FRIDAY MAY 12, 2017
Material Girls
"Material Girls only come out at night. The Atlanta sextet indulge in glam and goth while maintaining a percussive no wave edge on their new album Leather. It’s a pointed balance, but the combination comes naturally for these gutter dwelling creatures who cut their teeth on the sweaty Atlanta nightlife, and is enough to summon the ghosts of CBGB and Andy Warhol. The 8 song record explodes with post-modern sleaze and over the course of 30 minutes, the band ride a wave of malaise towards a decrepit paradise. After a promising 4 song EP and a year spent touring, including a few dates supporting the B-52s’ Cindy Wilson, the gang is sharper than ever thanks to the addition of guitarist Robbie Rapp (Muuy Biien) and bassist Meghan Dowlen. The Siouxsie-inspired shrieks of Dowlen are a particularly sharp dagger in the Material Girls arsenal, which alternates between squalling psychedelia and apocalyptic post-punk. Echoes of Richard Hell and Pere Ubu flow through nihilistic lyrics, uncaged performances, and inventive riffs. Leather is a study in contrasts, an illustration of Material Girls ability to deconstruct the tired tropes of punk while pushing DIY music to new heights of zoned in, drugged out chaos. On the surface, this experiment is artistic and abstract, but the visceral energy of Material Girls leaves no room for hazy intellectualism. They vomit on expectation with makeup smeared faces, toying with desire, and keeping the listener tied up in Leather. Out July 2nd via Irrelevant Music (US) & Exag' Records (EU).
"Material Girls only come out at night. The Atlanta sextet indulge in glam and goth while maintaining a percussive no wave edge on their new album Leather. It’s a pointed balance, but the combination comes naturally for these gutter dwelling creatures who cut their teeth on the sweaty Atlanta nightlife, and is enough to summon the ghosts of CBGB and Andy Warhol. The 8 song record explodes with post-modern sleaze and over the course of 30 minutes, the band ride a wave of malaise towards a decrepit paradise. After a promising 4 song EP and a year spent touring, including a few dates supporting the B-52s’ Cindy Wilson, the gang is sharper than ever thanks to the addition of guitarist Robbie Rapp (Muuy Biien) and bassist Meghan Dowlen. The Siouxsie-inspired shrieks of Dowlen are a particularly sharp dagger in the Material Girls arsenal, which alternates between squalling psychedelia and apocalyptic post-punk. Echoes of Richard Hell and Pere Ubu flow through nihilistic lyrics, uncaged performances, and inventive riffs. Leather is a study in contrasts, an illustration of Material Girls ability to deconstruct the tired tropes of punk while pushing DIY music to new heights of zoned in, drugged out chaos. On the surface, this experiment is artistic and abstract, but the visceral energy of Material Girls leaves no room for hazy intellectualism. They vomit on expectation with makeup smeared faces, toying with desire, and keeping the listener tied up in Leather. Out July 2nd via Irrelevant Music (US) & Exag' Records (EU).
Jock Gang
With a vibe that calls back to Velvet Underground while pushing forward into detached post-punk territory, Jock Gang have a grasp on both noise and pop, favoring the former but a glimmer of the latter goes a long way. The record is dark and experimental, a seamless blend of the band's old and new songs. -posttrash.com
With a vibe that calls back to Velvet Underground while pushing forward into detached post-punk territory, Jock Gang have a grasp on both noise and pop, favoring the former but a glimmer of the latter goes a long way. The record is dark and experimental, a seamless blend of the band's old and new songs. -posttrash.com
Subsonics
At long last, SUBSONICS have descended again upon the denizens of the steamy rock’n’roll jungle with their first album in five years, "In the Black Spot" (Slovenly Recordings 702-112)! Subsonics have been called the "Best band in Atlanta" by fellow Georgians BLACK LIPS and for good reason: previous works by this beatnik, noir-punk careen machine have left indelible marks, or black spots if you will, on the psyche of big-bam-boom-shang-a-lang rockers the world over during their nearly two-decade tenure. This new album brings more of singer Clay Reed's petulant, masculine-feminine vocals and surreal lyricism, shaken up with his signature garroted guitar, Buffi Aguero’s inventive, incessantly churning drumming, and Rob Delbueno's (Man? Or Astroman?) rolling basement bass. On this latest spin, previously unwritten, yet eerily familiar, melodies echo in the catacombs of America's soul and ring throughout with a childish enthusiasm, like a funky delinquent's budget bubblegum album. What we really have here is an obsessive, detached drop-in to an after-hours opium den, where Super-8 movies are projected onto a soiled sheet, and the soundtrack is undeniably Subsonics.
