Moldig - Moldig (2007)
Reviewed by - Frank Deserto
Despite having heard a mere handful of numbers by Italian post-punk band Moldig, I knew straightaway that they were something special. After several compilation appearances, including one on our very own Notes From the New Underground series, Moldig have just released their self-titled debut in November of this year, and what a stunning debut it is!
Though the band now consists of three members, Moldig officially began in 2005 as a collaborative effort between bassist/vocalist Giuditta Corgnati and guitarist Enrico Bricco. Their sound is direct- a steady, hard-hitting electric drums backing jagged ancillary guitars, steady bass rhythms, and the occasional synth line, topped off with the crème de la crème; female vocals that are far more deep, driving, and soulful than they are meandering and ethereal, immediately setting the band apart from the flock.
Meanwhile, the ten tracks that comprise Moldig's debut record are infectious and catchy, infused with healthy yet non-intrusive dancefloor flair. Standout gems on the record include 'Danger', with cyclic guitar dustings laced over driving hooks, 'A Game', a track ripe for the post-punk gala, and tension laced 'The Sense', featuring some of the most powerful guitar and vocal work the band has to offer. Though the record was cut before drummer Daniele Pavignano would complete the lineup, Blacklist drummer Glenn Marayansky took to the skins from afar on selected tracks, the remaining percussion on the record the result of precise programming.
Oftentimes, brevity is not only the soul of wit, but also the key to a fine record's success. Though Moldig's debut runs just shy of forty minutes, there's not a single ounce of fat to trim, and in fact, the record leaves adoring ears eager for more. We only pray the wait isn't too long, and that Moldig's refreshing and powerful sound continues to win over hearts both near and far.
Records of Reference:
Death Cult- Death Cult EP
Very seldom does a band with a palpable range of influences outdo the very same acts who inspired them, but I've often felt this way about New York City noise darlings a Place to Bury Strangers. With a firm love of sixties girl-pop greats the Crystals, the doom atmospherics of Swans, and the sheer adrenaline rush of early Jesus and Mary Chain, this three piece has been taking New York by storm since their inception in 2003. Since brainchild Oliver Ackermann's departure from Virginia's similarly-styled Skywave, this new project has developed a large cult following and the band has earned choice opening slots for the Brian Jonestown Massacre, Black Rebel Motorcycle Club, and even a reunited JAMC. Over their tenure, A Place to Bury Strangers has released a variety of tracks on various homemade EPs, but just this year Killer Pimp records has issued a ten track s/t compilation collecting a handful of these highlights.
Though the disc sadly skips over a few previously issued gems and otherwise live favorites, the record still hits like a Harley from hell, each track delightfully boring a hole straight through your skull. The compilation begins with 'Missing You', a delightfully atmospheric track with heavy build and drive, setting the tone for the following nine to come. Each song blisters with perfect noise pop flare, an onslaught of fuzzbox guitars shrieking over a mixture of organic and electric percussion, throbbing bass, and barely intelligible, yet still captivating vocals. Other highlights include dancepunk shuffle 'I Know I'll See You', the cathartic yet brief 'My Weakness', slow-burn number 'The Falling Sun', and more primitive early recordings 'Another Step Away' and 'Breathe.'
For those who have collected these tracks on various CD-Rs over the years, it's a sheer treat to hear these tracks mastered and released proper, and as a further step for devout audiophiles, the compilation has also been pressed to vinyl via Important Records mail order. An 8-track edition has yet to surface, but we're not holding our breath.
Records of Reference:
Jesus and Mary Chain- Barbed Wire Kisses
Official Site
The fondest affections are reserved for those new and exciting bands that seem to appear out of thin air; majestic, powerful, and ready to take on the current scene with rare fury. The Opposite Sex is that sort of band, through and through.
Hailing from the recesses of Washington D.C., the Opposite Sex is a three-piece outfit with a variety of dark influences, ranging from the avant-garde, the captivating tart of glam, the murkiness of the New York City no-wave movement, and the razor-sharp ferocity of deathrock. As a live act, they are relentless and unforgiving, delightfully theatrical yet direct. With a promising four-track EP already under their belt, the band has just self-released their first full-length, Violent Heartstrings, and what a stunning debut it is.
A ten-track dissertation on post-punk fury, Violent Heartstrings both begins and ends with a bang, and all tracks pulse and clatter with delicious tension. The din of dirty saxophones hits hard throughout the album, blending in perfectly with jagged guitars, rhythmic bass, pounding drums, and nervous, piercing vocals. Stand-out tracks include 'Shattering Walls', a punchy tune with a thick shroud of atmosphere, the vicious two minute onslaught of 'Knives', and title track 'Violent Heartstrings', the driving and catchy opener sprinkled lovingly with a hint of apocalyptic mayhem.
Throughout the entirety of the record, the band sounds at home with their aesthetic revelations, their confidence even more striking and enticing alongside a series of sturdy tracks. Ripe for the discovery, one would be elated to unearth the delights that Violent Heartstrings holds in store for any unsuspecting listener.
Records of Reference:
Siiiii- Ancient
Official Site
German industrial purists Einstürzende Neubauten may have seemingly sat dormant since their last release, 2004's Perpetuum Mobile, but on the contrary, they have been as busy and prolific as ever. Free from record label constraints since 2002, the band launched a behind-the-scene series of supporter projects, each a fan funded venture to record and release a series of musical experiments over a set course of time. Over ten discs worth of material was created as the band lay silent in the public's eye, and now they're ready to rise forth again with the upcoming release of Alles Wieder Offen (All Open Again), their tenth 'official' studio album on their own independent label, Potomak.
Those familiar with Neubauten's illustrious supporter projects will also be familiar with some of the material that appears on Alles Wieder Offen, for the ten-track record features sound bytes, backing tracks, and a handful of compositions from their supporter releases, most notably the 8-part Musterhaus series. This is not a simple compilation of past recordings, however, for Alles Wieder Offen expands on previous ideas and offers up fresh ones, and the majority of the record is comprised of unique tracks.
Just like the previous few Neubauten albums, the sound of Alles Wieder Offen is much less abrasive and confrontational than their classic 80's output, but there's a more subdued yet powerful aesthetic with the inclusion of pianos and string instruments alongside their usual marriage of modern technology, organic percussion, and singer Blixa Bargeld's vocal experimentations. Also unlike past efforts, Blixa's harsh wail is more calculated, rhythmic, and direct. There are pieces that meander skillfully, like piano-centered opener 'Die Wellen', which beautifully builds to an abrupt conclusion. However, songs such as 'Let's Do It a Dada' and lead-off single 'Weil Weil Weil' throb and pulse with dance floor rhythms and infectious grooves, even if they happen to be steel-based and unconventional.
In the end, though Einstürzende Neubauten may not be reinventing the wheel with Alles Wieder Offen, they have certainly recorded an album worth their supporters' (and even their more casual fans') fiscal input, and one that shall sit boldly beside previous efforts.
Official Site
There often lies a fragile balance of art, beauty, and chaos in music, and Hungry Eye Records have captured it with the Weeg's second full-length release, the Million Sounds of Black.
