I think the song "Resurrection" off the new Truth Cult record is more about the seasons ending and it getting colder, but I'll be damned if it ain't a great track for Spring flourishing and resurrecting that dead 'ol winter husk into some new life. All that is to say this is more like a second review for their new album and I like it a lot.
But hey, there's other stuff here too! And it's all over the map so dig in. I've been incredibly busy lately so I'm keeping this intro brief. Just listen to some of these jawns and go outside.
DJUNAH, “Femina Furens”
For some reason Djunah, which is primarily the music created by Donna Diane, along with a drummer to accompany her songs, gets shoehorned into the whole noise rock genre and I find that to be kind of inaccurate. Without question the music of Djunah delves into experimentation (after all Diane plays guitar AND bass at once through what must be a tap dancer’s pedigree in pedalboard footwork) and a fair share of grungy feedback. But let’s be honest- this is just hard rocking rock music at it’s core. Sure, to pull off what Djunah does involves a great deal of technical skill but the intent is to rock out and make big songs that showcase that talent, creativity, and her bellowing voice. Given the artwork, the nature of the music, and themes around this record I’d dare say Djunah is almost moving into progressive rock territory at times here, though sometimes reminiscent of the intense, unsettling anthems that Made Out Of Babies could conjure up. All that said, this is an impressive second record that is really attempting to make a big bold statement and I can only imagine seeing her pull this stuff off live (remember Djunah is just a duo) is likely where the real impressions are made. (self-released)
HEEL TURN, “Glamorous Void”
At first I thought this was a fast hardcore punk band because I’m pretty sure another group matching that description has also used this name. So perhaps in a villainous turn this group has stolen the moniker for their own ends. This band, however, hardly engages in posi jumps, or circle pits. This is sludgy metalcore in the vein of stuff like -(16)- and Seven Sisters Of Sleep, or the kind of evil and heavy music one would be prone to finding throughout the A389 Records catalog. That is to say, Heel Turn sound ugly and heavy, but they could turn hardcore kids to the dark side just by opening up at a Mindforce show. Either way, the band make quick business of scurrying through 10 tracks of this chunkiness with a few blast beats thrown in for good measure and an extra brief track of just noise. (The Ghost Is Clear)
HONDUH DAZE, “Beater” EP
I’m pretty sure this is intended to be multiple songs, but if you take a listen to this online it’s just one single 23 minute long track, which is sort of odd. But what’s even weirder is the concept behind this duo- dealership noise punk. Yeah. Figure it out. They’re called Honduh Daze (get it?) and they’re gonna try and sell you a lease. Their music is not the kind of thing you’re going to hear walking onto a used car lot, and in most respects it’s harsh and weird noise, but that’s kind of what makes it hilarious (which I’ll get to in a minute, just follow along). Here you’ll find drawn out sludge sections with tons of feedback, alternating effects experimentation, various extended samples, and shouted vocal parts over what sounds like a jet engine taking off. But honestly, seeing this band in action is where it really comes together. Amongst all this noise and chaos they commit to the bit with matching dealership uniforms, breaking between songs to go full-on with ad reads that half sound like the most annoying prime time used car lot commercials and half overtly aggressive wrestling promos. And they will literally try to get you to sign up for a car lease by haranguing the audience. It’s this crazy performance art/noise punk/ nightmare critique of capitalism and it’s both terrifying and hilarious at the same time. (Sweatband Records)
MAST YEAR, “Knife”
Things start off on this initial offering from this rather new Baltimore-area band with some very KEN Mode style of audio destruction, grinding through quick, sharp stabs and twists of metallic heaviness. But then for most of the remainder of the record it becomes a little more difficult to nail down what Mast Year is doing as there seems to be no set sound. There’s bits of noise, creepy-crawly melodic passages, and quite a bit of dour/downtrodden early Today Is the Day kinds of sullen, twisted evil and sludgy grime. It’s certainly a sound that not many are doing, and for current comparisons they seem to pair nicely with the ugly sludge that Coordinated Suicides lay down. However, I do find it a bit hard to follow throughout the record as it meanders down a branching path of depression and bad vibes, somewhat lacking cohesion. (Grimorie Records)
MSPAINT, “Port-American”
