“Hands of the Devil” is emblematic of Pet Town as a whole: Tadic’s voice moves in the rhythm of a playground chant, her guitar picked in a lilting, whimsical manner, and the scant handclap percussion giving the recording an intimate, live feel. What I value most about “Hands of the Devil” is how tactile the song feels.
“The Post-Trash 60” is a guide to some (60) of our favorite releases so far with a diverse range of rock music’s many sub-genres and hip-hop, from extreme metal to lo-fi bedroom pop and all that falls between. We’ve got “buzz bands” worth the buzz, self-released hidden-gems, all the weird international post-punk and noise rock you could ever want, and of course all the artistic punk influenced indie we know and love.
Pet Town is the band’s latest, marking a newfound sense of comfort and clarity that reflects Marina Tadic’s hermetic songwriting and recording process. With the help of Jasper Verhulst and Jeroen de Heuvel, Pet Town was crafted in three separate locations and patched together through Tadic’s quietly psychedelic vision of solitude and introspection.