Tag: punk rock

 

In the very early days of this site, I wrote quite a bit about the Ottawa, Ontario, Canada-based Steve Adamyk Band, and although it’s been some time since I’ve personally written about them, they’ve remained one of Canada’s contemporary, premier power pop/punk acts. Throughout the past decade, the band has toured Japan, North America and Europe while releasing five full-length albums and a lengthy list of seven inch singles. Back in 2016, the band’s most consistent and longest-held lineup split up, and it would have been accepted and natural to call it a day and move on with something else; however, the band has managed to continue with the same relentless touring schedule — and a new lineup featuring the band’s only remaining original member Dave Williams (guitar, vocals), The Acorn’s Pat Johnson (drums) and Uranium Comeback’s Johnny O (bass).

The newly constituted trio’s forthcoming full-length album Paradise was recorded by Mike Bond at Wolf Lake Studios and mixed by Jesse Gander in Vancouver, and the album reportedly finds the band retaining some of the same vibe that fans and critics have come to know and love — but with a larger, beefed up sound. Clocking in at a breakneck 93 seconds, Paradise‘s first single is the scuzzy and anthemic power chord ripper “In Death.” Just listening to the song brings back warm memories of dark dive bars and sweaty, foul-smelling punk rock clubs in the Lower East Side with sweaty dudes in a mosh pit, shouting along to the song’s enormous raise-your-beer-aloft hook.

The members of The Steve Adamyk band will be on tour to support the new album. Sadly, there aren’t any NYC area tour dates (as of yet at least) but check out the dates below.

 

Tour Dates:
2/15 – Ottawa, ON @ Mavericks (with Teenage Head)
2/22 – Cincinnati, OH @ NorthSide Yacht Club (with Raging Nathans,
Vacation, Dopamines)
2/23 – Fort Wayne, IN @ Berry Street Recording (with Raging Nathans)
2/24 – Madison, WI @ Mickey’s Tavern (with Raging Nathans, Proud Parents)
2/26 – Minneapolis, MN @ First Street Entry (with Mike Krol)
2/27 – Milwaukee, WI @ Back Room at Collectivo (with Mike Krol)
2/28 – Chicago, IL @ Empty Bottle (with Mike Krol)
3/01 – Detroit, MI @ Deluxx Fluxx (with Mike Krol)
3/02 – Toronto, ON @ The Garrison (with Mike Krol)
3/23 – Ottawa, ON @ House of Targ
4/26 – Ottawa, ON @ The Dominion Tavern
5/09 – Quebec City, QC @ Scanner Bistro (with DeeCracks)
5/10 – Moncton, NB @ The Caveau (with DeeCracks, Chiller, Phone Jerks)
5/11 – Halifax, NS @ Gus’ Pub (with DeeCracks, Outtacontroller)
5/12 – Shawinigan, QC @ Brewery (with DeeCracks)
5/16 – Ottawa, ON @ Black Squirrel Books (with DeeCracks)

 

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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.

 

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.

New Video: JOVM Mainstays Oh Sees Release Nightmarish and Hallucinogenic Visuals for “Enrique El Cobrador” off “Smote Reverser”

Throughout this site’s eight year history, I’ve written quite a bit about the Bay Area-based  Oh Sees (a.k.a. Thee Oh Sees, OCS, The Oh Sees, The Orange County Sound, Orinoka Crash Suite and other variations) — and as you may recall, the band which is led by its ridiculously prolific creative mastermind John Dwyer has long-held reputation for a wide-ranging experimentalism that has seen the band dabble and bounce between lysergic-tinged folk, furious and sweaty garage rippers, sci-fi driven krautrock and more. And with each successive album generally being completely different from its predecessors, it makes the band difficult to pigeonhole.

Last year’s Orc was a muscular and darkly inventive turn for the current lineup which features Tim Hellman (bass), Dan Rincon (drums) and Paul Quattrone (drums), as the material balanced a trippy, cosmic vibe with some of their most hard-hitting and punishing tendencies. Reaffirming their reputation for being unpredictable, the members of the band quickly followed that up with Memory of a Cut Off Head, an album that found the band revisiting the sound and approach of their early years, best known as their “quiet” period; in fact, returning to one of the band’s earlier names — OCS — was meant to herald a return to –the lower end of the decibel meter. 

Last year, Dwyer and company did two shows with their quieter and lush incarnation at The Chapel in San Francisco and those live shows eventually produced a handmade, mail-order only live album OCS Live in San Francisco that was released through Rock Is Hell Records. Interestingly, the album will be re-issued and made available in a condensed 2 LP set and to support that effort, the OCS will play a limited performance run of mellow OCS tunes at The Murmrr Theatre in Brooklyn, as an octet featuring members of the early lineup, including Brigid Dawson (vocals), Tim Hellman (bass), Paul Quattrone (drums), Tom Dolas (keys), Eric Clark (violin), Heather Lockie (viola) and Emily Elkin (cello). (You can check those dates below.)

Also, Castle Face Records will be re-issuing a string of Oh Sees out-of-print Oh Sees albums from the quiet era beginning with The Cool Death of Island Raiders in February 2019. In the meantime, the band has released live footage of them performing the trippy and epic burner “Block of Ice,” that features some wild and unhinged guitar playing centered around a propulsive and steady groove. Quieter? I’m not so sure, as this one as a buzzing, garage psych quality; but either way I’m looking forward to catching Dwyer and company live. 

But before that, the ridiculously prolific Dwyer and his Oh Sees/OCS released Smote Reverser earlier this year, and album single “Enrique El Cobrador” finds the band meshing classic psych rock and prog rock in a way that brings JOVM mainstays King Gizzard and the Lizard Wizard but with a muscular and frightening sense of menace at its core, as the song is centered by a motorik-like groove, explosive blasts of guitar, arpeggiated keys and Dwyer delivering his vocals with a guttural snarl. Directed by Alexis Giroux and featuring animation from Giroux and Massimo Colarusso is a hallucinogenic nightmare of murder, bloodshed and bright colors and other wild imagery. 

TOUR DATES
12/15/2018 Murmrr Theatre – Brooklyn, New York
12/16/2018 Murmrr Theatre – Brooklyn, New York

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.