This track from Las Vegas quintet Black Camaro kicks off with a mean streak of post-punk, tumbling and angular rhythms courtesy of a great bass-line. Things straighten up after that – more melodies, ringing guitars and atmosphere enters the fray. It’s knotty, dynamic and burns a hole in your synapses with its blend of dark vibes and the lighter elements courtesy of the guitar and electronic sounds they utilise.
‘Out In The Rain’ comes from their brand new LP Protocol Of Dreams. Out now on streaming platforms and Bandcamp.
UK group These New Puritans return with ‘Inside The Rose’, the second single (and NSFW video) from their forthcoming new LP of the same name, due out March 22nd. It’s their first album in six years and saw the band record in Berlin, London and Southend-on-Sea, before mixing it in Los Angeles.
The group have reverted to the original duo of brothers Jack and George Barnett and from the sound of this track, the album could be quite a special set of songs, built on heady, emotive dynamics and a blend of organic and digital instrumentation that bring to mind Wild Beasts, Japan and Depeche Mode.
No Age, Bed Wettin’ Bad Boys, Arse, Basic Human
Oxford Art Factory
February 14th, 2019
Almost ten years to the day that No Age last played Sydney, at the 2009 Laneway Festival, the Los Angeles duo return on the back of their critically acclaimed album of last year, Snares Like A Haircut.
A fine four-band lineup had been put together for the evening and all four local acts impressed. Basic Human kicked things off with their primitive punk rock, built on a relentless rhythm section and topped off with the endlessly pacing singer’s half-sung, mostly shouted vocals. They were catchy and a good balance of noise, attitude and humour, with each song introduced as “This is a love song”, given it was Valentine’s Day.
Arse have to be one of the best named bands to come out of Sydney in a long while and you kind of expected great things from them before they’d even played a note. Collared shirts, tight trousers, swagger and volume. The trio started with a gloriously mangled take on Advance Australia Fair before unleashing distorted bass, guitar sounds pulled from a metal album and minimal post-hardcore drumming. It was like Cosmic Psychos cutting all kinds of Jesus Lizard angles with the noise punk dial on 11. They topped it off with a Revolting Cocks’ish lurch and stagger through John Paul Young’s Love Is In The Air.
Bed Wettin’ Bad Boys played a Surry Hills gig with No Age back on that 2009 tour and here they were again, essentially still doing the same thing but seeming much more comfortable in their musical skin as a band. The songs rolled and tumbled with less consternation and more flow. Plenty of tracks from their 2017 album Rot were played including the super catchy pop song Plastic Tears, Away and Expanded Horizons and on stage and with volume it showed how well they’ve shaped their Replacements meets melodic garage punk sound over two albums.
No Age still do what they’ve always done, from those early days at The Smell in LA to their latest album, they’ve always found inventive ways to dig noise and melody from the single construct of drums, a guitar and a couple of mics. They still seem a relaxed pair, chatting with the audience, exchanging jokes about old songs being new, unravelling the mystery of Vegemite and talking up the observed ease of living as a vegan in Sydney.
Their dynamic is basic but with the subtle interplay of Randy Randall’s guitar effects, Dean Spunt’s punk breakbeats and other avant garde interjections like the experimental ambient typewriter chatter of Snares Like A Haircut, their songs rarely end up regressing into same-sameness. One quickly forgets they’re a two-piece when the full throttle wall of Dinosaur Jr sound bursts forth. It’s a clever blend of energy and inventiveness, equally directed at the mind and the feet of the audience and Randall seemed equally lost in a sea of hair and leg kicks as he wrestled all kinds of sounds from his guitar. When they dialled back the frenzy on the song Send Me they sounded like a lost Flying Nun band – beautifully wasted, wistful and melancholic.
Spunt and Randall left us with perhaps their finest song, Teen Creeps, with its Sonic Youth chug and shoegaze wash of guitar, a cathartic way to send the audience back out into the night, fully vibed on No Age’s dissonant sonic hypnosis.
Courtesy of Greenland and producer Opeamp, here’s a nice piece of glitchy, industrial techno that inhabits some nice dark and dubbed out soundscapes. Think a less gauzy and smeared Burial and reminiscent of some of Photek’s work.
Hey, we’re putting on a gig! Yep, we go to so many gigs and we know a good lineup when we see one so we’re putting on a Sydney show with three great acts. There’s a personal disclaimer with this in that I play bass in The Finalists.
Head to The Petersham Bowling Club on Sunday March 10th and you can catch the cosmic country, psych rock ‘n’ roll of The Ramalamas, the sonic alchemist that is Darren Cross (think a future folk version of Leo Kottke meets lo-fi, psychedelic, avant pop) and newish Sydney group The Finalists who blend twelve-string Rickenbacker jangle with post-punk and indie psych rock.
Plus a specially curated DS playlist between bands.
Petersham Bowling Club The Green Room (downstairs) Sunday March 10th 3PM $10
This track (named after the American actress Gena Rowlands) by Melbourne groupHercules & The Bricks, snuck up on us and burrowed into our synapses over the last week or two. There’s a post-punk cabaret vibe, a dramatic noir aesthetic that gives the song a timeless feel. It could have come out of the 80s art-pop underground yet it draws a line right through Melbourne bedsits across the decades, right up to the knowing styles of Jack Ladder and Alex Cameron. Get lost with The Bricks.
Some nice gothic-tinged indie for you today. It comes from Dark Tapes, the project of a 19 year old American musician called Rohit Dutta and features some super catchy guitar lines that cascade and tumble out of the speaker like a melancholic summer rainstorm.
Here are two live studio session tracks from the Danish jazz-punk quintet Pardans. They’ve been together since 2015 and draw equally from the jazz world of Ornette Coleman and the darker, knottier sounds of post-punk and Captain Beefheart. There’s a great intensity and drive in these songs – woozy, rambunctious and lurching, like Birthday Party falling down the stairs at a jazz joint.
‘Hookers (With Hidden Depths)’ is the single from their recently released album Spit & Image.