Descending bass and pulsing synths kick off this curious little gem of a record, and are quickly joined by droning saxophones and jagged guitars. Cue apt comparisons to such synth-punk bands as Kitchen and the Plastic Spoons, Nervous Gender, and P1/e. As blissfully disjointed as the songs that follow are, there lies within a vaudevillian style, a dark funhouse of throbbing rhythms and jarring feedback, complete with pseudo-sarcastic humor that is equal parts unsettling as it is magnetic.
The record seems short at first glance, not straying far from this formula, each song ushering in a fleeting serrated cavalcade, eight tracks long. However, this simple yet effective spell is broken with the last track- a forty minute drone piece entitled 'The Million Sounds,' which swerves in and out of coherence like a car crash from hell. It's easy to listen to it as a separate entity, yet it doesn't distract from the previous brevity and fury of earlier tracks. Other stand-out songs include the galloping 'Aphid' and the curiously-titled rampage 'Hot Dog Stand.'
Closer listens to the Million Sounds of Black also yield a fragile (albeit ugly) beauty, subtly hidden under the madness, which adds further sense of depth to an otherwise satisfyingly abrasive record. An updated rendering of post-punk's more synthetic side, this record certainly delivers through and through.
Records of Reference:
Devo - Duty Now For the Future
Official Site
Well... this just came out of nowhere. One of the best albums I've heard this year was dropped in my lap a week or so ago. Some of you might recall Autodrone from one of our older "Notes From the New Underground" comps. Their song "Forward Fever" was in my opinion one of the highlights of the compilation. I wasn't sure what exactly became of them following that E.P.
Apparently they were busily crafting one of the flat out coolest albums I've heard in quite some time.
The opening number "Strike a Match" starts off sounding like any number of Post-Punk revival bands, but within a minute the song kicks into a hyper-kinetic chorus and doesn't let up from there. One thing you will notice that pops up on most of the album is the walls of guitar feedback manipulated as a part of the background ambience. It isn't so overbearing as to completely overpower the rest of the music like My Bloody Valentine or Jesus and Mary Chain, but actually adds a unique texture that balances out perfectly with Emily Varlas very pretty vocals. This is the kind of thing that sets Autodrone apart from the increasingly crowded Post-Punk scene.
"Final Days" follows and is another great catchy track with some excellent thick synthisizer elements drifting over the top of the more traditional arrangements. The next track "100,000 Years of Revenge" is the first of a few experimental noise numbers on the album and unlike most bands that throw in noisy filler, this song actually fits into the album perfectly. In fact it transitions to the next song "Kerosene Dreams" flawlessly. "Sometime" flows right out of another short instrumental piece, and is as as good as any of the other songs on the album. Once again feedback squalls drift in and out amongst tribal toms, and dreamy guitar textures. "Through the Backwoods" follows and is probably the poppiest/catchiest song on the album yet. It has some classic Post-Punk dance elements and excellent melodic hooks. "Moth of July" is the next experimental number, and it's good for what it is. However I felt it could have been quite a bit shorter. Six minutes is a little long for an experimental track on a pop/rock LP. "Can't Keep These" is a nother good track, though it didn't particularly stand out to me. "With Arms Raised" on the other hand once again displays these guys melodic chops with some more excellent hooks and interesting arrangements. "Of Home" is yet another "good" track that didn't particularly grab me. Perhaps it just reminded me of some of the earlier songs on the album too much.
However the closing number "Pictures" takes a step away from the style of the rest of the album and is a lilting ballad with pianos buried under walls of drifting guitar feedback and squalls. But as I mentioned earlier the feedback feels more like a background effect and fades in and out of the song, and adds a sense of tension to an otherwise sweet, and pleasant melody.
So their's my review. Go pick up their album, it is that good. Oh and to any potential record labels looking for a band... these guys are believe or not currently unsigned! If I could ever get Movement Productions up and running as a label, I'd sweep these guys up in a heartbeat!
Records of Recommendation:
For once I can't really think of any particular bands to compare an album to. This is just too unique of a sound for me to try and do that.
Official Site
San Francisco's Astral have been kicking around since the late 90's, and after some rocky line up changes, they have managed to pull together and release their second LP "Sleepwalker". It's been quite a while, but I think it was certainly worth it. Astral is one of four bands currently signed to the new Dreampop centric Bay Area based label "Vibraphone Records", and the only I was previously aware of.
Some of the album highlights include the dreamy Slowdive influenced "Waterfall", and "A Lullaby from Amsterdam". The driving radio friendly "Transmitter", the mysterious and spiraling "In Circles".
And finally my three favorite songs on the album... "Ways and Means" with it's very Chameleons influenced guitar work, the thunderous "White Tigers", and the pièce de résistance, title track "Sleepwalker". Sleepwalker is a classic track that I hope the band is very proud of. It pulls elements from various sources, but perhaps My Bloody Valentine is the most obvious comparison. At the 2:15 mark the song slows to a crawl only to come roaring back to life about 30 seconds later. I have to say though that one thing about the album bothered me, and that was the production quality.
I've heard most of these songs live just a few weeks ago at a Vibraphone Records showcase here in SF. Live all of these songs are monstrous, but on CD something is lost in the transition. The production isn't terrible, it's just very muddy compared to the crystal clear sound the band have live. I'm tempted to go and play with these songs in my own studio and see if I can't bring some of the power to the forefront that has been pushed back on the album proper. At any rate this album is great and despite it's flaws I recommend it to anyone with a slight interest in Dreampop music.
Records of Reference:
Slowdive - Just For a Day
Official Site
This is a film that far exceeds the cultural confines of Factory Records and the prowling pack of devoted Joy Division fans that seem to sometimes jealously guard the legacy and the myth. It is a movie about relationships, confused feelings, unknowable pleasures, domestic pressure, epilepsy, torn loyalties and ripped apart love. It explores the tension between the mundane and the mystical; the banal and the beautiful; poetry and perspiration.
It relies heavily, almost exclusively, on the central performance by Sam Riley as a lost, but entirely likeable and recognisable young Bowie fan who, almost by default becomes the lead singer and lyricist for what will become, retrospectively, one of the most important and influential bands ever- namely Joy Division. Fortunately Riley's performance is terrific- he captures the naiveté, the frailty, the sweetness and selfishness of a young man who wanted to be like his heroes- Lou Reed, Iggy Pop, David Bowie, Bryan Ferry, Jim Morrison, but was held back, seemingly, by the realities of life in Macclesfield, Lancashire in the mid 1970s, a young wife Debbie (a fabulously sympathetic, restrained and truthful performance from the hugely capable Samantha Morton); a newly born baby-Natalie (now a photographer herself) and the necessity of making a living at the local labour exchange.
The look of the film is glorious- monochromatic shading vies with spectral silver and crisp back and white. There is a narcotic mix of harshness and heavenliness. The attention to detail- down to the correct baby products and post-punk posters- is phenomenal and the soundtrack- a mixture of glam, grit and original live recordings (by the cast) of JD numbers is tremendous. The framing of the shots- not surprisingly given director Corbijn's background as a stills black and white photographer- is gorgeous. Great deals of the shots are done in extreme close-up- Curtis fitting towards the end of the film is an especially powerful and affecting use of this technique.
