Reviews

Artoffact

Ötzi Storm LP

After countless tours and several EPs, Oakland’s femmes fatales ÖTZI bring a little less joy to the world with Storm, their new full-length. They make a genre that sometimes tends toward repetition into something new and exciting: a fresh take on melancholic dark post-punk with dual vocals, chorused guitars, steady beats, bass lines that would make a young Robert Smith blush, and even saxophones and violins make an appearance. This album will give them a well-deserved spot in the modern post-punk scene. A band to keep an eye on.

Cloud Rat Cloud Rat Redux LP

A remastered, partially re-recorded version of Michigan grindcore trio CLOUD RAT’s debut album. If you’re familiar with them, then you heard this when it first came out over a decade ago. The record itself is great; the guitar swapping between relentlessly brutal and beautifully elegant riffs. The drums embody the classic grind element, while the vocals are non-stop barbarity from the moment you hit play. There’s a reason why this band is one of the top players in the game today. I just don’t think I understand the point of reworking the album—I personally think the original release still sounds better. If you’re a grind fan who appreciates ever-evolving production, then you’ll love this.

Nox Novacula Feed the Fire LP

I’m not even gonna play, I missed seeing NOX NOVACULA this summer at Skull Fest and I’m pretty sore about it. Feed the Fire was released shortly before, and I was hooked on the nine-song album of anthemic deathrock. Feed the Fire has its  moments of introspection and downtempo gothic rock, but the majority of the songs are demanding change by any means and contain an energy to match. If you like 45 GRAVE or you keep up with CIERŃ, you’ll like this.

Spectres Nostalgia LP

The unironically-titled new LP from SPECTRES exists in a world where the ’80s rule, with sonic nods to the CURE or MY BLOODY VALENTINE (sans distorted guitar), and it’s executed so flawlessly that it’s almost a problem. This backward-looking record, complete with authentically retro cover art, suffers from overly lush production. It’s just a bit too shimmering, too sparkling to the point you get an impression early on that nothing unexpected is going to happen (and then nothing does). I’m not saying that old-school-sounding synthwave isn’t up for grabs, I just prefer more urgency. Like when a band like HEKÀTÄ’ does it, the genre sounds vital to what they’re trying to express (and their songs are in Greek, no less). SPECTRES sound more like they’re building atmosphere while not particularly adding something novel to it, and it’s an all-too-familiar atmosphere. If this record were a piece of furniture, it would be an immaculate glass coffee table. There’s no doubt they can play, but I like to see a bit more grit and dirt with my post-punk. I guess we’re nostalgic for different things.

Spectres Hindsight LP

Vancouver outfit that blends anarcho lyricism with post-punk while leaving room for some ’80s pop beats. If in print this sounds a little wandering, I recommend giving the first, politically-driven track “Cold War” a listen compared to the last track “Tell Me,” which comes off as a new wave love song—hanging in the balance is an album that achieves this reach. If you’re hooked, they’ve got four previous LPs at the ready.

Tunic Exhaling LP

Discography collection, or close enough to it for the sake of argument, from this Winnipeg trio. TUNIC plays—has played—various iterations of noise rock over the six years covered by Exhaling, which begins with the band’s three newest songs: “Fade Out” has me thinking of a Deathwish Records version of SWIZ, for better or worse. The scrabbly, jerky guitar style of their earlier releases, such as the Disappointment 7″, are agreeable enough, but TUNIC seems to have really hit their stride on 2019 album Complexion, with its big UNSANE-like walls of noise. There’s a whole new LP due this autumn and I’d be satisfied with a bit more of that and not too much concern about “progression,” whatever that is.

Tunic Quitter LP

Mean-spirited and frequently atonal noise rock from these Winnipeg crushers. For fans of TRIGGER CUT and TONGUE PARTY, this record features extremely tight rhythms with frequent time changes, filthy bass tones, and math-inspired dissonant guitars. The vocals veer from sardonic spoken verses to screamed parts. There is quite a bit of instrumental complexity happening in these tracks, and TUNIC creates an unending sense of tension and unease. Take the alternating feedback tones of “Stuck,” or the plodding start/stop bass lines of “Fake Interest.” The refrain of “Pattern Fixation” probably says it best: “This is filth / This is filth.” If you like unpleasant, pessimistic noise punk, you’ll be into this.

Tunic Wrong Dream LP

I don’t think TUNIC has the roar or bluster of the noisiest noise rock. Under the screech and scream of the guitars are some almost emo/post-hardcore rhythms of the bass and drums, more FUGAZI than PISSED JEANS. But when there is dissonance, it’s used to great effect. It pushes against the catchier parts to create a disturbing, unsettling feel. This really shows on songs like “Disease” and “Protected,” which feature sharp, siren-like guitar sounds over a steadier, easier bass line. This record sounds intentional without being over-baked or clunky.