Reviews

Fiona Rae

Hans-a-Plast Ausradiert LP reissue

Ausradiert is a wonderfully vintage-sounding 1983 re-release from the label Tapete, a vampiric LP reawakened from its sleeping undead coffin. While keeping with HANS-A-PLAST’s upbringing as a punk band, this album has distinctly goth and new wave influences, heard in tracks like “Monstertanz” and “Schwarz und Weiß.” Vocalist Annette Benjamin’s severe voice, aided by the German language’s declarative sounds, adds a hypnotic, almost Siouxsie Sioux delivery to sarcastic lyrics such as in “Gut im Bett,” with an additional X-RAY SPEX ode. Jangly, echoing guitar, occasional synth, and sporadic reverberating drums serve to create an exciting veiled atmosphere. The song “Sacco Di Roma” cements the dark, gothic themes of the LP by utilizing church organs and undertones of catholic irony. As the sun comes up and all night-walkers must head indoors, “Barfuß in Scherben” ends the sabbath with an upbeat, poppy melody and lends this album a deserved iconic status in the post-punk genre.

Black Ends Psychotic Spew LP

Vocalist Nicolle Swims must get this a lot, but she seriously sounds like Gwen Stegani pivoted to a career in swampy ballads and Seattle post-punk experimentation. Upon a first listen to Psychotic Spew, it’s clear BLACK ENDS has chemistry between members and a shared goal in mind. Quite frankly, it sounds really good, rehearsed, a perfect witchy brew of alternative girly rock. However, I cannot shake the utterly contrived feeling I get from this release. Maybe it’s from them making a self-proclaimed genre of “gunk-pop,” or the fact I cannot figure out how a small-ish band can headline its own EU tour in 2023 without a single album released. I am no Debbie Downer, though; they do deserve recognition for this debut album. Comprised of pleasantly discordant melodies and sultry lyricism, tracks like “Pour Me” and “She Speaks of Love” speak to the release’s off-kilter but inventive sound. Bassist Ben Swanson’s and drummer Billie Paine’s rhythmic spell over the songs never gets old, and I also appreciate cellist Lori Goldston’s addition of an instrument you don’t often hear in releases like these. With the satisfyingly clean guitar on “Suppin’ on Stage” and the fun sample near the end of “When I’m Alone,” I’ll forget the curious self-insistence and categorize this as a stellar premier of albums to come.

Moving Targets In the Dust LP

Somewhere in Boston, a divorced dad is excitedly knocking back beers over the release of this LP and jamming to his favorite local band, MOVING TARGETS. However, this is not me. I may not be the intended audience for this release, perhaps aimed at those who enjoy “melodic hardcore,” as the band puts it. They have a very loose definition of what hardcore is, with this album being composed of casual, almost pop-sounding rock—unfortunately, this is synonymous with being “background noise” in my terms. The album is unprovocative and placating, yet it certainly isn’t bad. It’s almost so cohesive and generally pleasing that there’s nothing particularly notable or interesting. This LP is surely better heard live for the full head-banging effect that is missing in the recording. The drums and tambourine in “Sacrifice” are fun. The singing-like riffs of the guitar near the end of “Decadent Side” and “End of The Line” suggest that the band does know how to take things up a level. If you’re into that sort of feel-good sunshine punk, then by all means take a trip In the Dust.

Doc Hopper Something Old, Something New, Something Borrowed, Something Blew cassette

Simply put, this album is a safety-pinned smörgåsbord of covers, original songs, and leftovers across the decades of DOC HOPPER’s reign, meant to be parsed through and enjoyed. You easily hear the band’s chemistry upon listening, as they create a punk language between themselves, usually an invention of bands who just know what the fuck they’re doing. From start to finish, it includes masterful screeching riffs, thundering bass lines, and excitable drums all starting and stopping along each other’s axis. Lyrically, it’s comprised mostly of hedonistic hail-marys spewed by vocalist Greg Hoffman, best demonstrated in the cover of “Drink, Fight, and Fuck,” by GG ALLIN, definitely making ALLIN proud if he could listen from hell. This release takes you for a joy ride, ranging from “Shirt…Lose It…Now” and its beautiful caterwauling guitar, to “The State of Maine Song,” which ends the party on a calmer note of comradery. Creating alcoholic anthems and punk rock classics since the ’90s, they maintain a similar sound to SINKHOLE, their New England scene peers, and even share drummer Chris Pierce. Overall, Something Old, Something New, Something Borrowed, Something Blew is a peak Frankenstein lab creation of punk hardiness through the eras.

Celebrity Sighting …They’re Just Like Us cassette

This album opens up to the listener like a field of flowers, blooming to show their colorful fuzz pedals reverberating in a musical garden. …They’re Just Like Us has the distinct indie ingredients of “screaming down the hallway” vocals, a tempo carried by cymbals, heavy bass, and raw, undercooked guitar to add the cherry on top. The tracks are distinctly political but fun, with “Are You Insured” asking the listener a crucial question should they jump into the pit of a late-night show. The song titles unsurprisingly cover serious topics like “Climate Change;” I’ve noticed this is the newest wave of political cacophony for recent pop punk releases. The album cover is very cute and in my opinion, resembles something HOLE would have released if they were still together. “Market Value” takes on a faster pace to pick up where the more contemplative beats leave off and “Hypocrite” closes the album leaving a reminiscent feeling of the early days of the FRIGHTS. Being CELEBRITY SIGHTING’s first release, they should be glad to know they’ve created a great coming-of-age soundtrack and an even better garage pop staple.

Beastii Follower CD

As the fall season ushers changing leaves, the need for some surf-witch psychedelic tunes rolls in with the breeze. Everything in this album is enchantingly cohesive and they are probably one of the best new dance-punk acts to come out of Chicago; I even considered attending their record release listening party at the Liars Club. The alchemical structure of Follower is delightful to hear, mixing wistful lyrics, groovy bass, surf-style guitar riffs, steady drums, and a hypnotic keyboard to create a dangerously great sound. My favorite songs include the enjoyably retro “Butch Beach,” get-up-and-twist anthem “Justine,” and the deeply surfable “Spilt Milk.” Self-tagged as Paisley Underground (which desperately needs a revival), I hear some MAZZY STAR on “Sell Out.” BEASTII appreciated many sounds equally among Follower, interspersing the album with slow jams, fast flings, and techno beats. If you like the esoteric band aura mixed with surf-style punk music presented in Follower, I’d prescribe Black Tides by KÓLGA as a follow-up drug to cure the obsessive crate-digging sure to be transmitted by this hauntingly good album.

Punky Tunes Still Going Strong CD

If you’ve ever wondered what it would sound like if the DISTILLERS met KIDZ BOP, this EP is it. Still Going Strong by PUNKY TUNES delivers the sound-blasted confection key to pop punk sounds. The band caught on quickly to what makes a good bubbly tune, with electrically charged drums by Matthias on every song and great melodic guitar by Laurent on tracks like “Keep On” and “Still Going Strong.” Coming from Sélestat, France, this EP calls back to the country’s roots, making the past proud with the politically charged lyrics of “Eco-Anxiety” and “Attitude” calling for a revolution, hailed energetically by vocalist Marie. Though nothing standout or provocative, this is certainly the right EP if you’re in the mood for a fun hit of upbeat music.

Rotura Al Otro Lado LP

The Oi! label is predisposed to a certain musical monotony, despite being formed against the status quo, which infects this LP. While melodic and political, each song on Al Otro Lado is punctuated by nothing, it all sounds the same. Listen to “Al Otro Lado,” followed by “Nadie Escucha” to understand my point. Spain-based ROTURA is idyllic in theory, with fast-paced instrumental pop energy and a powerful vocalist, Silvia, yet they fall flat in practice. The frenetic drums were enjoyable on most tracks, but it’s hard to appreciate them between the guitar’s almost-buzzing quality and the one-note vocals. I applaud the album’s production and creativity and perhaps others will enjoy it, but Al Otro Lado, translating “to the other side,” may just have to stay on that side.

Hayes Noble As It Was, As We Were CD

There’s a generally believed legend that the best punk-inspired music, in its heyday, came from Washington. HAYES NOBLE has proved this tale extends past the ’90s on his sophomore album, As It Was, As We Were. Upon listening, the album cordially invites you to a marriage between wonderfully layered shoegaze soundscapes and the hurried noise of post-hardcore. HAYES NOBLE provides the vocal hallmark of any indie band, singing of young, sultry summers and dreamy disillusionment with reality. There are many great details in the album’s composition, such as the smooth transition from the opener “Escape” to “In Search Of,” or the lovely scenic imagery evoked by “On Montrose.” The album is peppered with magic moments of gritty feedback, auric revivals of MY BLOODY VALENTINE, and an atmosphere of bedroom danceability. As for musicianship, solid bass by Everett Noble and catchy drums by Brett Noble excel on tracks like, “Blue To Grey” and “The End.” I wonder if they’re a family-comprised band, which would be cool. This June release is a definite addition to my summer soundtrack.

Lika Blame Game cassette

An insular, moody powerhouse, Blame Game is for those who love Finnish punk music’s gloomy yet exciting nature. LIKA lays out the album with a “come and see” eclectic attitude, treating the listener to a medley of noise, screaming, and fun. Each song has its flair, such as the almost gothic guitar in “Monkey Money” escalating to a fast-paced riot, then back again into the depths. The album is hyphenated by a mix of Finnish and English lyrics, the vocalist using her great, compelling voice for a range of singing or screaming “mad boy!” The drums and bass offer a great heavy-blanketed backdrop to her raving in songs like “Komero” and “Whatcha Gonna Do?” Ending off the adventure, LIKA uses “Last Page 23” to divulge into a weird and wonderfully experimental sound, reminiscent of BJÖRK. Being LIKA’s third self-released album, Blame Game is a nice break from traditional sounds.