This is neither a rockumentary nor a punky biopic, but nonetheless the sequences on stage, in the audience, the recording studio, in the obligatory tour vans have an authenticity and a visceral vividness that I have rarely seen- especially as I was actually present at most of the seminal gigs and events.
The low key (at times kitchen sink) drama and slow, occasionally funereal, pace is leavened by genuine Northern wit and humour particularly through the characters of JD manager Rob Gretton and bully boy bassist Hooky. 'It could be worse- you could be the lead singer of the Fall' was one of many witty lines from an intelligent and beautifully crafted script by Matt Greenshaugh.
I saw this film with three friends- two of whom had previously known little or nothing about Ian Curtis, JD or Factory Records, but they enjoyed and were moved by it, as a piece of honest, illuminating, truthful, human and humane film making.
My only criticism is that there was too little of Martin Hannett, although when the character did appear, he looked and sounded exactly right and had another great line- 'That's fucking genius'. A good description of the film itself.
Every pun-loving reviewer's wet dream, Melbourne's Bit By Bats have built their reputation on the raucous energy of their incendiary live sets. All attempts will be made here to steer clear of witticisms involving bat attitudes, going batty etc in favour of focusing on discussion of how they have transferred a controlled version of their fury to record, no promises can be made however.
First off the bat (apologies) on Go Go Go! is a track which shares the same name and sounds like an eerie but probably quite marvelous dungeon party. From the disturbing howls emanating from said dungeon, it may or may not be a party you want to be invited to.
The furious tempo is mostly maintained throughout, none more so than on the pogo inducing Dance the Dance and insurgent Maurie And Marie or in the angular Franz Ferdinand riffs of Like A Panther and Wolf Parade wailings of Out For Love. There's just about enough variation here to hold your attention once the initial adrenaline rush has worn off. Take the impressive She Was Venezuela for example where playful xylophone is layered with warm shards of tremolo guitar and rumbling, undulating bass before the introduction of Owen Eszeki's yelps, redolent of the Godfather of Goth himself: Robert Smith.
Comparison has to be drawn here to Smith and The Cure and their bass heavy sound also draws parallels with the likes of Joy Division and New Order. In terms of their contemporaries they are slightly darker than fellow Melbournian post-punks Children Collide while still being somewhat less ghoulish than the likes of cartoonish cult rockers The Eighties Matchbox B-Line Disaster.
Proceedings come surging and lurching to a close with In My Arms. All in all the injection of high doses of melody make their art rock stylings and stripped down garage sound more accessible than most and should see them batting above average for some time to come.
Records of Reference:
The Birthday Party - Hee Haw
Official Site
It's no secret how excited we are at post-punk.com about any news relating to Blacklist, so I guess it should also come as no surprise that the arrival of a new EP by these New York based luminaries is an exciting day to say the least. While the Solidaire EP only has three songs, they are three all new songs, and hold up easily to our expectations. One of the best things about these guys is that they are one of the few modern Post-Punk revival bands that address serious political issues, and not like politics for the sake of singing about politics. They seriously care and are concerned with the current state of our world.
The soaring cacophonous "Blue Shifted" opens this brief tour of Post-Punk by way of Goth-Rock. This track is as infectious as anything else these gentleman have released thus far, containing a nice catchy chorus that can easily get lodged in your mind.
"Shock in the Hotel Falcon" follows and is easily the highlight of these three tracks. The opening bass chug recalls the gloom and doom of Killing Joke, or Sisters of Mercy in their prime. Once again Blacklist create incredibly catchy melodies, and dramatic atmospheric tension.
Finally closing out this session is a cover of french coldwave legends Asylum Party's "Pure Joy in my Heart". This is by far my favorite song by that band, and my favorite song in the coldwave genre in general. So I was going to be obviously biased when anyone (even a band I hold in high regards like Blacklist) attempts a cover of them. While there were a few things I would have liked done differently on their version, I think overall they captured the essence of the original and put a nice "Blacklist" spin on it. The absence of keyboard washes, and choral backing vocals stuck out to me (because that’s my favorite part of the original), but the core of the song remains and is a very faithful rendition of this obscure classic.
If you happen to wander into a conversation at a show, club, or party where the question "What happened to good Goth-Rock?" arises, point them to Blacklist! It's everything that made the genre kick ass without any of the pretension or cheesiness. So now I guess I have to sit in my room for a few more months before I see a copy of their debut LP drop into my mailbox! I count the days.
Records of Reference:
The Sisters of Mercy - First and Last and Always
Official Site
To the passerby, Rescue Me would seem to be a four-some of indifferent men, yet they are all tied by tragedy. Their music shows each of them adding a different hue of darkness to their sound that brightens their bitter shadows with unique textures. Sentiments of Peter Murphy and Ian Curtis echo throughout these dulcet tones of melancholy electro babble. These impressionable gentleman unlike most bands that are grouping themselves to be heard these days, carry a more distant quality to their talents, staging a visual impact upon those who witness their visionary appeal, while still remaining out of the popularity contest and pretentious light of promotion. They offer a sensual taste to swallow, without the acrid aftertaste of the usual musical meal. Watching them play, left me both effected and impacted, wanting to hear more of their black celebrations.
Rescue Me, exudes a shy hidden mystery, while completely showing their raw passions at the same time. They're the perfect soundtrack whilst tying up a lover in the back of a car, or bleeding out ones veins on the bathroom floor. They provide emotion in a sexually stimulating experience. I demand you to listen.
Further thoughts from the editor:
I have to agree with this review. I'd also like to mention how perfectly this band combines electronic dance elements with traditional post-punk. They not only succeed in using two often misappropriated styles in popular music. But they do it with respect to each genre while adding a little something of their own to the mix as well. If you liked fellow SF native Every Move a Picture, and Murder of Lilies, you will surely enjoy Rescue Me! - Joshua Pfeiffer
Links:
Do you like post-punk? Do you also like shoegaze? Do you like your music dark like your Pornography-shirt-wearing rotting soul? Well, my friend you are in luck.
From the ashes of bands like Andalusia, Jada Morning & Astral, four forces united and out of the thick San Francisco fog emerged Veil Veil Vanish. Although I have never heard Jada Morning or Andalusia, I was always a fan of Astral and in some ways Veil Veil Vanish bears some sonic similarities to that band but I feel their sound is more focused than Astral and far more visceral and dark.
"Into A New Mausoleum" is their debut self-released six-song EP. Although not a full albums length, the six songs on this EP almost make it feel like an album as it gives the band enough space to flex their various music muscles. Whether it be the more intense post-punk feel of a song like "Shadows Dripping Like Honey Kissing" or the melancholy shoegaze grandiosity of "All Hands In Prayer" or a song like "What Will You Say Tonight" which finds the perfect balance between those two extremes.
