Tag: Wire

Over the past couple of months, I’ve written about the Los Angeles, CA-based quartet Sextile. And interestingly enough, the band which is comprised of Melissa Scaduto, Eddie Wuebben, Sammy Warren and Brady Keen derives their name from the classic, astrological definition of sextile, an astrological aspect that’s made when two planets or other astrological bodies are 60º apart in the night sky.

Now, as you may recall, “One Of These,” off the band’s forthcoming sophomore effort, Albeit Living, managed to sound as though it were influenced by The Jesus and Mary Chain, A Place to Bury Strangers, Wire, Public Image, Ltd., early Ministry and early Nine Inch Nails as it featured the band pairing a propulsive stomp with scorching feedback, chilly synths, a dance floor-worthy hook with a feral intensity.  The album’s subsequent signal “Who Killed Six” featured angular guitar chords, punchily delivered lyrics and industrial clang and clatter to create a song that sounded as though it were influenced by   Pink Flag-era Wire and Joy Division; but with a scuzzier and grittier feel.

Albeit Living‘s latest single “Situation” finds the band pairing a propulsive and throbbing synths with whirring and grinding electronics, persistent beats and laconically delivered vocals in a song that sounds like a dryly ironic cover of Elastica‘s “Connection.” And although the song manages to draw from some of the same influences and time period, the new single reveals a band playfully and restlessly experimenting with their sound to the point of being musical chameleons while retaining elements of the sound and aesthetic that captured the blogosphere’s attention — namely an ability to craft a rousing hook.



Currently comprised of founding members Michael Goodwin, a member of the OBN IIIs and eeetsFEATS; Chris “Anton” Stevenson, a member of Spray Paint, Dikes of Holland and When Dinosaurs Ruled the Earth; Marley Jones, a member of the OBN IIIs and Sweet Talk; and Victor Ziolkowski, a member of Skeleton and Nosferatu, the Austin, TX-based punk quartet PLAX can trace its origins to last year, when founding member Goodwin approached his longtime friend Stevenson and current OBN IIIs bandmate Jones about the possibility of forming an outsider punk band that would defy all conventional expectations while being inspired by the likes of Wire and Dawn of Humans. The band’s founding trio quickly went to work writing songs for a demo — they eventually wrote 9 — but they felt were still in need of a vocalist to complete the project. At the time Marley was collaborating with David and Victor Ziolkowksi, the founding members and frontman of Skeleton, a constantly evolving project featuring the Ziolkowski Brothers and a rotating cast of collaborators and friends. And as the story goes, Stevenson and Marley approached Victor Ziolkowski to contribute his vocals, and when he agreed, the project’s lineup was finalized.

By the end of last July, the newly formed quartet had played their first show with New Orleans punk act Patsy and they quickly followed that by playing with a number of national touring Texas-based bands including Crooked Bangs, Institute and Army and others — and building upon the buzz they were receiving, the band went on a January 2017 tour throughout Texas. And although Stevenson has recently relocated to Melbourne, Australia, the band has continued writing and recording; in fact, as you’ll hear on “Boring Story” the first single off the quartet’s forthcoming full-length debut Clean Feeling, the band specializes in the sort of scuzzy, garage punk that would be at home on Goner Records or on Castle Face Records, complete with slashing power chords and punchily delivered vocals. Arguably, “Boring Story” is one of the most mosh pit worthy songs I’ve listened to in several months — and it reminds me of the sort of music I’d hear in countless dive bars and dank DIY spaces.

Last month, I wrote about the Los Angeles, CA-based quartet Sextile. Comprised of Melissa Scaduto, Eddie Wuebben, Sammy Warren and Brady Keen, the band, whose sound draws from 70s punk, 80s New Wave, synthwave and early, industrial electronica, derives their name from the classic, astrological meaning of sextile, an astrological aspect that is made when two planets or other celestial bodies are 60 degrees apart in the sky.

Now, as you may recall, “One Of These,” off the band’s forthcoming sophomore effort, Albeit Living, managed to sound as though it were influenced by The Jesus and Mary Chain, A Place to Bury Strangers, Wire, Public Image, Ltd., early Ministry and early Nine Inch Nails as it featured the band pairing a propulsive stomp with scorching feedback, chilly synths, a dance floor-worthy hook with a feral intensity. However, the album’s latest single “Who Killed Six” features angular guitar chords, punchily delivered lyrics and industrial clang and clatter in what arguably may be the most punk rock and New Wave-inspired song they’ve released to date; in fact, the song reminds me of Pink Flag-era Wire and Joy Division, complete with a scuzzy and gritty feel.





Comprised of Joey La Neve DeFrancesco, Norlan Olivo, Mary Regalado and Victoria Ruiz, the Providence, RI-based punk rock quartet Downtown Boys have developed a growing national reputation for writing protest music centering on their own experiences as young, queer, Chicana and Latino artists, musicians and people within an extremely whitewashed, cis-male, heterosexual world — especially within rock; in fact, throughout the course of the band’s first two albums, they’ve called on their fans whether newfound or diehard to join the struggle to smash racism, homophobia, queerphobia, exploitative capitalism, fascism, ignorance and boredom and more that have closed people’s minds, hearts and souls off to themselves and others.

