Tag Archive for 'post-punk'

The Submarine Races / The Submarine Races

10984146_155_155.jpegThe Submarine Races’ self-titled debut came out in June and I had hoped it would make its way to eMusic. In The Red Records, a fine punk/garage label, hadn’t sent anything to eMusic in a long time but finally a few weeks ago this one showed up. I was especially happy because it was at the top of the list for my few and far between brick and mortar purchases.

I’m glad my patience paid off because I would have been disappointed had I bought the physical disc. Not that The Submarine Races is a bad album. It’s very listenable and there are a couple of great songs. It just doesn’t live up to my mental hype. Lead Racer Ian Adams used to be in The Ponys and I was crazy about the tracks he contributed to that band, in particular the sublime “Fall Inn” on Laced With Romance. There are a few moments that equal that gem but generally speaking it’s an average album of artsy garage pop-rock.

Things get off to a particularly rough start with a challenging instrumental noise fest called “Theme.” There’s nothing else like it on the album and it’s really a questionable choice to pull listeners in. The proceedings improve vastly from there, with Adams’ nasal desperation backed by driving bass lines, alternately wiry/chunky guitar, and workmanlike drums. The most memorable songs are the ones with killer choruses, including “Get Yourself Together” and “One Forward, Three Back.” The organ and call-and-response vocals on “Ghosts and Worms” are pretty nifty too.

I noticed a lot of the chord progressions have an oldies vibe to them which contrasts nicely with the otherwise post-punk leanings. This really gives the band a distinctive sound. Hopefully Ian Adams’ tenure with The Submarine Races will at least equal his stint with The Ponys and he’ll continue to build on this promising beginning.

Moros Eros - I Saw The Devil Last Night And Now The Sun Shines Bright

Moros Eros - I Saw The Devil Last Night And Now The Sun Shines Bright Drumming is not something that often gets accolades let alone mentioned very often in the non-drummer press and I’ll be the first to admit that if the album isn’t one explicitly built around rhythm I pretty much ignore it which is why I Saw The Devil Last Night And Now The Sun Shines Bright leveled me when I first heard it. Bobby Theberge maintains such a level of power that you can feel him pounding the kit like it was your chest yet he manages such control that his work is lyrical, floating to the front of the mix without being overpowering. His stick work is hypnotic and compelling both in how it propels the group forward but also in how it is integral to the melody in each song.

Now, I know that I am not too dialed into the continually fragmenting sub-genres in the Rock world but I am not entirely sure how the Emo tag was applied to Moros Eros. Maybe it is the thin veneer of keyboards that drift in the background, but the band grinds out songs that fit more in the realm of mid to late 90’s post-punk. They have a strong focus on equity in their compositions with no song being dominated by one instrument’s ego at the expense of the others. The songs are balanced and organized while managing to swing in a sort of angular fashion that is reminiscent of Fugazi and Circus Lupus. The the opening track “Today is the Day” where the drums wrestle with the guitars providing a substantial and sharp sound where Zach Tipton’s vocals can stretch like they do on “When I Wake” where DJ Schulz churns out the melody on bass with care and precision are standouts in this regard.

Maybe the Emo label comes from the lyrical focus of the album laying bare the interconnectedness of the hopeless, the resigned, and the fearful though the wanderings of the Devil in the night. Here the Devil is less an antagonist and more a device to bind these disparate tales together and it is effective as they move from a story of lost love to one where the character is wracked by questions of morality. Moros Eros is tight lyrically as they are as a band, making for a fascinating listen, and one where I often feel compelled to shout out responses in the choruses.

This year has been filled with great releases but Moros Eros’ I Saw The Devil Last Night And Now The Sun Shines Bright, with its power and lyricism, manages to shoulder many of them to the side. It is sitting at the top of my list for one of the best releases of this year. You can stream two tracks off the album “Today is the Day” and “Satan Has A Heart of Gold” over at their Myspace page. Very highly recommended.

From Europe 2. !Forward Russia¡ - Give Me A Wall

OK. To be short today.

I saw yesterday these guys and gal (drummer is a girl) from Leeds. These (Forward Russia with a reversed ! before and and a ! after) are completely mad and furious. Sort of crossover between Bloc Party and These Arms Are Snakes. They are absolutely not arty, juts playing an extra-strong rock. Influences? They are certainly post-punk, funk, coming from Leeds just as Gang Of Four. The incredible guitar let think of Sonic Youth (the guitarist name is… Whiskas). Les Inrockuptibles also name At The Drive In and The Rapture. Some shouting are also coming from a hardcore tradition.

Than, it’s certainly not Stockhausen but yes some pleasure… with some irresistible tracks.

Wikipedia
My Space (Four tracks : 19-9-16-12).
Video of Eigtheen On band web site.