What I personally love about this band is that you have frontman Keven Teacon on one guitar providing the more distorted staccato parts while Cameron Ray is on another creating huge atmospheric walls of sound that tonally sound very much like an old ARP Solina Strings Synth (Chameleons, The Cure, New Order) or better yet the string section of an orchestra. When you actually hear the music your ears will be fooled into thinking that they have someone on keyboard playing all these very gothic passages when its really just one man with a guitar. Personally, this is my perfect prototype for a 'two-guitar' band.
Whereas most bands these days who mine the catacombs of '90s shoegaze get lost in atmosphere for atmosphere's sake, Veil Veil Vanish avoid that pitfall thanks to their post-punk roots. Whether fast or slow, their songs actually reach out and grab you instead of lulling you off to sleep. Keven Teacon's vocals are never buried in the mix and are sung with emotion and intensity. Instead of just being brushed lightly, Robert Marzio's creative drum playing is right up in your face and along with Amy Rosenhoff's driving bass lines they provide a rhythm section that really grounds the band and at times thrust it forward. This passion is in essence what makes them truly a post-punk band and not just another Slowdive rip-off.
Personally, I have been waiting a long time for a band with this type of sound. In many ways "Into A New Mausoleum" very much feels like what The Cure's Pornogrpahy would have sounded like if Neil Halstead and Kevin Shields were on guitars. In other words, Veil Veil Vanish successfully blend their strong post-punk sensibilities with a love for shoegaze soundscapes all interwoven into a cloudy & foreboding atmosphere that brings a new edge to existential ennui.
Records of Reference:
The Cure - Pornography
Links:
L.A. based band The Distortions have just released the album that you are going to be playing in your car all year for every one of those long breezy trips out of town and short excursions driving through the city at night. For that reason it is no coincidence that this album is titled "Machines At Night".
With "Machines At Night", The Distortions have released a remarkably subtle and nuanced album that effortlessly dispels any notions of the sophomore slump with such restrained & reflective cool that too many bands in the indie scene these days wish they had but fail to find for their follow up.
Though not a bad album in its own right, The Distortions first album "Exploding Teenage Body Part" was somewhat uneven. When comparing songs like the blistering punk fury of the title track to the more dreamy shimmer of a song like "Shoegazer", I felt like the band was being drawn in two different directions and could not fully commit to one. Such is certainly not the case with "Machines At Night". Where the previous effort felt like a collection of random songs, "Machines At Night" feels like a true album in the classic sense of the term.
Every facet of this album is ten notches above and beyond its predecessor. The songs on this album meander from a delicate intro into an otherworldly crescendo while others just drift by in a dreamy pace all accompanied by soul-searching lyrics that reflect on those unrealized promises that life makes us and the broken ones that we make in turn everyday. Whether its on the aptly titled song, 'This place doesn't have the balls to kill me' where singer/songwriter/multi-instrumentalist F sings, "I'm looking good / but hurt to touch, I'm so alone / much too much, I'm feeling good / but sometimes ache, from those who love / but love to take" or on "Galaxies rearranging" where he softly serenades the lines "I can see me crushing under thoughts of what's to come / I wonder if I got a soul no one could ever want / I think of losing everything and living in the street / I think of how the bad I've done is closing in on me / and then I think of you / I think of you / and from the chaos comes something new". Words like these bring a sincerity and depth to this album that you connect with immediately. Its personal but universal.
As good as the songs are themselves and the poetry of the lyrics, it is in the musicianship/instrumentation that the true accomplishment and beauty of this record really shine through the brightest. The Guitars sparkle, the Drums rumble, the Bass hypnotizes, Voices 'ooh' and 'ahh', Tambourines shake, the Glockenspiel chimes, the Pedal Steel wails and the Theremin moans all over this album. What is even more impressive is to see someone take such an obscure instrument that possesses such a unique sound as the Theremin does and use it in a tastefully artistic and specific way as multi-instrumentalist F does on songs like "Galaxies rearranging" and "Waiting for the searchlights to come".
Though alot of us may not be old enough to remember, there was such a time when music was not about bands having only one good song that you downloaded for 99 cents while the rest of the album was pretty much ignored. In this day and age of MP3 players and shuffled play lists, 'Machines At Night' stands in complete defiance of the idea that bands can't create an album of 10 songs that are every bit just as good as the other and flow perfectly from one song to the next. From beginning to end, The Distortions have succeeded in evoking a larger and greater experience that having only one good song can't even begin to compare with. It is for the lack of albums like this that the record industry's sales are at an all-time low.
As equally haunting as it is calming, much of what you will hear on this album will sound familiar; though at the same time strike you as something you will not necessarily know how to categorize. It is that sense of hearing something that you're so accustomed to feel so strange & foreign that summarizes not only what this album is about but also what makes it so good. The Distortions have truly stepped up with what can easily be considered one of the standout records of the year so far, and it stands to set them among some of their greatest peers like Doves & Black Rebel Motorcycle Club.
Records of Reference:
The Verve - Storm In Heaven
Links:
Official Site
New York has long been known as one of the key places in the development of Rock, Punk, and Post-Punk music. Even today, many well known revival bands have spawned from its seedy depths. Bands like Interpol, The Rapture, Liars, and Radio 4 have all seen moderate to large amounts of success and have carved a nice niche for themselves in the music industry. But their is another world in N.Y.'s underground scene. A fiercly independent group of likeminded individuals, and this 3 LP set (& 7" single) from Wierd Records is a testament to that. The compilation comes in a gatefold package, with very impressive production quality for an independent label. On top of that it also includes a totally D.I.Y. 30 page book (not a booklet), filled with photo collages, band info, lyrics, a brief history of the label, and it's related weekly club event.
Wierd was founded by Pieter Schoolwerth, a local DJ who wanted to create a safe haven for the more eccentric and unusual artists of his scene. Fortunately for the rest of us, this creation has branched out to encompass many more areas than simply the Northeast Coast. So far the Wierd roster includes artists from New York, Miami, Chicago, Germany, and Sweden. The genres this label mainly covers fall under the range of Coldwave, Minimal Elektronik, Post-Punk, Dakwave, and old school Industrial.
For those of you unfamiliar with the term "Coldwave" (not to be confused with the Industrial-Metal genre of the same name that came later), think of the minimal and atmospheric periods of bands like The Cure, Joy Division, Wire, Bauhaus, Clan of Xymox, This Mortal Coil, and throw in a decent helping of the cold synth work of Fad Gadget, Gary Numan, OMD, Tuxedomoon, etc. Then add just a dash of the early Industrial experimentalism of Cabaret Voltaire, Throbbing Gristle, and Einst..rzende Neubauten. Now that should give you some idea of the roots of Coldwave. The genre itself found popularity in the mid to late 80's mainly in Europe with artists like Asylum Party, Clair Obscur, Kirlian Camera, Little Nemo, Trisomie 21, and Norma Loy (to name but a few). But recently it has seen a resurgence of activity both in Europe and abroad. Though many of the artists performing music in this vein may not even be aware of the genre at all.
