Category: punk rock

New Video: Los Angeles Synth Punks Prettiest Eyes Release Sleazy VHS-Styled Visual for “Nekrodisco”

Comprised of San Juan, Puerto Rico-born, Los Angeles, CA-based Pachy Garcia (drums, vocals), San Juan Puerto Rico-born, Los Angeles-based Marcos Rodriguez (bass, vocals) and Ciudad Juarez, Mexico-born, Los Angeles, CA-based Paco Casanova (keys, synths vocals), the Los Angeles-based synth punk act Prettiest Eyes can trace their origins back to San Juan, where Garcia and Rodriguez played in a number of local bands before relocating to Los Angeles to seriously pursue music. Rodriguez relocated independently and joined the band — and within their first couple of years together, the act released a couple of EPs and a couple of albums, including 2015’s Looks and last year’s Pools. Both albums established the band’s growing reputation for crafting sleazy, primal, synth-based punk that throbs with a nasty, muscular insistence. 

The band’s third full-length album, the aptly titled Vol. 3 is slated for a June 24, 2019 release through Castle Face Records, and the album’s latest single “Nekrodisco” is a sleazy, cretinous stomp featuring  a muscular and insistent motorik-like, chugging groove, buzzing synths, Garcia’s vocal delivery, which alternates between shouted commands, whispers and howls paired with jagged hooks. And while the new track will further cement the Los Angeles-based synth punk act’s growing reputation for off-center, post-apocalyptic rippers, the track also manages to sound as though it were inspired by Q: Are We Men? A: We Are DEVO-era DEVO. Directed by Shane McKenzie, the recently released video is grainy, distorted VHS scuzz and snow, complete with the members of the band vamping and strutting throughout. 

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Lyric Video: JOVM Mainstays Plague Vendor Release a Buzzing Psych Rock-like New Single

Over the past few years, I’ve written quite a bit about the Whittier, CA-based post-punk/ punk rock quartet Plague Vendor. And as you may recall, the act which is comprised of f Brandon Blaine (vocals), Luke Perine (drums), Michael Perez (bass) and Jay Rogers (guitar) formed back in 2009, quickly developing a reputation locally and regionally for frenetic and raucous live sets. Eventually, they began playing an increasing number of live shows across California with those shows leading to 2014’s full-length debut  Free to Eat, an album that some critics described as terse, dark and thrashing post-punk.

Bloodsweat, the JOVM mainstays’ 2016 Stuart Sikes-produced sophomore album landed at number 2 on that year’s Best of List, thanks in part to frenetic and anthemic album singles  “ISUA (I Stay Up Anyway)“, “Jezebel” and “No Bounty,” which were delivered with a blistering and forceful swagger. Two years passed before the band released two singles “I Only Speak in Fiction,” and “Locomotive,” which were recorded with Epitaph Records’ head and Bad Religion’s Brett Gurewitz and Morgan Stratton, which served to revitalize the band and restore their focus before joining  acclaimed producer John Congleton for the By Night sessions.

Slated for a June 7, 2019 release through Epitaph Records, Plague Vendor’s third full-length album By Night reportedly finds the band stretching and warping their sound to evoke a merciless and unrelenting sense of tension and apprehension (perhaps, which manages to evoke our current sociopolitical moment). “New Comedown,” the third album’s first single was an explosive roar, centered around a propulsive rhythm section, thunderous drumming, layers upon layers of power chords, a mosh pit friendly hook and Blaine’s howled vocals — and while bearing a resemblance to the singles recorded with Gurewitz and Stratton, the song reveals some of the most confident and self-assured songwriting and playing of their growing catalog. By Night’s second single “All of the Above” was a shimmering yet brooding and tense bit of post-punk centered around buzzsaw-like guitars, a shout-along worth hook and a motorik-like groove — and  — and while bearing an uncanny resemblance to The Cars, the futuristic, sci-fi punk song captures a narrator, who has partied and fucked around to the point of losing what’s left of his sanity.

Interestingly, the album’s third and latest single “Let Me Get High/Low” is a serpentine take on stoner rock centered around buzzing and distorted power chords, thunderous drumming, vocals fed through distortion and delay pedals during the rousing hook — and while possessing a similar swagger to “No Bounty,” the song’s narrator sounds as though he’s at the end of his rope. 

Currently comprised of founding members Laila Hashemi (keys, vocals) and Lexi Funston (guitar, vocals) along with Staz Lindes (bass, vocals) and David Ruiz (drums, vocals), the Los Angeles-based punk act The Paranoyds can trace their origins to the longtime friendship of its founding members, who met when they were both in preschool. Eventually moving from the playground to the practice room, the band’s founding duo met Lindes and Ruiz, who joined the band in 2015.

Since becoming a full-fledged band in 2015. the Los Angeles-based punk quartet have  crafted material with the gritty spunk and dark playfulness of a cult-classic splatter film while developing what they’ve described as a “sister vocal act,” that effortlessly moves from scuzzy surf-pop to power chord-based garage rock. Interestingly, the members of the band have generally kept a low profile on social media, instead keeping in the old-school punk tradition of hitting the road, playing shows and kicking ass wherever they go; in fact, over the past few years, they’ve built up a reputation as an in-demand opener, opening for the likes of DIVV, Albert Hammond, Jr., Sunflower Bean and BRONCHO.

Slated for a July 12, 2019 release through Suicide Squeeze Records, the band’s “Hungry Sam”/”Trade Our Sins” 7 inch is a sort of one-off single that finds the band playfully expanding upon their sound and approach, before the release of more new material and a West Coast tour with blogosphere darlings Tacocat. “Trade Our Sins” is a slow-burning apocalyptic waltz centered around a simple arrangement of guitar, organs and drums that focuses on two lovers, in a now-or-never moment to share decadent, sinful delights before the end of everything. And while self-assured in a fashion that recalls JOVM mainstays The Coathangers, the song manages a sultry coquettishness.

Check out the tour dates below.

Tour Dates:

06/11/19 – Seattle, WA @ Belltown Yacht Club

06/12/19 – Spokane, WA @ The Bartlett w/ Tacocat

06/13/19 – Boise, ID @ Neurolux w/ Tacocat

06/14/19 – Salt Lake City, UT @ Kilby Court w/ Tacocat

06/15/19 – Denver, CO @ Larimer Lounge w/ Tacocat

06/17/19 – Dallas, TX @ Club Dada w/ Tacocat

06/18/19 – Houston, TX @ White Oak Music Hall (upstairs) w/ Tacocat

06/19/19 – Austin, TX @ Barracuda (outside) w/ Tacocat

06/21/19 – Santa Fe, NM @ Meow Wolf w/ Tacocat

06/22/19 – Phoenix, AZ @ Valley Bar w/ Tacocat

06/23/19 – San Diego, CA @ Casbah w/ Tacocat

06/25/19 – Los Angeles, CA @ Bootleg Theater w/ Tacocat

 

Over the past year or so, I’ve written quite a bit about the London-based garage punk quartet The Cavemen, and as you may recall, the band can trace its origins to when its founding members, Paul Caveman (vocals), Jack Caveman (guitar, vocals), Nick Caveman (bass) and Jake Caveman (drums) met attending high school in Auckland, New Zealand. Reportedly, the members of the band bonded over a shared love of sniffing glue and wild rock ‘n’ roll. After spending several years drinking and loitering in their hometown’s basements, graveyards and parking lots, they honed their sound, eventually spending the better part of 2014-2015 recording their full-length debut. Interestingly, their debut album received attention locally for their ability to craft furious, face-melting power chord-based punk, inspired by The Ramones, The CrampsThe Stooges, and The MC5. Thematically, the material found the band making references about grave-robbing, necrophilia and other perverse, Troma Films-inspired shit but with a sneering sense of humor.

Just two weeks before the band was about to relocate to London, they went on a national graveyard tour that became infamous for its tackiness and for being ill-fated: the band’s Nick Caveman died in a tragic car accident, which forced the cancellation of the rest of the tour. Since then, Dirty Water Records released their debut across the European Union and elsewhere — and as a result of album single “Stand By Your Ghoul” and their “Burn Out For Love” 7 inch, the now London-based received international attention for boozy and filthy punk rippers.

They built upon their growing reputation for old-school-inspired punk rippers with the release of last year’s Nuke Earth and the “Lowlife” 7 inch, which featured the Johnny Thunders‘ “Born to Lose,” Highway to Hell-era AC/DC and New York Dolls-like “Lowlife.” Interestingly, this year has been a rather busy year for the London-based punk rockers, as they quickly followed the “Lowlife” 7 inch with the breakneck, filthy, troglodyte stomp of “My Baby Knows.” Centered by buzzing power chords, a rousing, mosh pit friendly hook, shouted vocals and a boozy Chuck Berry-like solo, the track is frenzied and furious take on ’77 era punk, compete with Troma Films-like lyrics.

 

 

 

 

 

New Video: Acclaimed Japanese Punk Act Releases Cinematic Visuals for Blistering “datsu hike no onna”

Over the past few months of this year, I’ve written a bit about the  Kyoto, Japan-based garage punk act Otoboke Beaver (おとぼけビ~バ~ in Japanese), and as you may recall the act which is comprised of Accorinrin (vocals, guitar), Yoyoyoshie (guitar, vocals), Hirochan (bass, vocals) and Kahokiss (drums, vocals) can trace their origins to when they all were members of Kyoto University’s music club.

