So, how about 2021 so far, huh?
Let's give that question a few more weeks and see where we're at OK? For now, here's a pile of stuff that either just came out, or showed up late last year and I just didn't get to it until now. So here's what's what.
BAD BLOOM, “Leave”
After an online demo earlier last year the Syracuse, to NYC, back West to Rochester group Bad Bloom presents a longer EP as they now seem a bit more comfortable doing what they do. And what they do could easily be lumped in with a whole shoegaze thing, but this to me is just big, dreamy rock. I’m going to stick with that. The majority of songs move along slowly, but I’m partial to the more upbeat tempos on “Flouride” and “Tokyo” that add some inertia, as well as some guitar hooks to the ethereal vocals. If you’re into stuff like Heavy Sigh this will certainly be a welcome listen to get you through gloomy winter days and will probably make for a kick-ass Spring soundtrack. (self-released *the link is to their previous EP as "Leave" has not been released as of this writing)
CURSETHEKNIFE, “ Thank You For Being Here, Pt. I and II”
I’d say the glut of bands aping My Bloody Valentine and the like has reached critical mass awhile ago so anything going forward is just tired. Anyone recall the Neurosis/Isis trend? Does anyone listen to the bevy of bands who ripped them off anymore? There has to be a landfill somewhere spilling over with Tides and Giant CDs. So what’s to become of the MBV/Nothing/Narrow Head trend of bands occupying that same sort of space now? Probably similar results. But hey, for now, I’m enjoying a significant portion of it. Cursetheknife (who refrain from spaces between words), from Oklahoma if that at all matters to anyone, has a few things going for them that I find enjoyable. First off- they get a bit more riff-oriented on many of their songs and don’t wander off too much from the point. Big, heavy, loud songs that are memorable. Cool. Second- I like the graphic design element going on with their record. It’s simple but bold and sharp looking. Neat. Finally- they take some chances and it pays off. While I don’t necessarily care much about having a strings section, they make good use of it as an intro and interlude to mix things up a bit across the two halves of this record (did I mention this is two separate releases, split in half because the whole thing clocks in at about an hour?). Also, as a young/new band they went right ahead and shot for a double album (there, I said it), which is bold. Lastly, they did an MBV thing by using a drum machine/dance beat in one song, which can be tough to pull off without sounding like shit, and did so with aplomb. Good on them. Maybe this whole style will once again be deader than dead in five years, but these cats obviously have a creative streak in them so more power to them as they navigate the now. (New Morality)
DUMMY, “EP 2”
On their second EP in less than a year the Los Angeles collective Dummy take some new chances with this new group of tracks. Aiming for more of a Stereolab sort of vibe with the more direct songs, and then a real anything goes feel with the several instrumental cuts here, it seems as if Dummy is trying their hand at just how satisfying the scratch can be when applied to a creative itch. It doesn’t always work out, and that’s mostly because the varied sounds they test out lack cohesion. To simplify- each experiment is quality on its own, from the video game sounds, to the Japanese ambient stuff, to the aforementioned poppier songs- but altogether it seems more like a mixtape than a band presenting an EP. But I will say, the couple singles on here are really quite wonderful while the remaining ambient/experimental tracks offer up sounds I’m completely unfamiliar with but happy enough to have broadened my horizons, so to speak. (BornYesterday Records)
PASSIONPLAY, s/t
This grind-y Providence band starts out their first real outing sounding like you’re in for some Brutal Truth kind of worship, but it quickly shifts into early-era Touche Amore emo-violence, and by default, takes some cues from Converge as well. That kind of combination doesn’t generally do a whole lot for me as it tends to come off better live anyway. But I’ll give Passionplay credit for doing it very well and keeping things quick and dirty. They plow through 8 songs in 13 minutes, leaving barely any room to get bored, or for some lame-ass break in the music where the singer just belts out some personal anecdote or meaningless emotional dry heave. It’s just ripping, fast, and worthy of the brief span of time you’ll need to give it your undivided attention. (self-released)
SHAME, “Drunk Tank Pink”
Shame ease listeners into their sophomore record with a familiar feel- a hyper-energetic post-punk feel-good rocker called “Alphabet”. It sounds just like many of the rippers on their incredible debut record “Songs Of Praise” from a couple years back. However, that punk-leaning vibe moves the energy into new territory (for the band anyway) pretty quickly, as the whole A-side pays tribute to a more danceable, funk-influenced form of post-punk a la Gang Of Four, as well as the experimental, wild rhythms of peak Talking Heads. It’s quite an amazing transformation for this young British group, and one that works so successfully. Things get considerably varied on the B-side as they go with a couple slower songs, almost ballads. They couple that with two brief songs that take that early energetic sound of the band framework and funnel it through some interesting effects to come out with something new on the other end, “Great Dog” being the most immediate of the pair. Fans of the more immediate, punk dirges Shame are known for might be a little hesitant on this new release. But for them to take chances on new avenues to deliver that energy is really cool and it’s an exciting listen hearing them do it. (Dead Oceans)
USA/MEXICO, “Del Rio”
If the last USA/Mexico LP was right on the brink of not being music, which made it kind of awesome in a completely fucked up way, this one has crossed the Rubicon into a mass of noise and feedback that no longer has a discernable sense of a ‘song’ on it’s three tracks (two of which pass the 10 minute mark). I respect that- to so fully have contempt for structure, riffs, or the durability of a listener’s stereo speakers through the tar pit of noise that the sounds made by this band make Primitive Man sound like the fucking Beach Boys in comparison. That all being said, this is a difficult listen. It’s a bit too far for me. Maybe it’s a bit of an exaggeration because both “Soft Taco” and the title track contain exactly one riff each through the duration of their 13 and 16 minute respective run times, however it all sounds like the tracks were recorded through an old VCR and the tape got all warped while being played back. For whatever reason, their last record “Matamoros” is a gem and pushes things just as far as they can possibly go while still retaining a semblance of a song. “Del Rio” surpasses that, so real adventurists take note if you plan on getting really high on weird drugs and eating paint chips all day. (12XU)
THE WEEP, “Too Much Nothing”
Despite being a child of the 80’s the touchstones that are the prime influences on The Weep are not quite my forte. Clearly, the band love all things New Wave/goth-y/New Romantics (what with the carefully textured synths and trebly bass) and while I like a bit of that stuff too I am certainly not steeped in it. That being said, I really enjoy this as it is not only something I wouldn’t normally latch on to but it’s also really catchy too. To be honest, I checked this out because it is the group fronted by one of the co-creators of The Venture Brothers, easily one of my favorite animated shows ever. So, musically, I’m hearing everything from Joy Division to a less melancholy Killing Joke, to even early R.E.M. on the more pop-oriented songs, to a bit of Bob Mould (occasionally in the vocals). For more obscure references parts even remind me of early Wall Of Voodoo and Cargo Cult (particularly on the more aggressive “The Rope”, probably my favorite track here). I know that’s just me throwing out a bunch of stuff in a weak attempt to play off like I know what I’m talking about, but hey, if those references mean anything to you maybe give this a whirl and see for yourself. Even if that all seems Greek to you give it a shot anyway as I think it’s something that can be easily enjoyed by those with a wide variety of musical tastes. (self-released)
