Aside from the none too subtle nod to the Sonic Youth icon, this is a heavy slab of coruscating guitars, a rhythm section that twists and tumbles with a gnarled density and vocals that careen across the sonic maelstrom with a howling psych rock nihilism. Think Exterminator-era Primal Scream and you’re heading in the right direction with Gim Kordon.
Given they’re singing in their native Finnish tongue, I’ve got no idea what they’re singing but the the title translates as ‘Concrete Blooms’ and singer-guitarist Aleksi Pahkala explains that “Betoni kukkii is a story of how often life growing up in the suburbs is a roll of the dice, a struggle and trying to get by, but also of how a sense of community in even the roughest areas is so often the only thing that provides a sense of security.”
This is the return of the band, six years after their debut album and a sign of new music to come in 2021.
Cable Ties’ debut album introduced a band built on fiery punk passion and melodic post-punk intensity. Now, three years later, they taken that template and made the loud parts louder, the hooks catchier and pushed their visceral and primitive 70s rock shapes more to the fore.
Sonically, the band’s sound still recalls the stinging guitar leads and interesting song shapes of Sleater-Kinney and the brittle energy of Bikini Kill, but things are most interesting when they counter the short sharp bursts of punk energy with deep digs into repetition and heavy riffing. Krautrock insistency combined with the distorted wash of guitars on the seven minute Lani and the pummelling, deconstructed noise aspects of the equally long Anger’s Not Enough make for hypnotic listening.
Jenny McKechnie’s howls of critique and dissent still ring loud and clear, blending with the personal when she sings lines such as “My uncle Pete, he’s complaining ‘bout the Greenies, he says they’ve gone too far and I say Pete, they don’t go far enough.” She’s been writing political songs since she was singing folk songs in her bedroom but now she has the perfect vehicle for them. Far Enough is the sound of a band locked in total unison, taking chances and playing with righteous clarity. Anger is indeed an energy.
“Pull your head in ya flamin’ galah” are the first words you hear on this new track from Sydney band 100. The first release on the new label Endless Recordings, founded by Bad Dreems guitarist Alex Cameron, it rips and snarls like an inner-city delinquent. Part belligerence, part studied sneer. It reminds us a bit of much missed bands like The Scare, and Witch Hats with its sonic swerves and guitar racket that’s as much alt-rock and punk as it is informed by the noisy, dissonant end of shoegaze.
“It is a sort of open letter towards the anti-social behaviour that we’ve seen on the rise in Sydney over the past 10 years” explains Jaryd Lee. He and fellow frontman Rowen Tucker moved to Sydney’s inner west after growing up in Gosford, where they met at high school.
The first thing that struck me about Danish band Leizure is how much they remind me of some Australian bands, in particular the much-missed The Scare as well as Melbourne group Witch Hats who have been pretty quiet for a few years now. Given the sound and influences those bands no doubt share, a line can be drawn through Iceage, Ought, Viagra Boys, Birthday Party, Gun Club and other gloriously nihilistic-sounding acts.
In all of these bands there’s the howl and intellectual angst of slashing guitars and primal vocals over post-punk rhythm sections and Leizure do it damn well. ‘Nightmare‘, complete with it’s skronkin’ horns, comes from the band’s excellent new album Primal Hymns which came out at the end of October on Five Foot One Records. It looks to be their debut LP after an EP and a string of singles and it stands tall as a gripping, sonically hedonistic and wild swinging post-punk/art rock record.
The brilliance of it lies in the way they offset the manic chaos with the sing-song, gang-chant vocals and the mid-song jerk and groove breakdown before the madness rears its beautiful tropical punk head once again.
For fans of IDLES, The Horrors, Tropical Fuck Storm, METZ
“This is a song about revenge, and the exploitation of perceived weakness. It’s a story of a woman’s birth, the atrocities she commits, how she fights against the constraints of her disabilities and how she ultimately lets a murderous urge consume her.” – Caine
Straight outta the gates come The Earnest Spears with four-to-the-floor drums, wired, frantic, distorted and heavily reverbed guitar that flails and hammers in equal amounts. The vocals are pretty much indeciperable but hey, it’s all about the energy and the post-hardcore, psych-punk riff and pummel on ‘Liar‘, the first of a run of singles the Worcester, UK group have got coming in 2020.
Japanese genre-destroyers Boris return with a new album, NO, due out July 3rd, self-released on Bandcamp. Check out the searing, careening distortion punk-fest that is ‘Loveless’.
A message from BORIS:
“International borders are ‘closed’ now.
All kinds of anxieties, fear, sadness, anger, and hatred have arisen to drive the world apart.Everyone is in a process of trial and error, doing what they can to live.The critical state of the world has placed culture, art, and other means of expressing ourselves into a dilemma as well.We decided to start managing our band ourselves again a few years ago, so we even more keenly aware of the current situation.
It was our actions up to this point and our methodology, various cultural influences, as well the connections and support we received from people around the world that led us to create this latest album.
Culture is lore that is not bound by blood, in other words ‘Non Blood Lore.’
We have put all of our influences and connections into this album so that they may be passed on circulated.That is our current stance now as Boris, our role and mode of action.
The title of this album is NO. People have a system whereby they unconsciously grow accustomed to things and adapt to them.But, this same system is also cursed in the way it allows inconvenient or troubling things to be disregarded as if they were never there to begin with and goes by other names such as ‘resignation,’ ‘subordination,’ and ‘forgetfulness.’We renounce this system.‘Is this something I felt on my own? Is this idea something I came up with on my own? Is this something I chose to act upon myself?’Everything begins with questioning and denying oneself.That is the proper stance for people to adopt.
Music and culture possess incredible power.The anger and discontent we had no outlet for in our youth shone through in our music, helping us to channel negative energy channeled towards creative ends and leading us to new means of expression and artistry.We hope this latest album can be a mirror that gathers and reflects people’s negative energy at a different angle, one that is positive.That is the power and potential of the dark, extreme, and brutal noise music that we have experienced up to this point.Today’s society is littered with words that may or may not be true, making it easy to want to just not listen to what anyone has to say.But, that’s all the more reason why we hope that you will at least open your ears to these songs sung in the language of another land.These shouts that have no proper meaning as words will help release the raw, unshaped emotions within you.This is ‘extreme healing music.’
International borders are ‘closed’ now.When we’re able to travel again, it will be proof that the world has moved forward.We pray for the day when we can share the same time and place again.
Hailing from Chicago Illinois, Koalra cut some fine indie rock shapes on this single ‘Dear Daylight’. There’s the rough and tumbling guitars – part jangle, part visceral screes – post-punk rhythms and a voice that hollers and sings with a beautiful melancholic angst. It all fits together just right on the single, one of many great tracks on their EP Surprise Lights.
Koalra call themselves a noise punk band and there’s undoubtedly that in the abandon and frantic pace of their songs, but they also dial into that sweet spot between energetic flailing and clever, twisting guitar shapes, in the lineage of Sonic Youth, Dinosaur Jr and No Age.