Posts Tagged ‘Punk’

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Humboldt County, California psych-outs WHITE MANNA present “Pan”, their fourth full-length since 2012. The LP is a split release – it’s the band’s second album for both Captcha Records and Cardinal Fuzz in the UK.

“Pan” is the equivalent to a surging psychedelic whirlwind, however you keep second-guessing what you’re hearing because little do you realize you’re stranded in the center of a scorching desert. That said, if mirages had their own sound, Pan would be exactly what you’d hear. Expansive tracks are detailed and stretched out across a massive plain, much like the landscape of the barren desert you find yourself trapped in. The LP is 6 tracks long and contains over 45-minutes of sun-baked space rock, giving the band ample time to chart their mysterious path to a sanctuary through the wicked heat of complete desolation – the question is whether or not you end up at your destination.

The 7-minute monster “Dunes II” is a perfect example of their heat-plagued sound, where guitars are seething and sweltering in a thick cloud of humidity that you can reach out and scratch with your fingernails. The air is heavy and you can feel your body warm as you breath in the smokey vapor they’re producing – vocals are rippling and warbled, while guitars growl and muster and eventually explode with progressive intensity. “Evil” is a 5-minute banger leaning heaviest on punk (a track of its own kind on the LP), unfolding with two invigorating chords that quickly gets your blood boiling in a storm of vibrant color. The track stays true to their own formula of lush landscapes with substantial repetition. They expose their spacey edge in “Beta Travelers,” garnering cosmic effects and sounds as they send you deep into a black hole without directions on how to return home – the rest is up to you. Album closer “Eshra” calmly floats in and suddenly places you into a full-on space rock environment, growing and expanding into a journey of its own. They’re finally creating that moment where you can sense your destination right around the corner, you just have to continue following the astral path they carve out a little longer to get there. Tom-tom heavy rhythms close out the track and trample over everything in sight as cascading guitars and bass swell into a crushing finale. The come-down begins to take a hold and cools everything into a smooth finish

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Heartbreakers Max's Kansas City RSD LP

A Record Store Day release on multi-coloured vinyl of the classic live album, with the rarely heard Volume 2 added for the first time on vinyl.

Johnny Thunders and Jerry Nolan formed the Heartbreakers out of the ashes of the New York Dolls in 1975.  Gaining infamy in London touring with the Sex Pistols on the Anarchy tour of ’76, they went on to produce just one album, the classic L.A.M.F. in 1977.

The Heartbreakers split up When Track Records folded early in 1978.  But in the fall of ’78, Johnny Thunders,Billy Rath and Walter Lure found themselves in New York and decided to do a couple of gigs for ‘old times sake’ and some ‘chump change’. Jerry had moved on to play with The Idols and Sid Vicious, so they got together with drummer Ty Styx for some farewell gigs at Max’s Kansas City.  The resulting album was issued in 1979 on Max’s Kansas City Records in the US and Beggars Banquet in the UK.

It sold well, so Max’s Tommy Dean and Peter Crowley decided to record a Volume 2. A long weekend of shows was booked, this time with original drummer Jerry Nolan, but ‘chemical imbalances’ ruined all but half of the last show.  Beggars turned down the tapes, and Volume 2 remained unreleased, appearing only briefly on CD in the mid-90’s.  

Now for the first time, both volumes are brought together on double-vinyl, in a Record Store Day release of limited, spattered red, yellow & black double vinyl.  Disc 1 is the original 1978 live album and Disc 2 is Volume 2 recorded 1979 but unreleased until 1995 and never before on vinyl.  The album comes in a gatefold sleeve with the original artwork, together with an insert with notes by Johnny Thunders’ biographer Nina Antonia.

VOLUME 1:  Side One  Intro, Milk Me, Chinese Rocks, Get Off The Phone, London, Take A Chance, One Track Mind.  Side Two  All By Myself, Let Go, I Love You, Can’t Keep My Eyes On You, I Wanna Be Loved, Do You Love Me.   
VOLUME 2:  Side Three  All By Myself, Pirate Love, Too Much Junkie Business.   Side Four  Don’t Mess With Cupid, So Alone.

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Towards the end of last year, this Gravesend four piece released two tracks for Brighton label Dead Fun that didn’t get anywhere near the attention they deserved. “A Song For Baron Willoughby” and “Wandwaver” didn’t stray to far from the skewed, frenetic machine-gun, garage punk that is Thee MVPs staple, its just that its the best its ever sounded. With the quality of the two tracks and the hints at the bands first full length, 2015 looks like it could be Thee MVPs year.

Its rare to find a band that can shape interesting, dynamic punk songs and still manage to bring the party. Its this level of craft behind the fun that sets them apart from those who simply want to hitch a ride on the Ty Segall nostalgia bandwagon.

Slaves’s last single “The Hunter” is a three-minute wall of noise. A spiky guitar riff leads the way before drummer/vocalist Isaac Holman announces his presence with the rattle of a symbol and spits lyrics that reference climate change like Johnny Rotten reading a Greenpeace pamphlet. The other half of Slaves, guitarist Laurie Vincent, takes the riff up a notch before the track descends into chaos as a stage whisper calls “The Hunter”, Vincent’s guitar sounds like a rusty chainsaw and Holman smashes his drums to pieces. Eventually comes the refrain “It’s reckless and pointless/but it’s also very fun.” Never has a truer word been spoken.

Slaves are making the most noise a duo has made since The White Stripes and are causing a proper fuss amongst the music press. Their reputation as a live band is already preceding them – their headline slot at The Victoria in Dalston sold out in less than two hours and they’ve just secured the opening slot on the NME Awards Tour 2015, following in the footsteps of Franz Ferdinand and Florence and the Machine. Hailing from Kent and on a mission to cut swathes through a music landscape flooded with generic EDM, Slaves are set to make a serious impact over the next 12 months. They will be at most major festivals this summer.

The video , claustrophobic and haunting described as an “industrial ballad”, in the words of Pussy Riot, inspired by the death of Eric Garner and dedicated to all of those “who can’t breathe”.

On Wednesday, Pussy Riot’s Nadya Tolokonnikova and Masha Alyokhina released their first song in English. Titled “I Can’t Breathe”, it shows Nadya and Masha dressed in the blue uniform of Russia’s OMON riot police, lying in a grave. They are slowly buried alive.

they said the song was written after taking part in street protests against Eric Garner’s death at the hands of NYPD officers in Staten Island, New York last July. It was dedicated to Garner and to “all who suffer from state terror – killed, choked, perished because of war and police violence, to political prisoners and those on the streets fighting for change”.

Their own first-hand experience of police brutality in Russia meant “we can’t be silent on this issue,

I Can’t Breathe is also a powerful protest against the political situation in Russia, and President Vladimir Putin’s bloody undercover war in Ukraine. The video echoes the secret night-time burials of hundreds of Russian soldiers who have perished in the conflict. Their families are not told how their loved ones have died or where, Pussy Riot said, adding that such information “is forbidden”. The Kremlin officially denies that its army is fighting in eastern Ukraine.

Nadya and Masha spent 16 months in a Russian jail, following their anti-Putinpunk prayer in Moscow’s Christ the Saviour cathedral. They visited New York in December.

The song was composed and recorded in a New York studio over a single night, as protests gripped cities around the US following a decision not to indict a white New York police officer over the death of Garner, an unarmed black man whom the officer placed in a chokehold.  “The genre of this isn’t like other Pussy Riot songs. It’s an industrial ballad. Dark and urban. The rhythm and beat of the song is a metaphor of the heartbeat, the beat of a heart before it’s about to stop. The absence of our usual aggressive punk vocals in this song is a reaction to this tragedy,

Slaves a two-piece. Garage band from London, Isaac Holman and Laurie Vincent: one shouts and bangs the drums standing up, the other plays great, fat metal riffs from his guitar. They look like two overgrown truants from the rough part of town, but if you shut your eyes this is what the Black Keys might have sounded like had they been raised on Shane Meadows films – wry, suburban disaffection, like Sleaford Mods but with less swearing;

Slaves have been making a nasty racket around London town for a while now, but they’re finally shouting loud enough for people’s ignorant ears to prick up. As a duo, they manage to carry the might of bands like Death From Above 1979 and Winnebago Deal, exuding enough fuzz to fry brain cells. Also, as there’s only two of them, it’s easy enough to remember their names. After hearing the lairy, arrogant charms of Ceasefire, you’d be forgiven for thinking Slaves are bunch of snarling, Camden-dwelling cider-punks. So when I was met by two smartly-dressed, quietly pleasant lads from Kent, I felt confused and slightly relieved. They mix ‘77 style British punk with harsh bluesy garage riffs, as infectious as they are confrontational. They’ve just finished a on a 10-date UK tour with Drenge, Blew  everyone away at Y Not festival with an awesome set and are about to tour with the NME Awards tour with Amazing Snakeheads Fat White Family

SLAVES – ” The Hunter “

Posted: November 30, 2014 in MUSIC
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Royal Blood showed us how much noise can be extracted from a two-piece duo. London based Garage band Slaves – not to be confused with the Californian rockers of the same name – are Isaac Holman and Laurie Vincent: one shouts and bangs the drums standing up, the other coaxes great, fat metal riffs from his guitar. They look like two overgrown truants from the rough part of town, but if you shut your eyes this is what the Black Keys might have sounded like had they been raised on Shane Meadows films – wry, suburban disaffection, like Sleaford Mods with less swearing; a hint of Madness and a bit of vaudeville too (“Hello, how’s Amelia? Is she still ugly?” – How’s Amelia). New punk sensations tend to burn out quickly but we think Slaves’ wit will carry them through. They have a song called Where’s Your Car Debbie?, inspired by a true event.

Photo: Jordan Hughes/NME

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Another week goes by and some more excellent music from Ola’s Kool kitchen radio show,

1.Born On The Floor by Make Up
2.Do You Always Dress Like That In Front Of Other People’s Boyfriends by Mambo Taxi
3.Shameless by All American Girl
4.Pretty In Love by La Font
5.Queen Of The Gas Station by Daydream Machine
6.Motel Room In My Bed by X
7.Whole Wide World by Wreckless Eric
8.Violence by Andy Stott
9.Not In Love Featuring Robert Smith by Crystal Castles
10.Tower Of Strength by Gene McDaniels
11.Air by Aphrodite’s Child
12.You Don’t Know How Lucky You Are by Keaton Henson
13.Elevation by Television

allmodconsthejam

All Mod Cons, released to wide acclaim in 1978, firmly cemented the group’s rise to extraordinary heights. Indeed, for many it was the first essential Jam album and listening to it now its impact has not diminished over time.”
When I think about English records I think of The Kinks’ The Village Green Preservation Society, The Smiths’ The Queen is Dead, The Who’s Quadrophenia and The Jam’s All Mod Cons. To me all those albums are definately English. It’s their third full-length LP. It took it’s title from a British idiom one might find in housing advertisements, is short for “all modern conveniences” and is a pun on the band’s association with the mod revival as well. Of Course it is also Paul Weller’s view on the music business as a ‘con’.The single “Down in the Tube Station at Midnight” was one of the band’s most successful chart hits up to that point, peaking at No15 in the UK charts. In 2000, Q magazine placed All Mod Cons at number 50 in its list of the 100 Greatest British Albums Ever. it is their best album.
British Invasion pop influences run through the album, most obviously in the cover of The Kinks’ David Watts and It’s too bad a song The Who would have been proud of.
To Be Someone (Didn’t we have a nice) time is an early jab at the rock’n roll lifestyle, about the hollow and empty life of a star, supposedly written after a horrible tour pairing in America with Blue Oyster Cult. The Bass line is a cool rip-of of Paul McCartneys bass line to “Taxman”.

I’ve highlighted my favourite tracks, but all the tracks are really strong, great playing and great singing all around. The Production is unusually complex and sophisticated for a punk/new wave album. The song “Down in the Tube Station at Midnight” is a first-person narrative of a young man who walks into a tube station on the way home to his wife, and is beaten by far right thugs. The lyrics of the song “All Mod Cons” criticise fickle people who attach themselves to people who enjoy success and leave them once that is over. The Jam regrouped and refocused for All Mod Cons, an album that marked a great leap in songwriting maturity and sense of purpose. For the first time, Paul Weller built, rather than fell back, upon his influences, carving a distinct voice all his own; he employed a story-style narrative with invented characters and vivid British imagery à la Ray Davies to make incisive social commentary — all in a musically irresistible package. The youthful perspective and impassioned delivery on All Mod Cons first earned Weller the “voice of a generation” tag, and it certainly captures a moment in time, but really, the feelings and sentiments expressed on the album just as easily speak to any future generation of young people. Terms like “classic” are often bandied about, but in the case of All Mod Cons, it is certainly deserved.
Released 3 November 1978, recorded during July through to mid August 1978, at RAK Studios (Upper London) and Eden Studios listed as Punk rock, or Mod Revival,but also Power pop with a running time of just over 37 minutes, produced by Vic Coppersmith-Heaven and Chris Parry and released on the Polydor label 3rd November 1978

the Excellent radio show from presenter and musician Greg Foreman a member of the Pink Moutaintops,