(I forgot to say : the name of the tracks are… order in which they were released…)

Available on emu but is it for US?. Let know in a comment…

Osaka Popstar and the American Legends of Punk

2006/09/250.jpgLooking for some good ol’ Saturday morning cartoon punk? Osaka Popstar is the moniker used by cartoonist, film-maker and music producer John Cafiero and he has assembled some of his friends to back him who are American Legends of Punk. This supergroup of punk features Marky Ramone, Jerry Only of The Misfits, Dez Cadena of Black Flag and Ivan Julian of The Voidoids. The lead off track and the album’s strongest song “Wicked World”, was written by Daniel Johnston. The album released back in May, is a juiced-up colorful comic book in which Cafiero sings with such vibrancy you could almost see the colors pop. Some songs are even about cartoons, such as “Sailor Moon”, “Astro Bot” and “Where’s the Cap’n?” about Captain Crunch cereal and features a Popeye riff. Johnston also appears as a background vocalist on “Man of Constant Sorrow”, a variation of the traditional song which appeared in “O’ Brother Where Art Thou?”, but this version takes place in New Jersey. They also cover two Richard Hell & The Voidoids songs back-to-back, “Love Comes in Spurts” and “Blank Generation” in which they power through with amazing speed. At under 30 minutes and only 12 songs, there are no egos popping from from these legendary cartoon punk characters. This is clearly an album made for fun and delivers a romping good time. The CD comes with a bonus DVD that contains 2 videos: “Wicked World” & “Insects”. The video clip for “Insects” looks hysterical. Check out all the fun on their site!

Snowden - Anti-Anti

cover2.jpgInterpol is certainly a reasonable reference point for Snowden, but that specific comparison is also shorthand for the current wave of post-punk descendants. This Atlanta four piece shoves its way into that crowd on their first full length, Anti-Anti. Featuring bottom heavy sonic noir constructions with inventive, danceable beats and wicked cool effects driven guitar, it’s an incredibly satisfying album. Kind of gives me the same feeling I get from the sound of throwing rotten peaches against the side of our rusty old tin shed- that explosive, exhilarating bang.

I’ve been playing this almost exclusively for a week now and I’m still amazed by the way singer Jordan Jeffares pulls off the incredible feat of delivering his melodic monotone in slow motion. As a kooky challenge, try singing along to “My Murmuring Darling” and you’ll see what I mean. But most of the songs are tightly wound dance punk anthems and there are a slew of keepers, including the sublime title track, the menacing “Like Bullets,” and the jittery “Counterfeit Rules.”

The more I listen to Anti-Anti, the more I like it. And I liked it a whole lot to begin with.

Mixtape tracks- Like Bullets, Anti-Anti, Filler Is Wasted, Counterfeit Rules

Freebies- You can download “Anti-Anti” and stream three others from the band’s official site. They also generously offer five-sixths of their self titled EP.

Rip It Up And Start Again

0143036726.jpgI’ve been reading Simon Reynold’s Rip It Up and Start Again: Postpunk 1978-1984. Turns out I’m kind of well versed in some of the genre’s key players, or at least their work during that time frame, including The Fall, Gang of Four, Pere Ubu, Devo, The Slits and Joy Division. I’ve only read about a third of it though. We’ll see how well my self-education holds up for the rest.

It’s a pretty interesting book. The main problem I have is that it almost reads more like a social history than a musical one. Reynolds makes all the bands sound so self-conscious and concept-minded, the result of social factors like the decline of the steel industry’s effect on industrial cities and the rise of the conservative right in the guise of Thatcher and Reagan. He sometimes makes it sound like music was an afterthought for these people.

And then there’s his highfalutin’ writing. Dig this quote, about science fiction writer J.G. Ballard, whose writing profoundly influenced postpunkers from Sheffield, like Cabaret Voltaire:

Fusing clinically described avant-porn with Marshall McLuhan-esque insights into the mass media, Ballard probed the grotesque (de)formations of desire stimulated by media overload and celebrity worship, delineating with forensic precision an emergent psychomythology in which the deities and titans were movie idols like Elizabeth Taylor, icons like John F. Kennedy, or cult leaders like Charles Manson.

He takes a pretty scholarly approach to the subject, as you can probably tell. It can be pretty dry if you aren’t familiar with the bands he’s writing about. I stalled out for the longest time on the Throbbing Gristle chapter for that reason.

Still, there are enough music related anecdotes to keep me tuned in. I didn’t know, for example, that Devo’s Mark Mothersbaugh and Gerlad V. Casale were part of the student protest at Kent State in 1970 that the National Guard opened fire on or that Casale was friends with two of the four young people who were killed.

The Rip It Up & Start Again site has some cool stuff too, including a discography and footnotes. Simon Reynolds has also put together an accompanying compilation that I’d really like to hear but there doesn’t appear to be a U.S. release. Bummer. I did find a Post-Punk Dozen that he wrote for eMusic though and will have to grab some of the releases that I don’t have. I already downloaded Teenage Jesus & The Jerks in anticipation of the No Wave chapter, which is up next.





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