Melding elements of punk rock, loads of both metal and garage rock influences and a dash of poppy, melodic lyrics and undertones, Krill’s “Torturer” from the forthcoming album A Distant Fist Unclenching is rousing and bludgeoning, yet focused in its wild need to be experimental. The songs explodes with a spirit of desire and longing in the words and in the music in specific spots, leaving open a wide array of interpretation of the songs’ central meaning. At around 3:30 in, a grating, shredding guitar takes center stage and brings “Torturer” to a whole new level, and then the music drops down again for a more subversive ending to the tune than we were probably expecting. “Torturer” is the sound of a band with a few years under their collective belts, but still striving to find that signature sound. It’s a spirited outing for this Boston trio and should get more people talking about and sharing their music.
A Distant Fist Unclenching is due out 17 February via Exploding in Sound.
- Ron Grant
Fusing surf rock, horror punk, and lo-fi garage, the new Wytches album is an electrifying experience.
If one thing can be said about Bim Thomas, a.k.a. Obnox, it’s that he’s come far–really far. Having gone from the ‘blues-grunge recorded on a four-track in his basement’ sound of debut album I’m Bleeding Now to the decidedly more proficient Louder Space, Obnox has explored, experimented and expanded into the quite alarming wall of sound to which we are now exposed with the new single “Infinite Trash.”
Because Obnox seems to have ignored that some of his most popular tracks from Louder Space were the most dynamically spacious, “Infinite Trash” is reminiscent of some of the louder, more punk-influenced songs from the album and seems to almost be a continuation of his earlier efforts. However, although it retains the full fuzzy guitar lines and grungy symbol crashes to which Obnox seems drawn, as well as the slightly tiresome self-harmonised vocals, this track seems a little more thought out, better produced and maybe even catchy.
- Fin Worrall
Australia really seems to be producing some of the world’s top modern psychedelic rock bands these days, and in the spotlight this week is I’m In Your Mind Fuzz by King Gizzard & the Lizard Wizard, which may be one of the year’s most foot-tapping, head-nodding psychedelic rock albums – especially when compared to Oddments, the group’s previous effort released earlier this year, which wasn’t anywhere near as catchy. With fast paced singles like “Cellophane” and the band’s distinct sound comprised of wavy off-kilter vocals and synth leads, propulsive old-school drumming, myriad harmonica solos, and a bit of sitar, King Gizzard & the Lizard Wizard might not be making groundbreaking music exactly, but they’ve certainly delivered one of the grooviest weirdo albums of the year.
- Fin Worrall
The lovable noise rockers over at Big Ups are teaming up with fellow Brooklynites Washer for a split 7″, due out November 18 via Exploding in Sound. Last week we shared the first track from Big Ups’ side, “Rash,” and now you can hear their second scathing offering, “Not Today,” above. Happy listening!
Can’t say I was expecting this: an 11-minute collaborative live recording from PC Worship and the New York post-punks over at Parquet Courts. Isn’t it “Parkay Quarts” now? Who knows? I certainly don’t know if the song at all works, especially with its disgustingly distorted vocal, but I’ll give it credit for being an interesting, left-field turn at the very least. Granted, it’s not nearly as profound as anything off that other garage rock/post-punk surprise from earlier this year.
Parkay Quarts has a new album on the way called Content Nausea. It’s out November 11 via What’s Your Rupture? and doesn’t feature this track. It’ll be the band’s second album this year, after Sunbathing Animal, whose review you’ll find below:
Foxygen does a complete 180 on their new record, saying goodbye to the clean production on their last album, and heading into lo-fi territory. However, they throw out any semblance of good songwriting in the process.
You know, to hell with the people who say Julian Casablancas should accept his limits as a frontman. Technically speaking, sure his vocal range isn’t the widest and his voice is most appealing when it’s belting out a catchy, bad-ass hook; but I feel when he chooses to break away from those things, it only enhances his DGAF appeal. The above 11-minute-long art-rock odyssey “Human Sadness,” taken from Tyranny (his forthcoming full-length debut with The Voidz), finds Casablancas as far out of his depth as a singer-songwriter as he’s ever been. But rather than sounding like a crushing defeat at the hands of his limitations, it’s more of a bold stand against them. He doesn’t exactly nail the vocal highs and lows The Voidz’s multi-phased composition calls for, but he gives this Sisyphean task his all, which I’d argue is just as (if not more) admirable. In my book Casablancas sounds no less bad-ass doing odd and surprising than he does doing punchy and immediate.
Looking forward to giving Tyranny a good listen when it drops September 23 via Cult Records.
The eeriest New York garage rock act is dropping a new single via Sacred Bones Records this month, which you can stream above. To me, this is a pretty refreshing track for Crystal Stilts. Not only does the performance seem a bit more coherent than some of the takes on the band’s last album, but the psychedelic instrumental shift in the middle of the song was a sweet and stunning surprise! Enjoy!