The mid-90s were a turning point in punk rock. The genre, having finally hit the mainstream again, had a couple paths to go down. One path was super slick and radio friendly. Another was to get your hair and jacket spiked up. The last path was to try and get the music back to the garage roots. I think that last path was the most compelling. You can slap as much pop sheen on it as you want, but the most interesting rock ‘n roll is based on deconstruction. It’s heart and soul. Black Adidas plays a bit outside the yard in some places, but still feels like one of those bands.
Black Adidas is the current project of Courtney Ranshaw, formerly of The Lower Echelon. He’s got a specific aesthetic on his full length. He gets to the fucking point without a bunch of needless preening and posing. The record starts with a song called “Free Shit,” and it just fucking goes from there. “Old Fashioned Rock ‘N Roll” is what Chuck Berry’s “Rock And Roll Music” would sound like if it had a healthy layer of garage fuzz laid on top of it. “Cocaine Eyes” has some A+ crooning that feels like a throwback to the Velvet Underground. I think “Play What We Know” is the most interesting song on the record though. Remember how I said Black Adidas plays outside the yard? This is the song I’m talking about. The verses are New Orleans jazz that fucking runs headfirst into a punk rock chorus. It’s a great combination.
End of the day, punk rock has been marketed and codified to death. People think of a specific thing when you say it. I feel like this record plays like a love letter to the genre, but the pre-code version. When the vocals were haphazard, when the distortion was strong, and when lo-fi and garage influence wasn’t just a lazy marketing gimmick to make major label bands seem dangerous. Whatever that means.
I’ve talked a lot of shit about hardcore over the years. The version of hardcore that was around when I was younger had a lot of metal and Christianity in it. Not really my thing. That old school (or whatever) kind of stuff was still right up my alley though. That said, let’s talk about Krimewatch.
Krimewatch hasn’t been releasing stuff for very long. An EP, a demo, and a full length. Their sound is reminiscent of what hardcore sounded like before the metal dudes in jerseys took over the scene. It’s the kind of hardcore that is still punk. The songs are brief and aggressive. It’s that classic piss and vinegar type stuff.
The run time for these 9 songs is about 12 minutes. The band fucking goes. Emma Hendry, Sean Joyce, and Shayne Benz play tight, aggressive punk rock in a style that has not been the style in a minute. They don’t lean to heavily on standard genre tropes. There’s no mosh part, there’s no unnecessary solos and fills. There is just bass, guitar, and drums working together as a unit. They sound so tightly wound that you feel like it could explode at any time. The speed and simplicity are a strength. Put Rhylli Ogiura’s vocals on top of everything and you’ve got a winner. In English or Japanese, she’s taking control of the sound and your attention.
There’s a lot to like about this record at the end of the day. The only complaint I can see anyone having is that, like a lot of other stuff in this genre, there can be some running together of songs. But, y’know, I’m not sure that is going to be a dealbreaker to the people who get down to this kind of thing.
Lockin’ Out Records
Sarah Tudzin, as Illuminati Hotties, has made deceptively complex pop record. The sound is all over the place. There are some places where Kiss Yr Frenemies sounds like a more twee record in the Cub or Tullycraft style. It’s got a deep, ambient vibe that reminds of trip hop in a weird way in other places. The record has really sparse and tender moments that smash almost without warning into noisy punk parts. It doesn’t sound too jarring unless you’re really thinking about it. Like how the delicate, piano driven “Declutter” comes immediately after a indie/punk jam like “Pressed 2 Death.” Or how the vibey “Cuff,” which honestly made me look up Portishead to prove I wasn’t crazy with that earlier trip hop reference, comes right after “Shape Of My Hand.”
The overwhelming vibe of the record is mid-20’s ennui. Songs about love, relationships going sideways, needing more money, and just general dissatisfaction are all over this thing. If I’m being honest, the line “I’m Spending all my money at 7-11 and sleeping through the weekend” made me laugh in a very knowing way. Same with “I could probably use a fourth job.” The record kind of has a bitterness to it that offsets the more sweet sounding music in a really cool way. Like, happy sounding songs about how everything is just being kind of dumb sometimes. I feel like that is something anyone can relate to.
The elevator pitch for this record would be “wry observations of a young adult told over energetic indie pop.” It’s a great record for the summer, and I can’t imagine anyone not finding something to connect to. Also, the horn flourish on “For Cheez (My Friend, Not The Food)” is fantastic.
