Posts Tagged ‘Bandcamp’

Generally written off as a Jesus and Mary Chain and Spacemen 3 rip The Telescopes earlier records are a lot more diverse than tag lines may describe. The Telescopes are to shoegaze what The Cro-Mags are to Hardcore. The Cro-Mags started late and therefore benefited from the influence of every major and influential hardcore punk bands of that era. They fused everything that they where influenced by and injected their own new york attitude into it. The Telescopes do a very similar move on their first LP ‘Taste’, and the title itself gives an air of pretension more overt and obvious than the Mary Chain or Spacemen 3 (see also the lyric in There Is No Floor, ‘there is no 13th floor’). The record was released in 1989 and its sound is equally influenced by records like Psychocandy or the Perfect Prescription but these dudes where obviously waaaay stoked on garage punk. Like they are definately down with the Stooges and Iggy Pop but they where probably waaay more excited about The Iguanas or Them. They also have much more of a Rolling Stones influence with a bit of the Buzzcocks


Our first album Taste. Originally released on What Goes On Records, almost 30 years ago, later re issued on; Cheree Records, RevOla Records/ Cherry Red Records and Bomp Records. Now available to download from our Bandcamp site..

Buffalo-based indie rock act, Chevron Bloom’s released their debut EP earlier this month. The 4-track EP, aptly titled EP, was recorded in Geneseo, at Temperamental Recordings. In the band’s debut effort, the trio has crafted a tight set of tunes with psychedelic overtones.

Each song, though short in nature, still goes through several different shifts throughout its runtime. The EP varies between moments of straight ahead rock and spaced-out meandering. They meld together elements of psychedelic pop, heavy alt. rock and shoegaze, and every transition through styles is seamless. Throughout, the vocals are light and airy, floating overtop of the arrangements, at times like they are barely there. The snare drum is front and center for most of it, sitting comfortably right in the middle of the mix, a consistent and heavy presence through each dynamic shift.


In fact, it’s the snare drum that kicks off the record. Opener “Home?” begins with an almost New Orleans feel beat, before a reverb-laden guitar comes strumming in. “Inactive Minds are Personal Crimes” features two alternating sections rather opposed with each other; the verses are loose, drifting and almost mindless, giving way to distorted guitars and heavy drums on the more direct choruses. “You Got It All Wrong” is an upbeat rocker at first, until its outro winds down into half-time feel. The synthesizer that opens “Dying All Alone” is a slight surprise at first, but lends itself well to the spacier final track.

On their debut EP, Chevron Bloom makes good use of their arrangements as well as the studio space. The new EP is available now on bandcamp as a name-your-price download.

Chevron Bloom is Jay Sallese, John Miller, and Aaron Martin.

thanks to for the words

Artwork by Clark Jackson

It’s been just over a year since Ben Semeta moved to Boston. In that time, the Black Beach bassist has become both familiar with and a fixture in the city’s underground music scene. The longer he stuck around, however, the more he realized that it suffers from a disconnect. Boston residents are generally clueless when it comes to the deep pool of talent in our boroughs – and it’s not just the North End couples or Financial District bros. People who actively go out to explore Boston’s local music, both as fans and musicians, aren’t fully aware of the grunge, rock, and psych bubbles. There’s a weird disconnect between genre-split scenes here, so a week before Christmas last year, Semeta figured out a way to help solve that: compile some of Boston’s best garage, rock, and psych music onto a compilation album.

“Matt [Garlick] from Nice Guys and I were hanging out one night and I turned to him and said, ‘Dude, it would be great if we could get a compilation together to highlight what’s happening in Boston,’” He recalls. Thus, House of the Rising Fuzz was born. “I like to think I like to get things done. A lot of bands were skeptical at first. They’ve been asked to be on compilations before, but it always falls through. I knew this would happen. I wanted to make sure it did. I wanted to show people what everyone’s been doing in our city.”

After leaving the hardcore scene of the south shore for Boston, Semeta was impressed by how much talent surrounded him. Everyone worked hard, but few focused on weaving music scenes together. “I remember seeing Creaturos open up for FUZZ a year ago and having my mind blown,” he recalls. “Anyone who’s listened to Creaturos will pick up the record and maybe hear Midriffs for the first time. Kids who go to college with Midriffs will pick it up and be like, ‘Oh, who’s New Highway Hymnal.’ It’s a great way to do these informal introductions.” Even Semeta discovered new music in the process. Garlick suggested he include The Monsieurs in the compilation, an add that rounds out the sound with edgier punk rock.

