mod 1960’s sounds, Psychedelic, Blues, and R&B, you still feel that, in this album, there’s no place for flourishes of any kind– neither deep psychedelic hues nor intransigent solos shouting out of the boxes.
Raw Fun, for me, embodies sixties rock ’n’ roll on speed. This depiction was my initial thought when I first heard them and I’m sticking to it. Now let me tell you, this sound makes me happy, very happy. Raw Fun is raw fun indeed.
Archie and the Bunkers, inspired by the funny Archie Bunker from All In The Family, is a couple of teenage brothers from Cleveland– Emmet on the drums and Cullen on the organ and lead vocals. No guitar, no bass, just a four-piece drum, an organ and two incredible mature souls with the energy of, well, teenagers.
Clear your whole damn schedule and buy some new earplugs because legendary Japanese hardcore blues punks, King Brothers, are coming to the UK for the very first time. King Brothers have been around since 1997, when band members met in high school in Nishinomiya City in Hyogo Prefecture, Japan.
Like all of their other albums, the fifth release from White Mystery goes sorta wild. While in past the band’s loud rhythms had more of a lo-fi feel (in the vein of, say, Bass Drum of Death) here they deliver more of a pounding, crystal-clear classic rock sound that beats around in a 1960s gilded cage.
Straight off of Burger Records, this group is a must have for your collection. Think 1960’s girl groups, like the Ronettes, throw in some garage rock with a defining sex-beat and you have Habibi.
Fellow power-pop/garage guru and old friend, Matthew Melton, has been in the game for quite some time now. All of Melton’s projects, Snakeflower 2, Bare Wires, and Warm Soda, have their place in the garage scene here in the States.
There are a lot of garage groups out there, but you have to sift through the shite to find the gems—these guys are a group of mighty sparkling rocks. They are well worth the listen, as soon as the needle drops onto “You’ll Be Mine” you know you’re in for something good.