Produced by Fugazi‘s Guy Picciotto, the band’s forthcoming third, full-length effort Cost of Living, which is slated for an August 11, 2017 through Sub Pop Records will further cement their reputation for crafting serious, incendiary and cathartic yet fun music in which their youthful, urgent and passionate energy is paired with their sociopolitical ideals.   Lyrically inspired by Assata Shakur’s poem “i believe in living,” Cost of Living‘s opening track and first single “The Wall,” finds the band sonically drawing from The Clash, Wire and others while the chorus and hook is repeated mantra-like “A wall is just a wall/A wall is just a wall . . .” boldly calling out Donald Trump’s “Great Wall,” and his supporters for its blatant stupidity; but it also serves as a righteous and powerful reminder that though the wall is symbolically meant to crush the humanity, dreams and desires of an entire groups of people, that as long as people are people, brick and barb wire can never crush their humanity.

As much as we all may want and need to have mindless fun, the members of Downtown Boys are actively creating some of the most forceful and necessary material of the resistance.

The band will be on tour throughout the entire summer and fall and it includes two NYC are stops — June 9, 2017 at the Pitchfork Northside Festival Showcase at Saint Vitus and July 12, 2017 at House of Vans. Check out the rest of the tour dates below.
Tour Dates
6/9: Brooklyn, NY @ Pitchfork Northside Fest Showcase @ St. Vitus
6/16: Ashfield, MA @ The Ashfield Lake House
6/17: Providence, RI @ Aurora
7/12: Brooklyn, NY @ House of Vans
8/19: Omaha, NE @ Maha Festival
9/2 – 9/3: Philadelphia, PA @ Made In America Festival
9/15 – 9/17: Chicago, IL @ Riot Fest
9/23: Los Angeles, CA @ Summer Happenings at The Broad
10/9: Leffinge, Belgium @ Cafe De Zwerver
10/10: Paris, France @ Le Point Ephemere
10/11: Brighton, UK @ The Haunt
10/12: Leeds, UK @ Brudenell Social Club
10/13: Edinburgh, UK @ Sneaky Pete’s
10/14: Glasgow, UK @ Stereo
10/16: Dublin, Ireland @ The Workman’s Club
10/17: Liverpool, UK @ The Shipping Forecast
10/18: London, UK @ Dome Tufnell Park
10/19: Sheffield, UK @ Picture House Social Club
10/20: Manchester, UK @ Deaf Institute
10/21: Bristol, UK @ Simple Things Festival
10/22: Birmingham, UK @ All Years Leaving Festival
10/24: Munster, Germany @ Gleis 22
10/25: Berlin, Germany @ Urban Spree
10/26: Hamburg, Germany @ Hafenklang

Deriving their name from the classic astrological meaning of sextile, an astrological aspect that is made when two planets or other celestial bodies are 60 degrees apart in the sky, the Los Angeles, CA-based quartet Sextile (comprised of Melissa Scaduto, Eddie Wuebben, Sammy Warren and Brady Keehn) specializes in a sound that draws from 70s punk, 80s New Wave, and synthwave and early industrial electronica. In fact, “One of These,” the latest single from the Los Angeles-based quartet’s forthcoming sophomore album Albeit Living manages to sound as though the band were drawing influence from The Jesus and Mary Chain, A Place to Bury Strangers, Wire, Public Image, Ltd., early Ministry and early Nine Inch Nails as the band pairs a propulsive stomp with scorching feedback, chilly synths and an anthemic, fairly dance floor-friendly hook with an explosively feral intensity.







Perhaps best known as one-half of acclaimed Brooklyn-based noise rock duo Talk Normal, an act that released two critically applauded albums, Sugarland and Sunshine and opened for the likes of Sonic Youth, Wire, Yeah Yeah Yeahs and Zola Jesus among others, Andyra Ambro (vocals, drums) saw the breakup of the band, as marking a major shift in her own creative process and an opportunity to start something completely new with her solo recording project Gold Dime, which has been performing live as a trio — with  Jessica Ackerley and Ian Douglas-Moore — since 2014. Interestingly Ambro’s Gold Dime has received some attention nationally as the live trio have opened for Lower Dens, U.S. Girls and Xiu Xiu. And after several years of touring, writing and recording material, Ambro’s long-awaited Gold Dime debut Nerves is slated for a June 2, 2017 release through Fire Talk Records.

Self-produced by Ambro, recorded by PC Worship’s Justin Frey, mixed by Jonny Schenke and mixed by Ambro’s former Talk Normal partner Sarah Register, the album is a result in marked shift in Ambro’s creative process with the material reportedly consisting of much more exploratory and experimental compositions, and as you’ll hear on “Shut Up,” Nerves’ second single, Ambro’s sound manages to effortlessly alternate between swirling, hypnotic drone and wild and abrasive dissonance while held together by a propulsive motorik groove. Ambro’s ironically (and somewhat detached) deadpan vocals float over the mix. And while clearly possessing an almost neurotic and anxious tension, “Shut Up” in particular focuses on the challenges of confronting the struggles to continue creating meaningful, interesting art when there seem to be larger forces against you — and those forces push, shove and taunt you in every possible way.