Shortly after their formation, the quartet quickly received attention both locally and nationally for pairing incredibly dexterous musicianship with their frontwoman’s confrontational stage presence. Interestingly, when  Damnably Records released the Okoshiyasu!! Otoboke Beaver compilation, the Kyoto-based punk act began receiving airplay internationally from BBC Radio 6′Gideon Coe and Tom RavenscroftXFM’s John Kennedy, as well as praise from the likes of PitchforkNPRi-Dand The Fader.

Building upon a rapidly growing international profile, the members of the band made critically applauded and attention-grabbing appearances at SXSW and FujiRock Festival, played a sold out show at London‘s 100 Club — and their Love Is Short 7 inch charted in the UK for 4 weeks. Last year, the band went on a tour of the UK that was bookmarked by slots at Coachella.

The band’s newest album ITEKOMA HITS is slated for an April 26, 2019 release through their longtime label home Damnably Records, and from the album’s first three singles “Anata Watashi Daita Ato Yome No Meshi,” “Don’t light my fire” and “I’m tired of repeating your story” the Japanese band revealed that their specialized in feral and defiantly feminist rippers that drew from noise punk, no wave, prog rock and riot grrrl punk, centered around blistering power chords, rapid-fire chord progressions and tempo changes and shouted lyrics. The album’s fourth and latest single “datsu, hike no onna” continues in a similar vein as its immediate predecessor — furious, straightforward punk that bristles with discontent and frustration.

Directed by Haruka Mitani, the video for “datsu, hike no onna” marks an important first for the band — the first time they’ve collaborated with a female director. Shot in gorgeously cinematic 8mm film, the video focuses on a woman who is seemingly suffering from bipolar disorder — at one point manic and joyous, at another point murderous. Interestingly, as the band’s Accorinrin explains, the song “is a second woman’s song similar as my previous song’s themes. hikage no onna means woman in the shadows. It can be [a] metaphor for a mistress, an ‘illegitimate’ woman or a woman without a bubbly, outgoing personality. The message of this song is lamenting the oppression of being a woman in the shadows and about getting out from this suffering.”

New Audio: JOVM Mainstays Plague Vendor Releases a Shimmering and Sci Fi Take on Post Punk

Over the past few years, I’ve written quite a bit about the Whittier, CA-based post-punk/ punk rock quartet Plague Vendor. And as you may recall, the act which is comprised of f Brandon Blaine (vocals), Luke Perine (drums), Michael Perez (bass) and Jay Rogers (guitar) formed back in 2009, quickly developing a reputation locally and regionally for frenetic and raucous live sets. Eventually, they began playing an increasing number of live shows across California with those shows leading to 2014’s full-length debut  Free to Eat, an album that some critics described as terse, dark and thrashing post-punk.

Bloodsweat, the JOVM mainstays’ 2016 Stuart Sikes-produced sophomore album landed at number 2 on that year’s Best of List, thanks in part to frenetic and anthemic album singles  “ISUA (I Stay Up Anyway)“, “Jezebel” and “No Bounty,” which were delivered with a blistering and forceful swagger. Two years passed before the band released two singles “I Only Speak in Fiction,” and “Locomotive,” which were recorded with Epitaph Records’ head and Bad Religion’s Brett Gurewitz and Morgan Stratton, which served to revitalize the band and restore their focus before joining  acclaimed producer John Congleton for the By Night sessions.

The band’s third full-length album, which is slated for a June 7, 2019 release through Epitaph Records finds the band stretching and warping their sound to evoke a merciless and unrelenting sense of tension and apprehension that should feel familiar in our current sociopolitical moment. “New Comedown,” the third album’s first single was an explosive roar, centered around a propulsive rhythm section, thunderous drumming, layers upon layers of power chords, a mosh pit friendly hook and Blaine’s howled vocals — and while bearing a resemblance to the singles recorded with Gurewitz and Stratton, the song reveals some of the most confident and self-assured songwriting and playing of their growing catalog.

Sonically, the album finds the band meshing the powerful but polished sound of contemporary rock with the countless reinterpretations of classic punk and post punk — while being encouraged by Congleton to push their sound and approach in new directions: in fact, the band employs the use of chorused band in endless waves, lighting strike flashes of synth, motor man-machine drums and even a string section.

Interestingly, By Night‘s second and latest single is a shimmering yet brooding and tense bit of post-punk centered around motorik-like drumming, buzzsaw-like guitars and a shout-along-worthy hook — and while bearing an uncanny resemblance of The Cars, the futuristic, sci-fi punk song captures a narrator, who has partied and fucked around to the point of losing what’s left of the sanity.

