JOAN JETT and the RAMONES are listed as influences here, and reader, this is no lie. Prepare to be whisked away to a basement show in your senior year. It’s packed with friends, randos, and a janky PA. You’ve endured the awful nü metal band who bought the keg, but then some unassuming looking punks plug in, turn up, and play a set that blows everyone away. You pogo, drink watery beer, and break the chair sitting down too hard.
I first heard this on the iconic No Deal channel, and wasn’t interested from the first song. After a couple of listens, however, I’ve definitely changed my mind. If you like the classic fast and nasty style in the vein of the Texas I Hate, I Skate label that featured bands such as GLAASSSS, ARMY, and others, along with general noisy HC punk bands such as Q, LUMPY AND THE DUMPERS, and generally everything in the Lumpy Records discography, then this is undoubtedly a tape for you. This is just snotty, childish hardcore punk that, while it’s been done many times before, never seems to get old.
Martin Meyer, the head honcho over at Rotten Apple and Inscrutable Records (not to mention the now-defunct Lumpy Records), has been digging up cool and/or weird bands for well over a decade at this point. Still, it never ceases to amaze me the amount of genuinely unique stuff he’s able to find that’s also good. Take GENRE for instance: a group of Kansas City punks who aren’t really doing anything new, but nevertheless sound unlike most other acts going these days. It’s hard to pigeonhole their music (I’m sure their name is a dig at folks who try). The Bandcamp copy asks us to imagine the FALL as a math rock band on Crass Records who’ve kicked out Mark E. Smith. I don’t totally agree with that assessment—I don’t think the music they play is nearly as intricate or heavy as your typical math rock band—but I think it successfully conveys the ramshackle restlessness and general ’90s vibe of their sound. Over the four tracks on this cassette, the band ping-pongs from post-hardcore, to dance punk, to slacker rock, to jagged post-punk, never really lingering on any particular sound. And it mainly works—at the very least, it’s incredibly engaging. They sound a bit like a less erudite, less polished PATOIS COUNSELORS (a band I really love). My only complaint is that I wish they had that band’s knack for burying a silly synth in the mix. Even so, it’s a cool release, and I’m really eager to hear how these folks evolve over time.
This comes from the mind of Martin Meyer, most notably of LUMPY AND THE DUMPERS and Lumpy Records, who brought us eggy tracks on records like Huff My Sack and Music to Hump a Trashcan To. SOUP ACTIVISTS turn down the distortion and chaos some, and provide a sweeping, shambolic sound: synths playing merry-go-round tunes, chug-a-lug guitars, and steady, mid-tempo drums. I get the brattiness of DEAD MILKMEN in the vocals, mixed with the oddball lyricism of the FLESH EATERS, but the comparison already stands to the whole body of work Meyer has been involved in, his Discogs bio listing countless St. Louis projects—I’ve brushed by this music, but I’m excited to take a deeper dive. Live at Sharon’s comes out in front of a studio LP slated for release this fall, so be on the lookout. I’m wondering how this recorded-live-to-tape raw sound will translate to studio production, but I have faith they’ll keep the edge intact. Don’t pass this one by.
