Category: punk rock

 

Late last year, I wrote about the Boston-based alt rock quintet Aneurysm, and as you may recall, the band formed back in 2014 and since then, they’ve developed a reputation for relentless touring and realizing a handful of 7 inch vinyl releases. Their long-awaited full-length debut Awareness is slated for a February 1, 2019 release through Tor Johnson Records, and the album, as the band’s Dan Bahto explains in an interview with No Echo, the material on the album is sort off a collection of things they had been working on since they started.

Awareness‘ first single was the pummeling, mosh pit friendly “St. E.” Centered round enormous power chords, thunderous drumming and howled vocals, the track brought Nirvana, METZ and others to mind. The album’s second and latest single “Newport” continues on a similar vein as its predecessor while rooted in a melodicism that brings Social Distortion to mind; in fact, the song is centered around world-weary and hard-fought reflections on sex, drugs, cops, death and rock ‘n’ roll.  The song kicks ass but as I turn 40 in a couple of months, it has a sobering air: it’s full of the recognition of that you’re getting older; that the scene is slowly phasing you out; that with each passing day you’re looking at your mortality in the mirror.

 

Advertisements

Late last year, I wrote about the Southern California-based trio Warish, and as you may recall the trio which features founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums) formed earlier this year, when its founding duo wanted to try their hand at something a bit more distinct than they’d previously done. “We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch AcidIncesticide-era NirvanaStatic Age-era Misfits — and with “Fight,” the first single off their self-titled debut EP, the trio quickly make their presence known as the song is centered around Hawk’s effects-laden vocals, enormous grunge rock meet thrash punk power chords, pummeling drumming, mosh pit friendly hooks and an aggressively sleazy, Troma Films-like vibe.

Warish’s self-titled debut EP is slated for a February 19, 2019 release through RidingEasy Records, and the EP’s latest single “Human Being” is a mosh pit friendly ripper centered around explosive power chords, thundering drums and howled vocals. Sonically speaking, the track recalls The Colour and the Shape and One by One-era Foo Fighters — but with a raw, gritty feel.

 

New Audio: JOVM Mainstay Jon Spencer Releases Kaleidoscopic Visuals for Bruising New Ripper “Beetle Boots”

Best known as a founding member of renowned local alt rock acts The Jon Spencer Blues Explosion, Boss Hog, Heavy Trash and Pussy Galore, Jon Spencer released his long-awaited solo debut Spencer Sings the Hits last November, and as you may recall, the Bill Skibbe-produced album, finds the renowned guitarist and frontman embracing a DIY approach while collaborating with Quasi‘s and Heatmiser’s Sam Coombes and M. Sord. So far I’ve written about two album singles — the blistering and abrasive ripper “Do The Trash Can,” a track centered around a snarling, garage punk attitude, abrasive and enormous power chords and an oddly danceable groove and “I Got The Hits,” an equally explosive ripper, featuring abrasive power chords, a shit ton of double entendres and a propulsive, junkyard groove that’s danceable yet mosh pit friendly. 

Spencer Sings the Hits’ latest single “Beetle Boots” is a straightforward garage rock ripper, featuring around a downright nasty, snarling, power chord-based guitar riff, a propulsive groove and shouted call and response lyrics centered around picking up a guitar, joining a band and trying to kick ass and take over the world — but with the reminder that being in a band ain’t easy; that if you come in faking the funk, the game will chew you up and spit you out. 

Directed and edited by Andrew Hooper, featuring photos from Jon Spencer, Michael Lavine, Ebru Yildiz, Patrick Houdek, Myranda Baert, and Bob Coscarelli, art by Katie Skelly Visual and visual elements by The Verite Messengers, the recently released video is a trippy and kaleidoscopic treatment that draws from found footage of 60s psych pop concert films, young bands jamming, photos of Spencer and his bandmates — and all of it serves as a powerful reminder: that being in a rock ‘n’ roll band is fucking awesome. 