I know I killed this blog back in September. I decided to bring it back. Because things are always better when they come back, right? There is a bit of housekeeping to take care of.
- I’ve spent the last eight months removing myself from all the PR lists I was on. I never intended to start this back up. That said, I don’t have access to advance stuff. It is what it is.
- The Tumblr I used to have as a mirror for this blog is gone. I deleted it a number of months ago and someone else scooped up the name almost immediately. I didn’t intend on bringing this shit back, so chalk that up to my own shortsightedness. There is a Team Reasonable on Tumblr, but it is not me anymore. I messaged them to get it back, but it probably won’t happen.
- I’m probably not going to be exclusively covering stuff on the greater punk spectrum. It will still make up the majority of posts, but me feeling limited and stuck was why I stopped to begin with. Don’t be surprised if you see a post outside those bounds.
- I’m sticking to just reviews again. Song of the week is on hold for now. I might bring it back once I get in the swing of things.
Other than that, updates occur when they occur. You know how I do.
Two Knights, the duo of Parker Lawson and Miles DeBruin, are the epitome of a duo that knows how to fucking go. Find me a stronger two piece that plays this kind of music. Effing is the kind of record that will get pigeonholed as an emo record, but that only accounts for a small portion of what it is. It is an energetic, mathy, punk rock record that knows how to get the point.
The songs on Effing are all pretty short. Save the closer, “Lex Loser,” all these song barely break the two minute mark. Even that song is just shy of 03:21. It’s remarkable because these aren’t simple, punk rock riffs. “Stoned Legends Of The Hidden Temple” and “Lex Loser” are pretty aggressive in the guitar department. A bunch of nerds would be yelling about “twinkling” if they were slower. “I Ate an Entire Pizza During One Episode of The West Wing” is on the other end. It’s way more straight forward, A to B type song.
Two Knights have basically nailed the gimmick. They are a great blend of indie, emo, math rock, and punk. Two Knights are the kind of band that knows exactly what they want to do, and they know exactly how to do it.
See Through Dresses – “Lucy’s Arm”
From Tiny Engines:
See Through Dresses released its Tiny Engines debut End of Days in the Fall of 2015, introducing a wider audience to a sound both intrinsic and environmental, with stark contrasts between its principal songwriters’ devastatingly riff-heavy jams and endearingly honest confessionals. It showcased what the band can do in spaces where guitars and rhythms rule the roost.
If End of Days is its rock record, Horse of the Other World, out June 14th, is See Through Dresses’ dreamy opus. Recorded in 2016 in two locations — ARC Studios with Ben Brodin (Pile, First Aid Kit, The Good Life) and at the band’s home studio, Little Machine, by Mathew Carroll — it signals a sonic leap into a more ethereal, soundscape-driven aesthetic.
Reverb-drenched and synth-laden, Horse of the Other World blends Carroll and Bertuldo’s masterful mood creation and technical prowess while further exploring the depths of the band’s dynamics. “Pretty Police” mixes sparkle and bounce with brood, while “Violet” cuts sharply via crystalline keys and arpeggiated chords. Bassist Alex Kirts pumps the album’s bleeding heart and drummer Nate Van Fleet is tactical and creative. Their playing shines as the foundation of songs like “Lucy’s Arm” and “Herbivore,” whose climaxes are textbook See Through Dresses.
See Through Dresses are one of the best examples of modern post-punk. They mix classic shoegaze and dream pop elements with driving punk rock. They make art without getting pretentious.
Horse of the Other World is an A+ record from front to back. “Lucy’s Arm” is a hell of a single. Those shared vocals on the verses are fantastic.
See Through Dresses
Sheer – “Stutter”
From The Native Sound:
A year and a half since the release of their debut album, and two member changes later, Sheer are back.
With their new EP Psychic Quarry, Sheer embrace a change that finds the band at their most relaxed and inspired. While their debut LP Uneasy introduced the band as one with a kinship for dreamy, reverb-induced soundscapes, Psychic Quarry is a much more catchy, and indie rock-informed affair.
The six songs on Psychic Quarry cover a lot of ground – feelings of anxiety and depression, the vulnerability of intimacy, and even the post-election shock many of found ourselves coping with.
Stutter isn’t a single. I don’t know that it’s really a thing to share here in this space. I really like this band. Psychic Quarry is a great record. It came out back in April, and I probably should have talked about it then.
Anyway, go grab the damn thing.
The Native Sound