In January, Semeta reached out to 10 bands—The New Highway Hymnal, The Monsieurs, Black Beach, Midriffs, Miami Doritos, Nice Guys, Dinoczar, The Barbazons, The TeleVibes, and Creaturos—with three requirements: write a song, fork over a piece of artwork, and give their sworn commitment. “Getting my band together for band practice once a week is hard enough, let alone getting ten bands in the same room,” he laughs. But sure enough, all 10 bands stuck with it, their original skepticism swept aside.


Don’t expect crummy recordings. House of the Rising Fuzz is start to finish high quality energy, personality, and spirit. “When you’re sitting in a basement and everything is loud and distorted and overdriven and in your face, all these bands sound similar,” he says. “When you hear them recorded and produced, every track is actually really different from one another. Not one song on here was produced by the same person. That’s huge.” Especially so given the compilation is entirely independent. Semeta isn’t a label. He’s never pressed a record. Figuring out how to handle artwork mishaps and company lingo was new turf, but the polished sound and packaging of the album looks like the work of a major label.

House of the Rising Fuzz benefits from the phenomenally cartoonish, spooky, bizarre artwork of Clark Jackson. The cover—a painting of a romping, furry giant waddling through a colorful field—recalls the detailed line-work of Thee Oh Sees‘ Master’s Bedroom or the cuddly creatures of Hayao Miyazaki’s films. “I’m a huge fan and knew right away I wanted him to draw the artwork,” Semeta says. “I asked him to listen to these 10 bands and draw whatever he environed an album for these 10 bands looking like, especially if it could be like Ty Segall or John Dwyer. It’s our spin on a west coast grunge.”

It doesn’t take more effort to understand why Segall and Dwyer are Semeta’s role models. The two pretty much run modern day garage rock in San Francisco and Los Angeles, a takeover started and, to some degree, still run through purely cult-following dedication and relentless DIY hype. In Massachusetts, we have yet to form our own equivalent. “It’s hard to find out about some of these bands because they don’t have the major representation from PR or buzz like Ty Segall,” he explains. “One of the goals for this compilation is to give this scene that we’re involved in some representation.”

At the same time, a lot of that is changing. On July 17th, Pile, Creaturos, Vundabar, IAN, and Milk sold out the Middle East Downstairs, a 600-cap room. It’s impressive when the Middle East Upstairs sells out with an all-local bill. Now it’s impressive when a place three times the size of that does because it’s more than friends at that point. It’s straight up fans. “It’s neat to go out to a packed venue where you know so many people and you look at each other like, ‘Holy shit, we’re doing this,’” says Semeta. “I’ve seen Brand New play down there and it sold out in seconds. Here I am, showing up late to this Pile show, and there’s a line just like that around the corner with all these kids I’ve never even seen. It wasn’t like, ‘Sweet, these bands and their friends are here to see them.’ It was fans of the local scene. Boston’s at a weird point where we’re on the upswing, and I think a lot of people may feel discouragement because they aren’t blowing up as fast as they think they should be, but they need to hold out. It takes a lot for a local bill to sell out the Middle East Downstairs. A lot of things are going unlooked, but that might change… and soon.”

House of the Rising Fuzz is Semeta’s chance to keep the momentum going. Getting to share this music with people who are unfamiliar is more than a goal; it’s a pleasure. “These are the artists I started playing with when I moved to Boston and they’re killed it every time I saw them,” he says. “Now it’s so cool to get to work with them.”

But pressing the record was just the beginning. Semeta expanded his original vision of targeting record stores in Chicago and Los Angeles to now hitting up radio stations, press outlets, and more with help from friends. “I’m winging it and hoping for the best,” he says. “A lot of people in this community are giving their support. They’re throwing suggestions out that help so much. They see the potential in the project and its good goals and they feel inclined to help. It seems really genuine and I’m so grateful for it. To everyone: thank you.”

