UK post-punk outfit Savages drop a cinematic live video of their recently released single, “Fuckers.” The footage is stunning, and the performance is, well, anything but concise. I wouldn’t call it sloppy, but the band definitely seems “in the zone” on this one. The almost 10-minute rendition of this track shows the band getting lost in the moment between a lyrical mantra, tight drum beat, and a wall of wailing guitars. It’s hard for me not to get caught up in it as well. The atmosphere is so incredibly sinister, and the visuals only lend power to that sensation. Enjoy! Also, check out the band’s latest record, Silence Yourself, if you haven’t already.
After dropping the rigid, rollicking title track from their sophomore album Sunbathing Animal last month; Parquet Courts are now offering a second glimpse of the project via the considerably wilder “Black and White.” The song features the band’s trademark snarky vocals, but throws a couple of great guitar and electronic freak-outs into the mix. Check it out above and enjoy!
While the Hotelier’s latest effort stays true to the emo archetype, and delivers some good production, the band’s approach still remains pretty nondescript for the genre.
The previously mentioned Geronimo! comes through with a new track titled “Spitting In The Ocean,” which will be showcased on the band’s next record via Exploding In Sound. The title: Cheap Trick. The date: May 13th.
The band’s got a raw sound, but a song pop sensibility, too. I’m finding the sharp guitar leads that kick the song off to be pretty sticky as well. Enjoy!
Andrew Jackson Jihad comes through with an amazing new track from their forthcoming album, Christmas Island. Frontman Sean Bonnette goes through a personal story about being moved to tears by a piece of modern art–specifically, a video installation of Linda Ronstadt. Apparently, it was really beautiful. I only wish he worked the address of the museum in the song.
It’s personal, but monstrous emotional moments like these that make for the best Andrew Jackson Jihad songs, and I’m pretty happy to hear that the band is keeping their ambitions high from a production standpoint. Just like with their last record, Knife Man, this track is graced with some beautiful keys and strings, bringing some nice dynamics to the table.
I collaborate with the RIO!B’s Sami Jarroush on this review of the latest Cloud Nothings album.
Orville Bateman Neeley (OBN) III has no time for the blues. The Austin frontman is all punk, all day – no bullshit. To call him, with his excited studio persona and writhing stage antics, electrifying would be an understatement; to say his bandmates present a flurry of barnburning garage-punk grooves would be as much of one. So, I recommend just pressing that play button above and letting the music take you where it may. If you find that the things around you are starting to get broken, like lamps, windows, your monitor, and such – don’t worry; that’s just the OBN IIIs’ magic working.
“No Time for the Blues” is taken from the band’s upcoming album Third Time to Harm, due out May 27 via Tic Tac Totally.
La Dispute comes through with a worthwhile followup to 2011′s Wildlife. While some of the stories aren’t as enthralling, the band’s minor alterations to their sound this time around makes this record worth checking out if you’ve been following them up until this point, or if you’re a general fan of post-hardcore with poetic lyrics.
Our friends/tormenters at White Suns (Kevin Barry, Rick Visser, and Dana Matthiessen) are coming out with a new LP of earsplitting tunes later in March. The album is titled Totem and judging from this new single, “Priest in the Laboratory,” it looks as though the trio’s lost none of their primal force since their 2012 sophomore effort Sinews.
The song sees White Suns again saying “fuck it” to a concept of structure, careening forward in a heap of caustic vocals, screeching guitar, piercing electronics, and frantic drumming. But the group does go through a number of interesting phases. At one point, everything pulls back to highlight Matthiessen’s deft percussion work, and later, Barry’s guitar and Visser’s electronics work together in bursts to form a coda. White Suns’ music continues to be something of an all-out shred-fest, but that’s not necessarily a problem, as their interplay continues to be a compelling combination of all-over-the-place and very, very tight.
Totems drops March 25 via The Flenser. Hopefully it’s as powerful as its predecessor, review below: