Tag: Epitaph Records

Video by William Ruben Helms

New Video: Mannequin Pussy Releases a Feral Mosh Pit Friendly Ripper

That same month, the band had thirteen songs released on a split tour cassette with Idaho-based band Art Fad titled Banditos, released through Trash Palace Tapes. The band expanded to a trio with the addition of Drew Adler (drums) — and as a result, Paul moved to guitar. With that lineup, the band released their full-length debut, 2013’s Gypsy Pervert as a limited edition, cassette only released through Rarebit Records.

In 2014 the members of Mannequin Pussy signed to Tiny Engines, who re-released their full-length debut. Over the next two years, the band went through a series of lineup changes: 2015 saw Reading replace Adler on drums and in the following year Regisford returned to the band. The lineup of Missy, Reading and Regisford and Paul released their critically applauded, breakthrough album Romantic, which featured “Romantic,” a trace that landed on Rolling Stone’s 50 Best Songs of 2016 list.

In March 2019, the band signed with Epitaph Records, who released their third album Patience that June. Much like a handful of bands across the world, last year was looking up for the members of the band: they had started touring to support Patience — and after a decade as a band, they were finally able to turn music into a full-time job. Of course, the COVID-19 pandemic threw a massive monkey wrench into everyone’s plans, making touring, let alone playing anywhere impossible and dangerous. The band announced that Athanasios Paul had left the band to “start a new chapter in his life” and that they would continue forward as a trio.

After spending much of last year in anxious, pandemic-related isolation, the remaining members decided to reconvene and book studio time with Grammy-nominated producer Will Yip to work in person. They brought two previously written songs into the sessions, but they were so excited from their reunion, that they decided to write new material together on the fly. “We just figured if we forced ourselves into this situation where someone could hit ‘record,’ something might come out,” Missy says. “We’d never written that way before.” The end result is the band’s forthcoming EP Perfect.

Inspired by months of social isolation and anxiety-fueled doom scrolling, the EP and its title track in particular, thematically examines the practice of condensing your daily life into a manicured stream of images for social media consumption. “Last year, I found myself spending more time on my phone than I ever had in my life. Physically separate from other people, I spent hours of time watching other humans perform on my rectangle. I realized that through years of social media training, many of us have grown this deep desire to manicure our lives to look as perfect, as aspirational as possible,” the band’s frontwoman Missy explains in press notes. ““We want to put ourselves out there, share our lives, our stories, our day to day – and these images and videos all shout the same thing: ‘Please look at me, please tell me I’m so perfect.’ It’s simultaneously a declaration of our confidence but edged with the desperation that seeks validation from others.”

Clocking in at a little over 2:30, “Perfect” is a hardcore punk-inspired, feral bludgeoning, centered around thunderous drumming, howled vocals and explosive power chords and a mosh pit friendly break. Play this one loud. Play it so loud that it frightens your neighbor.

Directed by the band’s Missy, the recently released video for “Perfect” is inspired by the 1997 cult comedy Romy and Michele’s High School Reunion. Taking viewers to Sugarbush High’s 10-year anniversary, the video reveals the rot, unease and freakishness under the veneer of perfection. The freaks who uproot everything are the heroes and the norms are awful — and that’s generally the case, isn’t it?

Video by William Ruben Helms

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. 

Single Review by William Ruben Helms

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. 

Single Review by William Ruben Helms

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.

Video by William Ruben Helms

New Video: JOVM Mainstays Plague Vendor Releases Explosive Visuals for Blistering and Anthemic “New Comedown”

Over the past couple of years, I’ve written quite a bit about 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) formed back in 2009, and within a relatively short time, the band quickly developed a reputation for frenetic and raucous live sets. And as a result of that reputation, they began playing an increasing number of live shows in the area — and those early shows helped lead to 2014’s debut album, Free to Eat, an album that some critics have 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. Interestingly, two years or so passed before the members of 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 that served as a way to help revitalize the band and restore their focus — before joining renowned producer John Congleton, who would helm the sessions that would eventually result in the band’s forthcoming third album, By Night. 

While reportedly, the album is a return-to-form for the Whittier-based punk act, the album’s first single “New Comedown,” is a furious and explosive roar of a song, centered around a propulsive New Wave-like rhythm section, complete with thunderous drumming and a forcefully chugging bass line, layers power chords, and a mosh pit-friendly hook paired with Blaine’s howled vocals. Similar to the material recorded with Gurewitz and Stratton, “New Comedown” features some of the most confident and self-assured songwriting and playing of their growing catalog, making it arguably one of the best rock songs I’ve heard this year. 