But back to the compilation itself, the three LP's feature 30 tracks (with two additional tracks on the 7"), and instead of going over each and every track, I will simply point out the ones that stuck out to my ears. Starting with the opening piece by Silent Signals "Exit Out", this track is danceable enough, yet still very cold and dissonant. This formula continues on the next four tracks, ranging from danceable to downright avante-garde and experimental. While "Under Attack" by Flesh Graey Display, and "Surround" by Tobias Burnstrup (one of my favorite songs on the comp) both feature faster BPM's and a more Industrial approach. "Let's Play" by 2VM is yet another more upbeat and dancey song. This one reminds me a bit of "The Vanishing" and my local favorite "Sixteens". It goes without saying how we at post-punk.com feel about Blacklist (I was initially made aware of this comp because of their inclusion), so it should come as no surprise that "Dawn of the Idols" (one of my most spun songs of 2006) steals the show. Blacklist almost feel out of place on this LP actually. Because they have a much more traditional Dark Rock approach (Chameleons, Killing Joke, and The Cult being key influences), with little to no synthetic elements. I actually hope Wierd adds more bands with these influences to thier roster in the future. Finally the second to last song on the first disc "Here is a LIfe" by Fanuelle is also one of my favorites. Eschewing the cold and dark influences found on nearly every other track, and taking a warmer approach with a melodic piano driven piece. This song is very gorgeous and uplifting, yet still quite bittersweet. "Western Ego" by Diako Diakoff closes out the first side with a hyperfast synth dance track.
"Into the Abyss" by Tobias Bernstrup is another solid number. Featuring a more synthpop approach than the Industrial of his previous offering. "Havoc Heap" and "Scrying Formation" by Opus Finis are both simply drowning in distorted darkness, as is "Porcelain" by Sleep Museum. "Tracking Shot" by Epee du Bois is another fine example of spacious darkness, with it's minimal but effective synth bass/percussion drone. "Exit" by Blacklist (which was previously featured on our Notes From the New Underground compilations) is a more upbeat affair than their previous track. Once again the rest of the songs on this set all fall under off kilter dance music, or straight up experimental noise.
Now for my criticisms, or should I say observations (as I really don't have anything negative to say about this collection). It seems as though 90% of the songs here could be recorded by the same artist. This may be more due to all of these musicians following the same template laid out by the earlier pioneers of the scene, or due to everyone loving the same basic drum machines, and distortion pedals on their synthisizers, but I would really like to see more variety from this kind of music. It would be refreshing to see some orchestral elements (though that's just my personal preference), and some guitars in these songs. After all most of the original Coldwave artists used guitars (though sparingly). But it really comes down to personal opinion. I must warn you as well, that this comp isn't for everyone. If your idea of Post-Punk only includes the more Disco-Punk bands of the genre, you may be let down by this. But if you have even a passing interest in Cold, Dissonant synthetic music... by all means order a copy! The packaging alone is worth the price! Damn it's almost 3am, I can't believe I made it to the end of this review.
Cheers!
Other Compilations You May Enjoy:
Witches of the West (West Coast Synthpunk/Coldwave)
Links:
Official Site
Some of you may recall my review of the World Wide Spies EP "A Call to Action" a while back. Well the Los Angeles based New Wave/Post-Punk revivalists are back in action. This time with a full length release. And what a great release it is. Virtually every song has hooks aplenty, and catchy, melodic choruses. The same influences I cited in the previous review still ring true, but fortunately this full length is a step forward and not back in terms of quality.
"Three Cheers" is a nice catchy opening song (which is preceeded by a short instrumental). Their is still plenty of U2, Chameleons, etc. in their sound, but even more apparent is the bass playing, which is very similar in style to Derek Forbes from Simple Minds, and Duran Duran's John Taylor. This can be heard most clearly on the next track "Time Will Tell". "Images of Black and White" follows with a nice mellow laid back sound, that culminates during the call and response chorus sections. The next track "Better Friend Then a Lover" bears more than a passing resemblance to Franz Ferdinand's "Take Me Out" (whether or not this was intentional, I don't know? But honestly I think it is a much better track than the Franz song). "Philosphy" is probably my favorite track on the album, and it has all of the elements that the best World Wide Spies songs have. Once again those shimmery guitar shreds take center stage, and they just beg me to drop the early U2 comparisons again. "Heart" is another more mid-tempo song that has a calm and cool progression. It adds a pretty unique style to an already solid album. Finally closing out the original material is "What Are We Fighting For?", which is once again another really good and poppy song that reminds me a bit of their older song "Mystery" (But I have to ask... why the back up singers toward the end?). Closing out the album JFK has chosen to cover the old stand by Joy Division classic "Love Will Tear Us Apart".
Now let me just say right now that it takes a hell of a lot for me to be impressed by a cover of Joy Division, and I think musically these guys nailed it. However during the third verse and chorus I think JFK could have kept the vox more restrained like the earlier sections of the song. Maybe it's the added vocal inflections, but something threw me off toward the end of the song.
So yeah, I think the review gives you my overall impression of the album. In other words it kicks a lot of ass, and everyone reading this should drop by their profile and check it out! Oh and make sure to listen to our preview of Philosophy in the music player too!
Records of Reference:
U2 - Boy
Links:
Official Site
Some of you may recognize "Ceremony" from our latest post-punk.com compilation. And for those of you that heard it, you probably didn't miss their fabulous track "Clouds". Well I had the pleasure of listening to their entire self titled debut this evening, and I can confidently say that it is every bit as good as that track.
On many of the tracks the band manages to combine a lo-fi shoegaze approach, with more modern synth/futurepop flourishes (and all in a fittingly dark package). While the melodic and dreamy "Clouds" is far and away my favorite piece on this LP, pretty much every song stands out. Ranging from driving rock (Nothing in the Sun), to more dance friendly tracks (Living For Today), and a few more epic pieces (Clouds, and Old). While "Too Many Times" has a very obvious Jesus and Mary Chain influence, most of the other tracks sound more unique. I can draw comparrisons to older bands at times, but nothing that is too obvious. My only gripe is that at 7 tracks, it seems a bit short. I'm pretty sure this is mainly a demo anyways.
Overall this is a solid debut, and if the bands MySpace profile gives any indication, these lads are hard at work on a lot of new material that i greatly look forward to reviewing at a later date.
Records of Reference:
Jesus and Mary Chain - Psychocandy
Links:
The Ballad Bombs hail from Gotham Germany. How fucking cool would it be to tell people you lived in Gotham Germany??
But seriously... back to my review...
The band almost fills the missing link between todays Post-Punk/New Wave revival and classic 80's Goth/New Wave. Bands like The Bolshoi, Gene Loves Jezebel, The Damned, Flesh For Lulu, and Lords of the New Church have been sadly forgotten by today's newest artists. But The Ballad Bombs wear these influences proudly on their sleeves. Vocalist AJ delivers his lines like the bastard child of Camoflauge's Marcus Meyn, and the brothers Aston of Gene Loves Jezebel.
