Tag: Beck Devil’s Haircut

Lyric Video: JOVM Mainstays Plague Vendor Release a Shimmering and Tense Bruiser

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 Brandon Blaine (vocals), Luke Perine (drums), Michael Perez (bass) and Jay Rogers (guitar) released 2016’s Stuart Sikes-produced sophomore album Bloodsweat, which 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, seemingly evoking 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.  “All of the Above” the album’s second single was a shimmering yet brooding bit of post-punk centered around buzzsaw-like guitars, a shout-along worth hook and a motorik-like groove — 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. The album’s third single “Let Me Get High/Low” was a serpentine take on stoner rock that possessed a similar swagger to “No Bounty.”  Interestingly, the album’s fourth and latest single “Prism” is a tense, swaggering bruiser centered around angular guitar chords, breakbeat drumming inspired by Beck’s “Devil’s Haircut,” and an enormous, arena friendly hook — and while bearing a resemblance to the material off their sophomore album, the song possesses a slick, studio sheen. 

 

Earlier this month, I wrote about the  Savannah, GA-based singer/songwriter and multi-instrumentalist, David Brady Lynch. And as you may recall, Lynch began writing and recording his own original music at a very early age; however, over the past few years, Lynch has developed a number of musical projects that showcase a wide array of dynamic and forward-looking sounds, including including the groove-based, electro rock/electro pop act Sunglow, the grittier projects Cray Bags and Greta O. and the Toxic Shock, and the garage rock act The Lipschitz. And with each project Lynch explores different sounds and songwriting approaches while maintaining a thin thread throughout.

Interestingly, Lynch’s latest project found Lynch writing and recording in a spontaneous fashion and according to the Savannah, GA-based singer/songwriter and multi-instrumentalist, moving quickly when he’s long been used to writing within the specific context of different projects with their own personas offered a fresh perspective — and perhaps a bit of a reprieve from strictly structured writing. Lynch’s Bummerville debut, Bottom Feeder is slated for release next week through Graveface Records, and the album’s first single “That Time It Takes” was a gritty, power chord-based rock single that was an amalgamation of 90s grunge and 70s power pop, complete with anthemic hooks. “C U Gone,” Bottom Feeder‘s latest single however, is a wild sonic left turn from its predecessor as it draws directly from scuzzy garage rock and bubblegum pop in a way that oddly enough reminds me of Odelay-era Beck — in particular, “Devil’s Haircut” while retaining a “first-thought-best-thought” improvised vibe.

Lynch will be embarking on a tour to support Bottom Feeder with a backing band featuring his brother Derek (bass), Joshua Sterno (rhythm guitar) and Jonathan Graham (drums) and the tour will feature a February 1, 2018 stop at Max Fish. Check out the tour dates below.
Tour Dates
Fri 1/19 – Chicago, IL @ Cole’s
Sat 1/20 – Indianapolis, IN @ TBA
Sun 1/21 – Lexington, KY @ Liberty House
Mon 1/22 – Nashville, TN @ Found Object
Tues 1/23 – Memphis, TN @ Lamplighter
Wed 1/24 – Birmingham, AL @ TBA
Thu 1/25 – Atlanta, GA @ 529
Fri 1/26 – Savannah, Ga @ The Jinx
Sat 1/27 – Orlando, FL @ Uncle Lou’s
Sun 1/28 – Charleston, SC @ Makeout Reef
Mon 1/29 – Chapel Hill, NC @ The Cave
Tues 1/30 – Charlottesville, VA @ Magnolia House
Wed 1/31 – Baltimore, MD @ True Vine
Thu 2/01 – NYC, NY @ Max Fish w/ Foster Care
Fri 2/02 – Syracuse, NY @ Spithaus
Sat 2/03 – Buffalo, NY @ Deep Space 8
Sun 2/04 – Columbus, OH @ Legion of Doom