New Audio: Tony Hawk’s Son Fronts a Sludge Punk Band Warish, Check Out Their Awesome First Single

Featuring founding members Riley Hawk (guitar, vocals) and Bruce McDonnell (drums), the Southern California-Based trio Warish formed earlier this year, when its founding members wanted to try their hand at something a bit more distinct than they’d previous done. “We wanted to do simpler riffs and a fun live show,” Hawk explains in press notes. “A little more punk, a little bit of grunge… a little evil-ish.” Sonically, their sound reportedly draws from a variety of things — early Butthole Surfers, Scratch Acid, Incesticide-era Nirvana, Static Age-era Misfits. With “Fight,” the first single off their self-titled debut EP, slated for a February 19, 2019 release through RidingEasy Records, the trio quickly make their presence known as the song is centered around Hawk’s effects-laden vocals, enormous grunge rock meet thrash punk power chords, pummeling drumming, mosh pit friendly hooks and an aggressively sleazy, Troma Films-like vibe — and it’s fucking awesome.

Priors is a Montreal, Quebec, Canada-based punk rock outfit that specializes in relentlessly pummeling garage punk with a dystopian attitude. The Canadian garage punk band’s soon-to-released sophomore album New Pleasure is slated for a release next Friday through Slovenly Records, and the album is reportedly a major step forward for the band — and as you’ll hear from album singles “Heart Strings” and “Provoked,” the band’s sound is centered around lacerating, fuzzy power chord-based riffs, rapid fire drums, skittering analog synths and punchily delivered shouts and howls — and interestingly, the album’s first two singles manage to evoke the creeping sense of anxious  fury that we’re all feeling on an increasing basis, as we live in a mad and delusional world in which our “leaders” have relativized commonly accepted fact, and accept all the things that will lead to our annihilation.

 

New Video: Plague Vendor’s Frenetic New Single “Locomotive”

Over the years, I’ve written a bit about the Whittier, CA-based punk rock quartet Plague Vendor, and as you may recall the act which is comprised of Brandon Blaine (vocals), Luke Perine (drums), Michael Perez (bass) and Jay Rogers (guitar) formed back in 2009 — and in a short period of time, the members of Plague Vendor developed a reputation for frenetic and raucous live sets. Naturally, as a result of their reputation they played an increasing number of shows, and along with that they had begun to write an increasing batch of material. Those early live shows lead to 2014’s debut album debut Free to Eat, an album that has been described as terse, dark and thrashing post-punk.

2016’s Stuart Sikes-produced sophomore effort Bloodsweat landed at number 2 on this site’s Best of List, and from album singles “ISUA (I Stay Up Anyway)“, “Jezebel” and “No Bounty,” the album was full of frenetic, furious and anthemic punk performed with a blistering and undeniable swagger. Up until recently, two years had passed without any original material from the members of Plague Vendor; but before joining renowned producer John Congleton to begin work on their untitled third album, the members of Plague Vendor, along with Brett Gurewitz and engineer Morgan Stratton entered Sunset Sound Studio 2, where they spent a furious two days writing, completing and recording two songs in two days — the first single was the anxious, raw and stomping “I Only Speak in Fiction.” As the band’s Luke Perine explained in press notes at the time, the writing and recording of “I Only Speak in Fiction” helped revitalize the band and restore their focus. “As a band, we grow anxious—often depressed to some degree—during our downtime,” Perine said in press notes. “Having these two days to get in the studio ahead of working on the next album released a lot of that tension. It became a more productive two days than we expected, as we were only planning on recording one song. I think we are reaching a higher level of focus together as we go into this next album.”

The breakneck “Locomotive,” Plague Vendor’s latest single was recorded during the “I Only Speak in Friction” sessions, and track is centered by rapid fire four-on-the-floor drumming, brooding guitar chords, a chugging bass line, a mosh pit friendly hook and Blaine’s vocals, which shift from crooning to manic howling — and while the song possesses a primal and furious energy at its core, the new single reveals a band that has grown increasingly confident in their songwriting and approach, decidedly expanding upon the sound that has won them attention. 