"You and I" starts things right off with some of that classic Gothic influenced New Wave, followed by the dance single "All I Need". "Change it All" is another upbeat dance number (I hope it's just my system, but this song seemed to clip alot on my headphones). While the next track "Do It" slows things down and falls somewhere under the experimental material found on Depeche Mode's "Construction Time Again". The rest of the album follows the same basic formula. Though a few tracks do standout, such as the melodic and catchy "Young Europeans" (not to be confused with the classic Ultravox track "New Europeans"), the mid-tempo experimental EBM of "Mind the Gap" (which I swear uses the same bass synth as A Split Second), and the album closing pop of "Mr. Smeagol". Two bonus demo tracks are also included, but the second one "March of Ballad Bombs" is the better of the two. An instrumental track that would have fit perfectly on Camoflauge's "Methods of Silence".
I have only have one complaint. The first half of the album is pretty solid, but towards the end, some of the songs sound like different versions of earlier tracks on the album. Regardless, their is plenty of good material here to make it worth your while, especially if you've been fiending for something that fits snugly beyween your copy of Phantasmagoria, and Immigrant.
Records of Reference:
The Bolshoi - Friends
Links:
New York's "Dead Leaf Echo" fall somewhere between mid-80's U2, and early 90's Morrissey. With slightly laid back vocals, and music that alternates between low key indie rock, to more heavy and driving fare. The album is a concept album of sorts based on the works of russian author Vladamir Nabokov.
The album opener "Clean", is one of the aformentioned relaxed and restrained pieces (though it does kick up the pace a bit later in the song), while "Walking Away" has a much heavier and rocking approach. There is a definite 90's alternative rock influence here as well (heard pretty obviously on "Poison Lips"). "Shell of Love" is another one of the more restrained, and very minimal pieces, with a very simple echoing guitar riff, mellow bass, and absolutely no percussion. Which all combines to create a very relaxed and somewhat unsettling atmosphere. Denial continues the album in the same low key vein, adding more elements as the song progresses. This is where the album should technically close, but their is a bonus track tacked on (a remix of Shell of Love), that doesn't really seem to fit on the album, as it just adds a pretty simple percussion loop, and some ambient effects in the background to an already solid track.
I could easily recommend this album to fans of more literary influenced music, as well as those that enjoy mellow crooned vocals, but the more dance oriented set may be slightly dissapointed with the majority of the tracks on this EP. That's not to say that the music is bad by any means. Quite the opposite in fact.
Records of Reference:
U2 - The Joshua Tree
Links:
Official Website
Like a gift from Daniel Miller himself. Here we find a treasure trove of material relating to the late great Frank Tovey. This is a two DVD, two CD set highlighting all phases of the mans musical genesis. From his early demos recorded in a cupboard in his London flat, to his short lived return to the stage in the early part of the 21st century.
For those of you that have lived in a cave for the past 25 years, Fad Gadget was one of the most influential electronic pioneers of the late 70's and early 80's. He created music using whatever he could get his hands on. His body of work spans everything from post-punk, industrial, new wave, and even electronic folk music. He is also notable as being one of the most extreme live performers of all time. Often causing himself massive injuries in the course of entertaining his audience. An incredibly talented, creative young man, and a gifted songwriter. His influence is undeniable, and it's hard to listen to any modern electronic music and not hear his imprint.
On the first DVD their is a nice lengthy documentary featuring interviews with friends, and collaborators such as Dave Gahan and Martin Gore of Depeche Mode, Boyd Rice, Daniel Miller, Franks family, and many other people that he touched in some way through the course of his life. The documentary chronicles his early days all the way to his untimely and tragic passing in 2002. This documentary alone is worth the price of the collection. But that's not all. Not by a long shot. Also featured on the first DVD are a number of TV and promotional spots for both his work as Fad Gadget, as well as his more pop oriented solo material, and his folk influenced project with The Pyros. One of the most interesting pieces is the short film Neon, which was directed by Alex Proyas (The Crow, Dark City etc.) using his second single Ricky's Hand.
The second DVD is made up entirely of live performances from his entire career. Including a lengthy performance at the legendary Hacienda in Manchester, and a reunion tour opening for label mates Depeche Mode on their Exciter tour (coincidentally DM got their start opening for Frank nearly 20 years prior).
Now onto the CD's.
The first disc is compromised of Franks later material. A few of his last tracks as Fad Gadget, and a lot of his tracks with The Pyros. These pieces are comparable to The Pogues or Big Country, but with Franks signature distorted synths mixed into the music. Following these tracks are a few collaborations Frank did with Boyd Rice, a piece for a theatrical soundtrack he recorded in the late 90's and an unreleased demo of a new track Frank was going to use on his last LP.
The second disc is made up of his first demo tape which got him signed when Daniel Miller heard it, and the subsequent cleaned up versions of those songs. Their is also a collection of songs that were voted on by the fans for the CD, as well as a tribute by Temple X, a band that Frank produced and invited to play as his backing band on his reunion shows.
This collection is a priceless testament to one of the most under appreciated artists of the 20th Century. It is a tragedy that the world no longer has Frank Tovey, but Daniel Miller and the staff at Mute have done a great service to the world by releasing this collection, and I believe Frank would be proud of this labor of love. We miss you Frank. You are gone but never forgotten.
Links:
The Official Fad Gadget Website
Now we have an interesting specimen with San Francisco's Murder of Lilies. One of the newest post-punk bands in this area, they are equally influenced by classic artists as they are by the revival bands like Editors, Bloc Party, etc. On their debut EP "Beginning of the End", they make quite a nice splash.
The song Beginning of the End opens things with an uptempo number that has just the right amount of atmosphere, while still retaining it's danceability. It's nice to hear these new bands that take classic elements from other artists and do something new with them. Lakeshore follows with an equally strong presence. The third track Elector goes in a slightly darker and heavier direction than the first two pieces. While the closing track Anything You Want, takes things into a full bore gothic direction complete with choral backing and heavy tribal drumming.
I was actually quite surprised that they didn't include their first single "Black Water Deep End". I would have to say that one was one of my favorite tracks of 2006. Regardless this is a solid EP, and the last track alone is worth picking it up. Of course I'm a sucker for darker music.
Records of Reference:
Editors - Turn on the Bright Lights
Links:
When we last saw Portland's "The Prids", they had just released one of the best LPs of 2003 "Love Zero", and now three years later they have a new full length with "...Until the World is Beautiful". For those unfamiliar with The Prids, they took the reigns of early post-punk and added an interesting twist with dual male, female vocals. David and Mistina have a long history, as they were once married, then divorced, and now playing in a seminal rock band together.
The opening track on this new offering "The Glow" sets the scene with a droney synth overlayed with tribal drumming and sparse classic post-punk guitar playing reminiscent of The Cure's early body of work. "Shadow and Shadow" is another more upbeat track with catchy riffing and clever lyrical arrangements. "Let it Go" brings in a more surf rock influence, heard especially during the descending guitar solos. "Before We Are" is another nice change of pace, as is the second to last track "Infection".
While the rest of the songs on the album are all good, they do tend to start sounding quite similar to each other, making it difficult to tell them from each other. I wouldn't go so far as to say they sound like filler material though. So once again The Prids pull off another immpressive release. I hope they are seeing some amount of success, as they more than deserve it.
