The band - Brendan Principato, Drew Sher, Jesse Paller - recently announced a new full length, Morning’s, due out May 15th via Super Wimpy Punch, the follow up to last year’s All Of Us Laughing. Record with The Cradle’s Paco Cathcart, the record’s first single “Stoneburner” is a woozy effort that comes alive in its own warped manner.
The trio are set to release their sophomore album, Feral Coast, at some point in the coming future (these being as uncertain times as they come and all). While we wait, Scrunchies are sharing the record’s first single “No Home Planet” with a video, directed by William Hoben and featuring choreographer Taja Will.
With dread and despair all around, “Vis-A-Vis,” the album’s opener takes a lighter approach and gives us the post-punk anthem we can all dance around our homes to. With a tightly coiled rhythm section and guitars that pay homage to Gang of Four’s early years, SAVAK have created a song bursting with subdued energy
Grizzlor breathe new life into their single with a new music video directed by John Mohr. The intensity of the song is captured in a live performance, caught in a claustrophobic garage like practice space. The walls aren’t exactly closing in, but the strobe effect and multi-colored lighting certainly make it feel like something alien is occurring.
Set for release on various formats, the lead single, “Irma,” is short and sweet, a lo-fi post-punk track that sounds nasty and immediate. With shattering cymbal crashes and a noisy din, the fifty second track is takes rawness to heart, with a recorded din and sonic pallet that most would never attempt, but then again, most are not Dog Park.
Enter a world of sordid noise rock, where jazz meets grindcore, prog blends with no-wave, and absolutely nothing is subtle. It’s all by design on Fred Cracklin’a sophomore album, Anxiety Kinship. The duo of Adam Bosse (guitar) and Max Goldstein (drums), have thrown caution to the wind and they’re getting into the sweet spot of experimental freak-out noise punk with intelligence at its core.
London synth punk band Es has arrived with Less of Everything, a bold statement in our age of constant overexposure. Regardless if the title deals with minimalism within our reality or within their skeletal punk songs, there’s no distractions within their debut, just primal focused post-punk that’s tense and eager to disrupt any sense of complacency.
As the drummer for Eighteen Hundred and Froze to Death, Brendan Kuntz plays with a dense complexity and colossal precision. As Grass Jaw on the other hand, Kuntz is stepping out from behind the kit, performing all instruments and vocals, with a focus on earnest songwriting and gentle fuzz over anything too tangled.
Auckland, New Zealand’s Swallow The Rat have roots in both their current home town and as far away as Austin, Texas. Set to release their full length debut, Leaving Room, in April, the band have developed a style that knots together their NZ post-punk influences with shoegaze tendencies closer to the American underground.
Having shared their great first single “3 Segundos” with an equally great music video, we’re excited to premiere the band’s latest, “No Puedo Pensar”. While their lead single bounced with an undeniable kraut-pop energy, the follow up, while still motorik in rhythm, is a bit more subdued in it’s hypnotic groove… though only slightly.
“Nashville” is a nice representation of the quartet’s multi-faceted sonic palette and unique approach to making music. The lively song, which blends elements of punk, garage rock, grunge, and just a slight pinch of country, motors along with an electric rhythm and hooked-filled guitars that kick in right from the first verse.
For the past decade, Steve Hartlett has been the primary force behind both Ovlov and Stove, and repeatedly proven to be one of this generation’s best songwriters with a knack for combining grit and pop. There have been a lot of other who have tried to replicate his style but they fall short. While Hartlett has released several “solo” projects over the years, he’s never shared one under his own name, until now.
With two singles now out in the world (one of which we’re premiering), the duo are establishing themselves with an avant-garde approach to noise rock. Valentine Caulfield (vocals) and Scott Fair (guitars/production) are mutating ideas from electronic skronk to French-pop, skewing everything into a grimy thud that pulls from the depths.
Set to release How Long Have I Been On Fire? on April 10th via Hex Records, it’s the band’s first album for the label and their first in three years. Combining elements of metal, punk, and noise rock with an ever present sense of humor, the band play fast, loud, and abrasive, decimating ear drums and sensibilities all the same.
Following a move from the LA sprawl to a shack in the Mojave Desert, “Goo-Goo’s Melody” is our first sample of the band’s relocation and revisioning. This time around, Banny Grove sets out to simultaneously streamline elements of pop and electronic music into beautifully engaging compositional developments.