The accompanying video captures the band at their best — live, frenetic, furious and downright rousing. 

Earlier this year, I wrote a bit about the Austin, TX-based trio Exhalants, and as you may recall, the band which features Steve (guitar, vocals), Bill (bass) and Body Pressure’s Tommy (drums), can trace its origins to the breakup of Steve’s and Bill’s previous band  Carl Sagan’s Skate Shoes. As the story goes, with the inevitably downtime that’s a result of a band’s breakup, Steve wound up spending his free time further honing his guitar playing before he recruited his former CSSS bandmate and Tommy to complete the project’s lineup.

Released earlier this year, the band’s self-titled full-length debt was recorded and mixed by Ghetto Ghouls‘ Ian Rundell and mastered by Yeesh’s Greg Obis, and the albums largely inspired by  ShellacUnwound and Cherubs, while nodding at the work of contemporaries like MelkbellyKal Marks and A Deer A Horse  — or in other words, much like those bands, the album finds the band balancing pummeling and bruising heaviness with an underlining melodic sensibility. Interestingly, album single “Punishers” is an aptly titled, furious, abrasive and — well, punishing ripper centered by enormous power chords, wild peals of feedback and pummeling drumming. Sonically speaking, the song is a mosh pit-friendly anthemic that should be played way too loudly in a dark, sweaty room.

Unsurprisingly, the recently released video for “Punishers” will bring 120 Minutes-era MTV to mind, as its an equally pushing visual, consisting of warped, distorted VHS footage — and while old-timey, it manages to evoke the terror and fury of our time.

Now, as you recall, earlier this month I wrote about  Lifestyles‘ breakneck, pummeling and grungy “Wail,” which is one-half of a split 7 inch that Chicago-based label No Trend Records! will be releasing later the month. The second half of that split 7 inch features another Chicago punk rock act, Meat Wave. Interestingly, the act which features Chris Sutter, Joe Gac and Ryan Wizniak has developed a reputation for crafting brooding and bruising punk; however, their contribution to the split 7 inch “That’s Alright” is the only song in their growing catalog that has any semblance of positivity or light, as it’s an ode to love within the frequently evil, near apocalyptic world we currently inhabit.

Centered around pummeling and forcefully urgent groove and layers of distorted guitars, the track will further cement the trio’s reputation for bruising punk and while being mosh pit friendly, the song features a rousingly anthemic hook. Certainly, the song is a brief reminder that there are brief and sometimes fleeting moments of light in our dark and fucked up world, and that we need to hold on to them desperately — with every fiber of our beings.

The members of Meat Wave are currently on tour, opening for Cursive through mid-November and it includes a November 7, 2018 stop at Irving Plaza. Check out the tour dates below.

Tour Dates:
10/25 – Ybor City, FL – Pre-Fest
10/27 – Gainesville, FL – The Fest 17
10/28 – Jacksonville, FL – Jack Rabbits*
10/30 – Atlanta, GA – The Masquerade*
10/31 – Charlotte, NC – The Underground*
11/01 – Carrboro, NC – Cat’s Cradle*
11/02 – Washington, DC – 9:30 Club*
11/03 – Philadelphia, PA – Union Transfer*
11/04 – Asbury Park, NJ – Stone Pony*
11/06 –  Long Island, NY – Amityville Music Hall*
11/07 – New York, NY – Irving Plaza *
11/08 – Boston, MA – Paradise*
11/09 – Hamden, CT –  Space Ballroom*
11/10 – Buffalo, NY – Tralf Music Hall*
11/11 – Pittsburgh, PA – Rex Theater*
11/12 – Columbus, OH – Ace of Cups*
11/13 – Cleveland, OH – Grog Shop*
11/14 – Detroit, MI – El Club*
11/15 – Chicago, IL – Thalia Hall*
11/16 – Madison, WI – High Noon Saloon*
11/17 – St. Paul, MN – Turf Club*
11/18 – Omaha, NE – Waiting Room*
* w/ Cursive & Campdogzz