Records of Reference:
The Cure - Faith
Links:
The Prids on MySpace
New York's "The Lost Patrol" is quite an innovative group, on their fourth release "Lonesome Sky" they really nail their own sound. Falling somewhere between Duane Eddy, Nancy Sinatra, Dick Dale, and The Cranes. This is western dreampop, surfy lounge rock with more than a hint of post-punk influence.
The opening Cup at My Krater sets the mood with a nice mellow ballad. Some standout tracks include the slow burning Velveteen, the moody Neon Red, the uptempo Run Wild, and Stars Collide. It must also be mentioned that vocalist Danielle Kimak Stauss has some of the most gorgeously soaring vocals of any modern rock outfit. Her tone perfectly compliments this music. Equally the rest of the band is totally on the ball and the production of this release is also top notch.
The only complaint I have (though more of an observation than complaint) is that every song sounds quite similar. Of course that is bound to happen when you're playing in such a niche style. I would be interested to see what they could do with some other influences mixed into this unique style of theirs. All in all, The Lost Patrol is certainly worth your time, and I'm quite intrigued to see what they do next.
Records of Reference:
Duane Eddy - Rebel Rouser: Roots of Rock n' Roll
Links:
The Lost Patrol on MySpace
I'm just going to be straightforward here and say that New York based Bell Hollow have recorded one of the most authentic post-punk releases in quite awhile. No mere revivalists. These chaps were all part of the mid 80's underground music scene and that experience can easily be heard on their debut four song EP "Sons of the Burgess Shale".
With a clever title like that one might expect The Chameleons 2.0, and while there certainly is quite a bit of that influence floating through these tracks. Comparisons to a few other not so obvious 80's Post-Punk artists such as Sad Lovers and Giants, Lowlife, and The Comsat Angels abound. Regardless these songs all have that ethereal dreamlike quality that made those artists so timeless.
Opening with the self titled Sons of the Burgess Shale, the quality and experience of these musicians immediately shines through. Greg Fasolino's delicate shades of reverbed guitar mingle with a bouncy bass line and steady drumming from Hayden Millsteed, while singer Nick Niles vocals offer a restrained yet powerful attack. Nick really has progressed from the demo material Bell Hollow released late last year, here he sounds much more confident and relaxed.
Bodies, Rest and Motion follows with a stronger and beefier sound than the opening track. Once again all elements intertwine perfectly to evoke a perfect mood. Secret Key comes slinking up next and brings the proceedings into slightly darker territory. During the chorus sections Christopher Bollman's throbbing bass attack practically leaps out of the speakers to attack the listener.
Closing track Shukriya Moon, brings things to a more upbeat level. Full of vaguely sexually charged lyrics and a playfull almost New Wave melody, that makes me sad that this is the last song on the E.P.
I know I am certainly looking forward to what these gentlemen bring to the table next.
Records of Refference:
Sad Lovers and Giants - Feeding the Flame
Links:
Bell Hollow on MySpace
CATPEOPLE are a group of four stylish gentlemen musicians who reside in Barcelona, Spain so it is no surprise that they create a sexy blend of new-wave/post-punk with a bouncy groove that gets in your bones and makes you want to get up and dance but can also convey emotion & sensuality just as effectively and passionately.
Whereas most bands these days can't even make an EP that has more than two good songs on it, it is impressive that CATPEOPLE have produced an entire album that flows like a good film and varies in moods but never becomes boring and always keeps you interested.
With influences like The Chameleons, The Sound, Depeche Mode, Pulp & The Divine Comedy all coming through their music in various ways at different times, Reel #1 makes for an exhilarating as well as enchanting listening experience.
There's no doubt that if some big record label with money snatched up this record it would be pretty successful, but in no way does that discredit the music or the band, but rather implies that CATPEOPLE are as every bit as capable and talented (if not more) as bands like Editors,
Records Of Reference:
Links:
I do not know how long I have waited for a group to come along that would be a beacon of darkness in the light. One that would signal a new dark age for the world of music and embody the true aesthetic of rock and roll that is meant to stir the intellect whilst reaching down into the farthest depths of our apathetic souls making us feel like everything and nothing is possible all at once. I feel that the waiting is over and that time has finally come as one particular group of post-punk prophets have been sent to us; they are Blacklist.
Hailing from NYC this four-piece is already a regular fixture in the darker under currents of the music scene that is taking place in New York playing in various clubs and dark lit bars. So far, they have played shows with The Bellmer Dolls, I Love You But I've Chosen Darkness, Screaming For Emily and the legendary Psychic TV.
If I had to pick one word to describe the music of Blacklist, it would be anthemetic. Their sound hits you right in the face, yet it is not brazen or bizarre, but rather bold and brave. The authoritative rhythm section of Glenn Maryansky's powerful & resounding drum playing is a breath of relief in a post Joy Division era of compressed drum sounds and more resembles the arena grandiosity of The Cult or early U2. Ryan Rayhil's bass playing compliments this perfectly by foregoing the worn out disco punk style so commonly found these days and going for something more thick & momentous that provides a tense backdrop for the rest of the band to set the stage. There is no doubt that front man Josh Strawn's guitar playing, lyrics & above all captivating voice are what truly carry this band over the edge.
With a voice very reminiscent of Steve Kilbey of The Church, Strawn sings and evokes with more of a sense of urgency and passion. His lyrics are a breath of relief in this day & age of songs that have no meaning with lazy word combinations like the subway is a porno or your hair is so pretty and red, baby baby youre really the best. Where most songwriters have nothing interesting to say or are too obscure about what they write, Strawn writes songs that float on the ambiguous but no doubt paint pictures of existential uncertainty, religious fanaticism, and the melting pot of political viewpoints in our post-war world. From the opening feedback of Strawns guitar on the first anthem Language of The Living Dead (for which they have recently shot a video) to the rollicking riff of Exit that is reminiscent of Night Time-era Killing Joke you are sucked right in. On the almost hymn-like Chameleons inspired opening riff in Dawn Of The Idols, the guitar playing is nothing short of breathtaking as it elevates you to the heavens almost just to shatter your hopes that it exists. When Strawn sings, New generation coming back for more, anything to ease the fear and trembling. Hes most likely commenting on religious escapism, but at the same time, it feels like those words could be the anthem for those of us who have had our ears to the ground and eyes to the sky waiting and searching for a band just like this.
This three-song demo was recorded sometime last year and since then Blacklist has already recorded many more brilliant songs that only prove they were and are everything they promised to be. I look forward to charting this bands future as I strongly feel they are destined for great things. They may be from New York, but they are set to rule the world that is, if the apocalypse doesn't come first.
Records of Reference:
Links:
lowsunday is not a new band, but the one album they put out in 2001 was
so great and almost completely overlooked that I feel its worth taking
a look at now. This band was hardly known about before they imploded 5
years ago shortly after the release of this record in 2001. They had a
very dreamy sound reminiscent of all the great shoegaze bands of the
90's like My Bloody Valentine, Slowdive, etc., but it also bore a
strong influence from many 80's Post-Punk bands like The Chameleons,
The Sound, & Sad Lovers And Giants. The thing that is special about
this band is that they were among the few groups whose sound preceded
the whole "80's revival" four years before it ever happened (not to
mention preceding Interpols first album by a year). It is a shame they
did not last because if they did they might have had a better response
commercially with the way things started to change in the musical
climate. Today, this album still sounds fresh and just as amazing as it
did 5 years ago and that itself is an accomplishment that 90 percent of
the bands making music today probably will not live up to. I highly
recommend you check out these links to listen to "Elesgiem", a truly
unheard and undiscovered gem, and grab a copy while you still can.
