Reviews

Yes We Cannibal

D. Sablu No True Silence LP

In that cursed year 2020, CASUAL BURN’s David Sabludowsky put out a cool tape on which he played nearly everything. Taken By Static dipped its beak into a gamut of styles, ranging from in-the-red garage to new wave-y romantic swooners to sassy cheap-synth punk. There’s even a couple of sensitive ballads. It was almost a throwback, like a mixtape from when Terminal Boredom was a going concern. It showed promise, but was too scattered to leave a lasting impression. Well, it’s four years later, and D. SABLU’s got a band now. Coming correct outta New Orleans, No True Silence cranks the amps and goes for broke, recalling local legends like KAJUN SS. Although the music brings the aforementioned swamp-dwellers to mind, and even POISON IDEA on “Scandalous,” the general outlook doesn’t revel in the nihilism inherent in those bands. Sabludowsky acquits himself well on the mic, especially on the faster tunes, where he lets loose a scratchy wail. The album hits a peak during the five-song run where all the titles start with the letter “S.” “Spiral Out” pushes faster and faster, building up a head full of steam in search of a release that never comes. “Smut Date” could be a LIVEFASTDIE song, which is all I really need in life. You too, whether you know it or not. Stack these guys up to any of the new crop of Aussie rockers and crawfish country ain’t doin’ half-bad.

Fake Last Name Three Persuasion Domains EP

FAKE LAST NAME is the home-recording alter ego of Ronni What, one half of the Louisiana zolo duo SPLLIT, and while SPLLIT has been increasingly busy and touring relentlessly over the last few years, this new EP marks the first FAKE LAST NAME release since the project debuted with a short-run cassette in 2021. SPLLIT’s restless, kitchen-sink noise bursts have positioned them as something like the RESIDENTS for the egg-punk generation, and although FAKE LAST NAME draws from many of the same cracked-up impulses, Ronni ultimately reassembles them into something much more coolly disaffected while working solo. The A-side kicks straight into “Three Persuasion Domains,” centering blasé, perfectly over-it vocals (think Su Tissue or Lizzy Mercier Descloux at their most detached) which function as carefully structured lines for strangled no wave guitar and clattering drums to cross in impulsive strokes of color, only for the whole affair to be détourned as “Another Persuasion” on the B-side, with Ana da Silva of the RAINCOATS(!) applying spacious dub echo and glitchy electro accents to smooth out some of the more anxious edges of the original source material. The percussion/electronics-driven warble and deadpan, surrealist spoken word of “Gadfly” is equally great and almost ALGEBRA SUICIDE-like, very deserving of the second life that it’s been given here after first appearing on that earlier FAKE LAST NAME tape. Buy the physical record; the visuals and writing included in the packaging/insert are a crucial part of the FAKE LAST NAME experience—keeping the “art” in art-punk.