The recently released Dan Monick-directed video for the new single features intimate close ups the band performing the song in the studio, with explosive strobe-lit sequences that captures the frenetic and passionate energy of the band’s live set. 

Single Review by William Ruben Helms

New Audio: Acclaimed Act Thrice Releases An Anthemic Prog Rock-like Single

Comprised of founding members Dustin Kensrue (vocals, guitar) and Teppei Teranishi (guitar) with siblings Eddie Breckenridge (bass) and Riley Breckenridge (drums), the Irvine, CA-based rock band Thrice can trace their origins to its founding members meeting in high school and playing in a local band Chapter 11. When it came to starting their own project, Kensrue and Teranishi recruited Teranishi’s skate park buddy Eddie Breckenridge to play bass, and Breckenridge then brought his brother Riley to play drums, completing the band’s lineup. As the story goes, before their first show they realized that they needed name, and hard-pressed, they decided on going with Thrice, an inside joke between the bandmembers out of desperation. Although they had intended the name to be a temporary one, they began to gain fans and people started to associate them with it, so they were forced to stay with it.

In 1999, the band released the First Impressions EP, which was recorded during a twos-day session at A-Room Studios with Brian Tochilin. Only 1,000 copies were made and the individual bandmembers sold them out of their cars. Working with Death by Stereo’s Paul Miner, the Irvine, CA-based quartet recorded 12 tracks, which eventually became their 2000 full-length debut Identity Crisis, which was released through Greenflag Records. A portion of the album’s proceeds were donated to Crittenton Services for Children and Family, and with growing local buzz, the quartet caught the interest of Hopeless/Sub City’s Louis Posen, who eventually signed the band, and reissued Identity Crisis. To support the album the band toured with the likes of Samiam, Midtown and Hot Rod Circuit.

February 2002 saw the release of the band’s Brian McTernan-produced Hopeless/Sub City debut, The Illusion of Safety. Much like its predecessor, the band donated a portion of the album’s proceeds to a non-profit youth shelter in South Central Los Angeles, A Place Called Home, with the label matching all donations. The album received generally positive reviews and after tours opening for Further Seems Forever and Face to Face, followed by their first headlining tour, Thrice won the attention of several major labels, including Island Records, who signed the band, after agreeing to match the band’s charitable donations in the same fashion as Hopeless/Sub City. After signing with Island Records, the band toured with Hot Water Music and Coheed and Cambria before returning to the studio.

Interestingly with the release of 2002’s Illusion of Safety and 2003’s The Artist in the Ambulance, the band developed a reputation for a fast and punishing math rock-like sound centered around heavily distorted power chords, rapid time signature changes; however, with 2005’s Vheissu, the members of Thrice began incorporating synths, electronic beats and a much more experimental approach to their songwriting that continued through 2007 and 2008 with the release of The Alchemy Index, two albums that actually consisted of a 4-part, 24 song cycle, with each of the four 6-song EPs featuring significantly different styles based on the classical elements of fire, water, air and earth both lyrically and musically. 2009’s Beggars and 2011’s Major/Minor found the band continuing to refine their experimentation and exploration of their sound; but after the release of Major/Minor, Thrice announced a final tour and a hiatus.

In 2015, Kensrue and Teranishi decided to reform the band, and by the following year, they released their first album in four years, 2016’s To Be Everywhere Is to Be Nowhere.  Slated for a September 14, 2018 release through Epitaph Records, the band’s tenth full-length album Palms is their second post-reunion album, and the album which was co-produced by the band and Eric Palmquist reportedly finds the band’s sound encompassing everything from post-hardcore to piano-driven ballads, making it arguably the most sonically expansive album of their careers to date. Interestingly, the album’s latest single, the prog rock-like mid-tempo “Only Us” is centered around pulsating synths, enormous power chord-led guitar riffs, an arena rock friendly hook and Kensrue’s plaintive and earnest vocals. As the band’s Dusin Kensrue explains in press notes. “‘Only Us’ came from thinking about how easily we’re so divided into ‘us’ and ‘them’ when really we have an inherent ability to care for those in our group, and the parameters for who falls into that group are extremely flexible. It’s about how the things that we think separate us are actually inconsequential, and if we could broaden the idea of ‘us’ to include all people, it would help us build a more loving and civil society. “