Records of Reference:
The Chameleons - Script of The Bridge
Links:
Essentially, The Departure sound like a combination of The Chameleons, early U2, & Gang Of Four with more reverb. This album also felt alot like what Franz Ferdinand's first album would have sounded like if all the guitars were put through huge reverb and delay effects. In that respect this is the album Franz Ferdinand wishes they had released in 05', but didn't. Lately, It seemed like every band was favoring disco over atmosphere. Don't get me wrong, I enjoy me a good danceable groove, but there's a million bands doing that right now. I feel The Departure's strengths lie in their ability to create songs that are equally atmospheric AND angular, therefore danceable but with depth. I have also not heard such complimentary playing between two guitarists probably since Interpol's first album. With that in mind, Its somewhat annoying that this album hardly made a dent in the U.S. given that it was released before fellow UK post-punkers Editors released their album "The Back Room". This was close to being the best release of 2005 for me and wherever any other year-end "best of" lists have Franz Ferdinand's newest album, as I'm sure nearly every publication will have it in the top 10, I will just cut it out and put a picture of The Departure's "Dirty Words".
Records of Reference:
Links:
The Floor is a 4-piece band from Edmonton, Canada who composed an 11-track post-punk masterpiece. When I first heard this album I was completely blown away. This record is everything I want in music: dark, edgy, atmospheric, melodic and magnificent. I have never been so impressed with such amazing guitar playing on a modern album as I was on this one. Almost every song is full of rich keyboard textures that carry the flanged echoey guitar riffs along with the melodic vocals of singer/guitarist Matt Pahl that are very reminiscent of Geoffry Runnings of For Against. With guitars right out of The Cure's "Pornography" or Red Lorry Yellow Lorry's "Talk About The Weather" and keyboards like something off of Killing Joke's "Brighter Than A Thousand Suns" or any Chameleons album, these guys meld all my most cherished influences into one perfect melting pot of UK influenced post-punk. I don't think I could say enough good things about this album. I just wish more people would have been able to hear it and that the band would have toured the States if only the Western and Eastern cities. What else can I say, Personnel is brilliant from beginning to end.
Records of Reference:
Links:
Thank the devil for this San Francisco group! Now that The Vanishing and The Phantom Limbs are no more, there is a hole in the world of post-punk/deathrock that nobody seems particularly fit to fill, until now. This album is dark, brooding and raw, displaying traces of all the great deathrock/post-punk greats of yesterday. Comprised of two former members of underground legends The Phantom Limbs, Black Ice is fronted my Miss Kel, who squeals and yelps with an intensity and sense of mania like former front woman of The Vanishing, Jesse Eva or better yet Siouxsie Sioux or Dinah Cancer. Melding haunting synth sounds with stark guitar playing and icy cold bass playing it all comes together to a fine mix straddling the line or better yet blending the lines of post-punk with deathrock. I hope they're in it for the long haul.
Records of Reference:
Links:
Colder is essentially a one man minimal electro band project of Marc Nugyen. Nugyen composes moody, minimal atmospheric electronic music with some post-punk guitars strewn about here and there. If you ever wondered what a cross of Joy Division & OMD might sound like, this would probably be it. Though there is an experimental feel to some of these songs, they don't seem to lose you like most "electronic" music does. For one, Nugyen sings over nearly every track, which gives it warmth, and though some of the songs may feel bleak and cold, the beats & rhythms have a funky groove that gets in your head. Serving as perfect late night listening party for the dark soul to unwind to, Colder has created an album ready to envelop your ears & body in warmth.
Records of Reference:
Links:
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A Place to Bury Strangers - A Place to Bury Strangers (Killer Pimp, 2007)
The Opposite Sex - Violent Heartstrings (self-released, 2007)
Einstürzende Neubauten- Alles Wieder Offen (Potomak, 2007)
The Weegs- The Million Sounds of Black (Hungry Eye, 2006)
Astral - Sleepwalker L.P.
Control Film Review
Bit By Bats - Go Go Go!
Blacklist - Solidaire E.P.
Rescue Me - Live
Veil Veil Vanish - Into A New Mausoleum
The Distortions - Machines At Night
Wierd Compilation - Wierd Records
World Wide Spies - Images of Black and White LP
Ceremony - Ceremony LP
The Ballad Bombs - And Then We Danced LP
Dead Leaf Echo - Faint Violet Whiff EP
Mute Records - Fad Gadget Retrospectiv
Murder of Lilies - Beginning of the End EP
The Prids - ...Until the World is Beautiful
The Lost Patrol - Lonesome Sky
Bell Hollow - Sons of the Burgess Shale E.P.
CATPEOPLE - Reel #1
Blacklist - Demo
lowsunday - elesgiem
The Departure - Dirty Words
The Floor - Personnel
Black Ice - Terrible Birds
Colder - Heat
World Wide Spies - A Call to Action
The New Wave/Post-Punk revival of late has produced quite a few great unique new bands, and just as many derivative ones. Los Angeles based World Wide Spies fortunately fall into the former category. Taking inspiration from the finer moments of artists like U2, The Chameleons, Simple Minds, Psychedelic Furs, The Skids, etc. Yet adding their own spin to these classic influences. Singer JFK originally hails from the UK, which adds a bit of authenticity to their sound as well. "Don't Hold Your Breath" starts the EP off with a nice powerful energy. "Love Goes Blind" follows taking a more angular Gang of Four approach mixed with a shimmery ethereal guitar texture. The New Wave ballad "Another World" slows things down a bit, while the Pop of "Mystery" bounces along with a very Madness, English Beat, Jam styled melodic approach. "Individual" the high point of the EP for this reviewer follows with a thumping drum intro that shatters like glass into a nice sparkling guitar riff the Edge would be proud of. This leads up to the anthematic chorus declaring JFK's disdain of being categorized. Closing the EP is "The Station", another New Wave ballad that wouldn't feel out of place on an album like U2's Joshua Tree.
The Blackouts: History in Reverse
The Madison Strays - Lost in Photos E.P.
The Secret Society of the Sonic Six - Nite City
Bloc Party - E.P.
Ultranoir - But They All Can't Be Loved EP
Moving Units - S/T EP
Dance Disaster Movement - We Are From Nowhere
Two if by Sea - Translations
Hearts Fail - The Empty Promise
The Guilty Party - Five Songs EP
Dresden Dolls - Eponymous Debut
Sixteens - Casio
Franz Ferdinand - S/T
Leisure Hive - Spasm
Disco Heine Medina - S/T
La Mamoynia - S/T
The Godstar Social - Decidedly Lo-Fi Revolution and Static Sky