Birthday Ass formed at the New England Conservatory, with their academic backgrounds in jazz and contemporary classical music, they all know full well how to read the music, but also when to throw the score out the window and improvise. Priya Carlberg spoke to Post-Trash about Head of the Household, the way the band’s live energy has shaped up over the years, and Jell-O.
More Than Anything, the trio’s latest EP, is in line with their previous releases, but this time around, they keep the songs shorter, sweeter, and embedded with a tried-and-true, upbeat indie energy. Theo Hartlett’s vocals and songwriting may be what’s most remarkable here, as there’s a natural progression in his approach that entices.
The once again informatively titled EP, is seven new songs that find Smirk doing what they do best, making agitated punk that feels both jittery and anxious. Due out soon via Total Punk Records (Predator, Brandy, ISS), it’s full of rippers that take the piss out of everyday life with jagged guitars and feral distortion.
Their much-anticipated return overcomes impossible standards by doubling down on a new sound. Dream Weapon, Genghis Tron’s third LP, exceeds any expectations set by the furious strength of their 2008 release.. Much of this is due to the introduction of drummer Nick Yacyshyn and new vocalist Tony Wolski.
Casual Use is brimming with musical references to soft-rock antiheroes, which sounds like a hilarious oxymoron—Montague is obviously in thrall to artists like Andrew Gold, Randy Newman, and, of course, his personal idol, Harry Nilsson. Casual Use also proves that, in the right hands, ornate, hi-fi pop rock can still sound novel
Drawing you in is the little moments, where ambient music shines. Maybe it’s the way one note is sustained and lingers in the air; maybe it could be the hint of cello and viola that is interdependent through the record. All that matters is that the music maintains a spell over you, rendering the outside world nonexistent for a little while.
The howl of an air-raid siren introduces Stockholm’s Spelljammer on their fourth release, Abyssal Trip, as guitars land like paratroopers and the album’s lumbering first riff begins to take shape. When the drums finally fall into place, we’re off into the sludge on a path well trodden by bands like Sleep and Windhand.
Postponed due to the pandemic, these songs were recorded in April 2020 before anyone could have known of its importance in DOOM’s catalogue. This isn’t some mish-mash of left-over verses stitched together in a cash grab, this is one of the last things he got to work on. It’s good, light-hearted fun between friends.
Set to release their debut album, JOY, on May 28th, the project’s name could be a bit misleading. While it’s most definitely a supreme joy to listen to Wong and co.’s songs, they don’t necessarily come from a place that oozes happiness and excitement. JOY was written by Wong during a time of civil unrest and a great deal of identity crisis.
Beyond the skyline, across the galaxy, a fermented sun sets on Omeed & The Natural Scene's Pickled Dawn. An album of abstract and cataclysmic beauty, looming heavily on the horizon, one need only reflect on themselves before entering. Forests, flora, fauna, songs of rock and stone, oceanic wonder - humans.
Recorded with Seth Engel (Floatie, Options, Mister Goblin) at Pallet Sound Studio, the EP is a quick blast of warped and unfiltered indie punk songs, throwing in touches of crusty metal when you least expect it. Call it an aesthetic choice or the musical equivalent of trolling, either way… it really doesn’t matter to Cumbie.
Head of the Household ultimately feels like a feast of free jazz horns, no wave spunk and stylish semantics. Much like a Michelin-starred chef, Carlberg leads a brigade of highly skilled artists down their superbly sequenced path to perfection. The resulting product feels just as indebted to tradition as it is to Carlberg’s vision.