Seemingly drawing from New York’s early 80s No Wave, art rock, noise rock and post-punk the song — and in turn, Ambro’s latest work — manages to do in a way that’s uncompromisingly, defiantly and joyously weird.








New Video: The Surreal 120 Minutes-Inspired Visuals for Dead Leaf Echo’s Anthemic “Strawberry.Skin”

Now, if you’ve been frequenting this site throughout its almost seven years of existence, you’ve come across posts featuring the Brooklyn-based shoegazer rock and art collective Dead Leaf Echo. And over that same period of time, the members of the collective have seen a growing profile, as they’ve played at some of the country’s largest and best known festivals, have opened for a lengthy and impressive list of renowned, nationally touring bands including The Wedding Present, A Place to Bury Strangers, . . . And You Will Know Us By The Trail Of Dead, The Psychedelic Furs, Chapterhouse, Ulrich Schnauss, Weekend, Lorelei, The Ocean Blue, The Warlocks, Beach Fossils, and The Telescopes and have made appearances on KEXP‘s John in the Morning and on Nic Harcourt’s KCSN show.

With the release of 2013’s 4AD Records-inspired full-length debut effort Thought and Language and 2014’s true.deep.sleeper EP, the band quickly established themselves as one of the preeminent, contemporary shoegazer rock acts while being quite busy — last year, they quietly released a split EP with die you die, as well as a limited cassette run of the “Lemonheart”/”sparks.fly.from.a.kiss” 7 inch, which interestingly retained the well-known and beloved wall of sound and swooning urgency along the lines of RIDE, Swervedriver, The Verve and Slowdive while nodding at Primal Scream, The Jesus and Mary Chain and others.

Interestingly, the band’s latest effort Strawberry Skin was released last week through PaperCup Music and the EP found the band working with frequent collaborator and producer Monte Vallier, who has also worked with Weekend and Wax Idols — and along with Vallier, the album features contributions from Jorge Elbreht, who was a founding member of Violens and is currently working with No Joy and Ariel Pink’s backing band and Guy Fixsen, who has worked with My Bloody Valentine and Wire, among a lengthy and impressive list of artists. The EP’s latest single, EP title track “Strawberry Skin” will further cement the band’s reputation for crating shimmering and anthemic shoegaze with a swooning urgency; however, the song possesses a abrasive and muscular quality just underneath the surface — and it reveals a band subtly experimenting with their sound.

Directed by Emmanuella Zachariou, the recently released music video possesses a dream-like logic reminiscent of 120 Minutes-era MTV, complete with action going forward and in slow-motion as though the viewer is in a fever dream. The band is playing two shows to support the EP, so check out live dates below — and be on the lookout for the band’s long-anticipated sophomore effort, slated for release later this year.

Comprised of Travis Coster (vocals, guitar), Neil Gregerson (guitar), and Nic Luempert (drums), the Olympia, WA-based punk rock/grunge rock trio Naomi Pink, whose sound clearly draws quite a bit from the region’s grunge rock past — i.e. Wipers, Dead Moon and Nirvana — while channeling energy from a number of the region’s contemporary acts including Milk Music, Broken Water, Vexx and Gag. “Television Man,” the album title track off their 2015 release Television Man manages to sound as though it draws a bit from grunge rock, thanks to ragged and blistering guitar work but it also sounds as though it could have easily drawn from the likes of Pink Flag-era WireEntertainment-era Gang of Four as the song possesses a tense, angular feel.

And although they’re currently working on Television Man’s follow up, the Pacific Northwest-based band announced a busy February tour with PC Worship that starts off at Portland, OR‘s The Liquor Store and ends at The Park Church Co-op in Brooklyn. Check out tour dates below.

Tour Dates
02/03 – Portland, OR  – The Liquor Store
02/09 – Washington, D.C. – Comet Ping Pong
02/10 – Norfolk, VA – Charlie’s American Cafe
02/11 – Raleigh, NC – Pinhook
02/12 – Secret Georgia
02/13 – Gainesville, FL – The Atlantic
02/14 – Atlanta, GA – The Earl
02/15 – Nashville, TN – The Cobra
02/16 – Chicago, IL – The Empty Bottle
02/17 – Detroit, MI – UFO Factory
02/18 – Columbus, OH – Ace of Cups
02/19 – Harrisonburg, VA – Golden Pony
02/20 – Philadephia, PA – Baird Mansion Atrium
02/21 – Brooklyn, NY – The Park Church Co-Op





New Audio: Introducing the Wire-Inspired Post-Punk Sound of Bloomington, Indiana’s Permit

Permit is a Bloomington, IN-based indie rock/punk rock duo and with the release of their debut 7 inch, the duo’s sound was indebted to power pop, classic rock and early punk; however, with the release of their debut EP Vol. 1 the duo’s sound has increasingly taken on a frenetic post-punk vibe that makes their material sound as though it were indebted to Pink Flag-era Wire but as though it were a 33 rpm album played 45 rpm speed, as you’ll hear on Vol. 1’s latest single “Track #6.”