At long last, SUBSONICS have descended again upon the denizens of the steamy rock’n’roll jungle with their first album in five years, "In the Black Spot" (Slovenly Recordings 702-112)! Subsonics have been called the "Best band in Atlanta" by fellow Georgians BLACK LIPS and for good reason: previous works by this beatnik, noir-punk careen machine have left indelible marks, or black spots if you will, on the psyche of big-bam-boom-shang-a-lang rockers the world over during their nearly two-decade tenure. This new album brings more of singer Clay Reed's petulant, masculine-feminine vocals and surreal lyricism, shaken up with his signature garroted guitar, Buffi Aguero’s inventive, incessantly churning drumming, and Rob Delbueno's (Man? Or Astroman?) rolling basement bass. On this latest spin, previously unwritten, yet eerily familiar, melodies echo in the catacombs of America's soul and ring throughout with a childish enthusiasm, like a funky delinquent's budget bubblegum album. What we really have here is an obsessive, detached drop-in to an after-hours opium den, where Super-8 movies are projected onto a soiled sheet, and the soundtrack is undeniably Subsonics.
Sash The Bash
Sasha Vallely has been performing across the globe for over a decade with various bands such as Midnight Larks, Spindrift, The Silver Chords, The Mobsters and The Warlocks, and guested with The Brian Jonestown Massacre, Mondo Generator, Lords of Altamont, King Adora and members of QOTSA, The Hives, Portishead, Massive Attack, Cat Power, Bauhaus, Love and Rockets, Masters of Reality, The Seeds, The Black Angels, Gong, Dead Meadow, Entrance Band, Yahowha 33 and Jello Biafra of the Dead Kennedys along with many others. She has opened for some acts such as Cypress Hill, Kid Rock, The Black Angels, Black Mountain, Dead Meadow, Flaming Groovies, Strawberry Alarm Clock, King Khan, Shannon and The Clams, Night Beats, Biters and The Coathangers. She has also worked on many independent film scores such as El Gringo starring Christian Slater and directed music videos.
Sasha Vallely has been performing across the globe for over a decade with various bands such as Midnight Larks, Spindrift, The Silver Chords, The Mobsters and The Warlocks, and guested with The Brian Jonestown Massacre, Mondo Generator, Lords of Altamont, King Adora and members of QOTSA, The Hives, Portishead, Massive Attack, Cat Power, Bauhaus, Love and Rockets, Masters of Reality, The Seeds, The Black Angels, Gong, Dead Meadow, Entrance Band, Yahowha 33 and Jello Biafra of the Dead Kennedys along with many others. She has opened for some acts such as Cypress Hill, Kid Rock, The Black Angels, Black Mountain, Dead Meadow, Flaming Groovies, Strawberry Alarm Clock, King Khan, Shannon and The Clams, Night Beats, Biters and The Coathangers. She has also worked on many independent film scores such as El Gringo starring Christian Slater and directed music videos.
Eliza
"Dans une constante quête du « mojo » rock suprême depuis près de 4 ans, le sextuor montréalais Eliza survole furtivement diverses sphères musicales, toujours curieux de la découverte et du surprenant, voire du surnaturel… Ils en ressortent un alliage hétéroclite à la fois mielleux et abrasif, sorte de « stoner-prog » primitif. Mené par David Marchand et Philippe Cengarle, le groupe se distingue sur scène par ses prestations bouillonnantes où les six musiciens se gagent d’une énergie contagieuse. En 2015, Eliza sort son premier album complet Oootchh, enregistré à la Petite Église de Farnham avec Jean-Bruno Pinard (Fire/Works, Caltâr-Bateau) en coréalisation. Cet à travers ce premier opus que le sextet garroche son « mojo-rock », mi-chemin entre l’univers acido-psychédélique d'Animal Collective et le drone colossale de Swans."
"Dans une constante quête du « mojo » rock suprême depuis près de 4 ans, le sextuor montréalais Eliza survole furtivement diverses sphères musicales, toujours curieux de la découverte et du surprenant, voire du surnaturel… Ils en ressortent un alliage hétéroclite à la fois mielleux et abrasif, sorte de « stoner-prog » primitif. Mené par David Marchand et Philippe Cengarle, le groupe se distingue sur scène par ses prestations bouillonnantes où les six musiciens se gagent d’une énergie contagieuse. En 2015, Eliza sort son premier album complet Oootchh, enregistré à la Petite Église de Farnham avec Jean-Bruno Pinard (Fire/Works, Caltâr-Bateau) en coréalisation. Cet à travers ce premier opus que le sextet garroche son « mojo-rock », mi-chemin entre l’univers acido-psychédélique d'Animal Collective et le drone colossale de Swans."