On August 6th through the 8th, physical copies will be available to purchase at Boston Fuzzstival 2015. Pick up a copy and scan the list of artists; it’s a doozy. While those included are some of Semeta’s favorites, there’s just as more unlisted acts that he hopes to work with soon. “I’m already thinking about doing a second LP next year, probably with 12 bands: Idiot Genes, Zip-Tie Handcuffs, Vundabar, Wakes, St. Nothing, Brazil, and all these other bands I love,” he says, tacking on Grave Ideas and Rick Maguire of Pile moments later. He may be eager to distribute the original compilation, but the thought of a follow-up excites him just as much.

By the end of our conversation, Semeta’s enthusiasm and devotion to Boston’s garage rock scene detaches itself from his time here as a resident. It’s hard to believe he’s lived here for only one year. At this point, the thought of separating his life from these bands is laughable. It can’t be done.

“If nothing comes from this release, it’s a cool time capsule,” he says. “Do you think the DC punk kids in the ’80s knew they would be famous? Do you think Fugazi knew they would be one of the most influential bands of all time? Do you think Minor Threat knew they would be one of the most influential bands of all time? No. They were just doing their thing and they left behind a legacy that’s really independent, underground, and interesting.”

Semeta is sitting on a gem of a compilation. To some extent, it doesn’t actually matter how far its songs echo across the United States. Boston’s psych, garage, and rock scenes have a chance to spread their arms here, and to make themselves heard beyond the basement of their own backyard is a thrill. We’re proud to present the album premiere. So grab your friends, a six pack, and the best speakers you have. You’ll want to turn this one all the way up so the folks over in Northampton can hear it.


It’s always a joy to get new Joanna Gruesome vinyl, and this time out fans are treated to a delicious two-fer: a split LP with three new tracks from Joanna Gruesome plus three new tracks from UK newcomers Trust Fund. who come from Bristol, 

They toured with Los Campesinos, landed on multiple end-of-year lists, and broke the internet by playing with a bunch of cute dogs in their video for “Cut Me Out” – objectively the happiest music video of all time. We now have their debut album, “No One’s Coming For Us”,available on Bandcamp . It is, objectively, not the happiest album of all time, but it is one of the most moving albums ever written since Rivers Cuomo got bored of being brutally honest.

Based in Bristol, Trust Fund is a collaborative project fronted by Ellis Jones, who has a knack for capturing feelings of confusion, anger and sadness whilst also being a source of comfort for all those things, this collection of simple yet affecting songs is the answer to all your problems. It’s the catalyst for reflection, self-analysis and the kick up the butt we needed all at once.

But regardless of when you hear them, or how many times, every song on No One’s Coming For Us feels like it has entered your life at precisely the right moment. If there was a sound for holding hands, this could be it.

trust fund promo photo

The whole affair adds up to a noisy, punk-fueled skin abrasion (but in a good way, ya dig?) The split is a co-partnership between Athens, GA-based HHBTM Records and the UK label Reeks of Effort (headed up by Joanna Gruesome member Max Warren). And if this showcase is any indicator of things to come, we can’t wait for more label team-ups from these two.

In short, this split rules. You’ve got two rad bands from across the pond dishing out three cool new tracks apiece. Their sounds are different, yet complementary, and on the whole it all just works. Highly recommended.


The Echo Friendly have their debut album “Love Panic” available now, the band are Jake Rabainbach and Shannon Esper describing their music as punch pop dark and light with distorted guitar and seamlessly shared vocals check out the track “Same Mistakes”



The Active Listener and this month’s new sampler available for a price on Bandcamp, please checkout the bands and buy their albums from this wonderful site.




the Philadelphia shoegaze band NOTHING released a download for Record Store Day in the shape of a cover from the band LOW obtainable on their bandcamp page.

BLUE ROSE CODE originally from Edinburgh but now based in London, releases via Bandcamp a gorgeous five track Ep of Live performance in the studio , I cannot praise the opening track so highly “Acquainted with the Night/Silent Drums is just such a song of beauty it conjures up so much imagination in my mind, you can feel yourself in the city streets, then the acoustic guitar flows through before it changes tempo into “Silent Drums”. How many songs feature the word Antipedes in the lyric. Just please go and buy this awesome download of songs that Ross has been playing live available now on Bandcamp.