New Video: Acclaimed Melbourne-based Punk Act Amyl and The Sniffers Release Campy Visuals for Anthemic “I Got You”

Featuring Amy Taylor (vocals), Gus Romer (bass), Bryce Wilson (drums) and Declan Martens (guitar), the Melbourne, Australia-based punk act Amyl and The Sniffers formed in early 2016 — and during that year, they wrote, self-recorded their debut EP Giddy Up. The Aussie quartet followed up with 2017’s Big Attractions EP, which they re-released as a double 12 inch EP with Giddy Up through Homeless Records in Australia and Damaged Goods in the UK.

The band made their international touring debut with an appearance at The Great Escape Festival and series of sold out London area shows, which they followed up by joining JOVM mainstays King Gizzard and the Lizard Wizard for a 22 date Stateside tour. They made triumphant returns to the UK and the US that included packed houses and rave festival reviews. They ended the year by signing with Flightless Records for distribution across Australia and New Zealand and Rough Trade for the rest of the world — and they were also nominated for a Best New Act at the Q Awards and won the $30,000 Levis Prize.

The Aussie punk quartet took this year’s SXSW by storm, receiving gushing praise from the likes of Rolling Stone, Austin Chronicle, NMEAustin-American Statesman, BrooklynVegan, DIY and others. Building upon a buzz worthy and growing profile, the members of Amyl and The Sniffers will be releasing their highly-anticipated self-titled, full-length debut is slated for a May 24, 2019 through Flightless Records and Rough Trade Records — and the album’s latest single, “Got You” is a completely unhinged and explosive take on ’77 era punk, complete with a rousingly anthemic hook, enormous power chords paired with Taylor’s snottily delivered vocals. “‘Got You’ is about that feeling you get when you first start seeing someone and you’re excited to see them, no matter what shit they got,” the band’s Amy Taylor explains. “You just see them at the pub and it feels like the most exciting thing in the world, like you’re so lucky they’re even there. It’s definitely one of the ‘sweetest’ songs on the album and less punky. It was kind of inspired by Split Enz.”

Directed by Melbourne-based director Triana Hernandez, the recently released video for “Got You” features the members of the band in a dysfunctional and possessive relationship. The band’s Taylor adds “We worked with Melbourne director Triana Hernandez for the video and we decided to make it less like a love song and more cheeky. We wanted to play with the power dynamics a bit and turn ‘I got you’ into ‘I literally own you’, just to make it a bit more dark. It’s obviously not a healthy relationship but that kind of thing is easy to slip into, too.” 

New Video: Join London’s Booze Fueled Punk Rockers The Caveman on Tour

Last year, I wrote a bit about the now-London-based punk rock quartet The Cavemen — and as you may recall, the band originally formed in Auckland, New Zealand when its initial lineup of Paul Caveman (vocals), Jack Caveman (guitar, vocals), Nick Caveman (bass) and Jake Caveman (drums) met while in high school — with the band’s founding members reportedly bonding over a shared love of glue and wild rock ‘n’ roll. After spending several years drinking and loitering around Auckland’s basements, graveyards and parking lots, the band’s founding lineup honed their sound. And over the course of 2014-2015, the band recorded their full-length debut, which received attention locally for material that at the time could be described as furious, face-melting power chord-based punk inspired by The Ramones, The CrampsThe Stooges, and The MC5 while thematically touching upon grave-robbing, necrophilia and other perverse shit with a sneering sense of humor; in fact, when the band was based in Auckland, they developed a reputation for being infamous — or as the band claimed at the time, they were a “great band to clear a party.”

Just two weeks before the members of the band were to relocate to London, they went on a rather infamous national tour to support their full-length debut. Unsurprisingly, the tour included an ill-fated graveyard tour that had to be canceled when Nick Caveman died in a tragic car accident. Dirty Water Records released their debut album across the European Union and elsewhere, and from debut album single “Stand By Your Ghoul” and their “Burn Out For Love” 7 inch, the band revealed that they specialized in a boozy and filthy punk rippers centered around fuzzy power chords, amphetamine-fueled drumming and howled vocals. Building upon a growing reputation for grimy, old-school-inspired punk, the London-based band released, the pummeling full-length Nuke Earth last year, which they followed up with the “Lowlife” 7 inch earlier this year. The 7 inch’s A-side “Lowlife” manages to be reminiscent of Johnny Thunders‘ “Born to Lose,” Highway to Hell-era AC/DC and New York Dolls with howled lyrics, a Chuck Berry-inspired guitar solo and a furious, booze-fueled nihilism.

The recently released video is split between raucous and sweaty, beer and shots-fueled live footage shot while the band was on tour and intimate, behind the scenes footage of the band goofing off while on the road. Of course, the band will be hitting the road with a French and Spanish that will run throughout this month.