Somehow this band has slid into the hardcore punk discussion because their sound doesn’t fit that world. At the same time I think to myself ‘yeah, they’re a hardcore band, but I don’t know why.” In general, people typically think of hardcore/punk as being guitar-based music. So the fact that MS Paint use synthesizers in place of guitars (well, there’s still bass guitar) should maybe give listeners pause in terms of where to classify this and I tend to think of that as a good thing. While I’m mostly a fan of guitar-based music I hold that punk and hardcore should always be moving into new territory, which is what makes it exciting and revolutionary music to begin with, and this band do exactly that. I’d say MS Paint pine similar territory as bands like Militarie Gun (whose Ian Shelton even guests on one track here) in that you have commanding/gruff vocals that show the ‘hardcore’ side of the band, while the music takes on a different angle, whether that’s through pop melodies, or synth-based arrangements. It’s catchy, fun and rhythmic, and lyrically tackles social issues through the vocals which I don’t want to say sound…. I dunno…. rappy? That kind of makes it seem like it’s something other than what it is. Just because the vocalist has a rhythmic cadence and their lyrics rhyme doesn’t equate to rapping. Honestly, it all just makes the music more catchy. Whatever it is here I like it and applaud the exciting chances this group is taking. But that record cover…. looks like it was made in MS Paint. C’mon. (Convulse)
REAPERS GONG, “Subduction” EP
Full Of Hell members pulling another grungy and noisy side project that is pretty awesome. I love that these cats just keep creating stuff in various off-shoots. I reviewed another EP from this band a few months back and here they are with another very short EP, but it’s the best-sounding effort they have done yet. I’m kind of wondering why they don’t just drop an LP. This is like 9 minutes of music across 3 songs and almost half of that time is spent on a drawn out ending to a song. Just give us more! Anyways, if you’re looking for a band that has touches of shoegaze with grungy sludge and nods to stuff like Babes In Toyland this might be for you. This is available digitally, or as a 12” with their earlier demo tacked on to make it worth your hard-earned duckets. (Fuzz Records)
SAMUEL S.C., “High Places”
Chalk this up to the ‘reunions you would have never guessed would occur’ category. While Samuel was never a big name by any stretch, and did not have much of a discography at all, they did make a brief, but significant impression upon the mid-90’s indie/punk scene. They may be most notable for having done a great split with the like-minded Texas Is the Reason, or that guitarist Eric Astor ran the most excellent Art Monk Construction Records (and later started Lumberjack Distribution when it was awesome, and also founded the Furnace Manufacturing record pressing plant) who put out a lot of great stuff way back. So some 25 years later, or whatever, Samuel decides to give it another go an tacks ’S.C.’ onto their name (for State College, where they initially started) and makes some new music. It’s easy to say that this group isn’t going for a cash grab, or puffing up of egos, because they never got all that big. It’s noticeable that it’s friends getting back together to have fun and make some music, and that’s kind of the best sort of reunion if you ask me. There’s no ego, no pretense, not pining for days of youth when middle age is making your back hurt from standing for more than 20 minutes. So half this record is half songs written back when they were originally around, but never got to recording while the other half is new material and there’s honestly not much difference between the bunch. The only thing missing between this material and their “Lives Of Insects” EP is a bit of youthful spark absent, which is a natural occurence from early 20’s to mid-40s. But vocalist Vanessa Downing sounds just as bright and engaging as ever while the rest of the group plays their hearts out with fun and spirited indie rock. It’s not going to blow your hair back, it’s just going to be a good listen. But if you name a song “Syracuse In Winter” that should really sound like the bleakest primeval shit ever and their track makes it sound like it’s a pleasant day out. You all need to rename that one something like “Savanah In Winter”. For real. (Org Music)
TRUTH CULT, “Walk the Wheel”
This has been one of my most anticipated releases of the year ever since hearing that the band recorded a new record last summer. “Off Fire” was such a welcome surprise full of excitement and promise that I knew whatever this Baltimore/DC-based band did next would be worth watching. Truth Cult excel at what was laid down with Revolution Summer style DC bands in the 80s, and pushed forward with the caustic rock/hardcore of Swiz in the early 90s. And now with the aide of DC alum/studio wizard J. Robbins they present us with their second LP that brings their sound into a more focused version of what they had done previously. They’re apt at short hardcore rippers like opener “Squeeze” and late-album track “Ain’t Rubbin’ No Shoulders” (which also tacks on a quick little saxophone honking at the end). They can vibe out with more meditative, melodic jams (they are named after a Lungfish song after all) on “Heavy Water” and “Medicine”. And they can also lay down some of the most anthemic and beautiful punk songs ever through fantastic hooks and dueling back-forth vocals between frontman Paris Roberts and bassist Emily Ferrara on tracks like “Resurrection”, “Unstoppable” and the very emotive “Naked in the End” where we hear Roberts become more vulnerable than ever by trading in his hoarse shout for a go at actually singing. It works to great effect. This is an excellent follow up for the band that I hope brings them a lot more attention. I’m going to tell you to listen to it right now, but also spin this during the summer because it’s a perfect summer kind of soundtrack. And if you ever get the chance to see them live you absolutely must do that as it is where they shine being a completely explosive and energetic live group. (Pop Wig)
