Posted on October 5th, 2017
[as seen on Stereogum]
Last month, the great rock trio Bethlehem Steel announced their new album, Party Naked Forever, with the propulsive “Alt Shells,” and today we’re sharing another track from the album called “Fig.” It’s a sinewy, acerbic push-and-pull about a relationship impasse where one side won’t grow up and take responsibility for themselves and the other side has become fed up with having to shoulder the burden. “If you still wake up screaming alone, it’s no weight on me/ I’ve tried too hard/ Now I’m trying to let go of you,” Rebecca Ryskalczyk sings. The mournful final notes, where Ryskalczyk repeats “You were my only light,” exhibit both an anger at having a great hope snuffed out and a resilience to keep on fighting. Listen below.
Posted on September 29th, 2017
[as seen on Stereogum]
Back in March, after receiving a series of violation notices related to zoning and licensing, the beloved Brooklyn DIY venue Shea Stadium launched a Kickstarter in the hopes of raising enough money to get the space back up to code. Although the campaign successfully achieved its donation goal in short order, the building’s landlord decided they would rather open a nightclub on the ground floor, and so the search for a new home began.
To help with that, the Brooklyn DIY label Exploding In Sound is teaming up with Shea Stadium to release Exploding In Records: Live At Shea Stadium, a mixed and mastered collection of recordings from the venue’s extensive live archives. Curated by the folks at Shea and featuring nearly every band from the EIS roster — including Pile, Speedy Ortiz, Krill, LVL Up, Ovlov, and Porches — the compilation is a testament to Shea Stadium’s storied past and a glimpse of its possible future. Listen below.
Posted on September 27th, 2017
[as seen on Stereogum]
Sean Bean, the man behind Boston’s Bad History Month, often changes his name to avoid unwanted attention. That should tell you something about the kind of guy he is and the almost anti-pop music he makes. The basement DIY project is returning in November with the Mel Brooks-referencing Dead And Loving It: An Introductory Exploration of Pessimysticism, and we’ve already heard one track, the churning, surprisingly exultant “Being Nothing.” Where that song found a sense of humanistic freedom in its existential musings, “The Nonexistent Distance” is firmly planted in the nausea phase of that epiphany: “Buried in each exhalation/ My body is a grave/ And as I survive/ Am I just a slave/ Cells eat the air I feed them/ They multiply and I age.” The music behind Bean is both beautiful and ominous, a spidery guitar figure working itself up into a bluesy lather before slowly receding into the night. Listen.
Posted on September 21st, 2017
[as seen on Post-Trash]
In 2016, Tallahassee, Florida’s Ex-Breathers broke-up, but it didn’t take long for David Settle to find something new to occupy his time. Along with his roommates Geoff Perkins (bass) and Ronnie Francisco (drums), the trio started Big Heet, a band that retains parts of the post-hardcore approach that informed Ex-Breathers without merely retreading the same ground. One listen to “Flint,” the lead single from the band’s debut album On A Wire, shows a band going even further back into hardcore’s past. While Devo is an obvious reference point for “Flint,” it’s easy to contextualize the band in the present moment, at once sounding like bands such as Coneheads, Liquids, Booji Boys, or even Ausmuteants. Guitars jitter nervously atop the song’s wiry frame, serving as a bracing burst of fury that recalls hardcore’s gestational age.
Fittingly, the band draws influence from the modern political climate in th same way the best punk bands always have. Of the song, the band says: "It’s easy to become overwhelmed by our inability to change anything politically when the elected are okay with poisoning their own constituents and destroying the land. From the water crisis in Flint, and the pipelines at Standing Rock and Sabal Palm, to the mass polluting of South Florida waters by Big Sugar companies (many of whom are top financial supporters of our highest-powered state politicians), it's obvious that many in power care more about the corporate hands in their pockets than the lives they’re meant to represent."
Those issues come bubbling up in “Flint,” a song that rages against the hubris and destruction brought on by a capitalist society, one that violates basic human rights for the sake of profit margins. It’s a rager of a song, and one that demands repeat listens. And that’s something all of On A Wire achieves, toting a handful of insurgent anthems that are endlessly replayable.
Posted on September 13th, 2017
[as seen on The 405]
As Washer has teased their second LP, All Aboard, over the past few months, there has been a palpable excitement from those awaiting the release. Advanced singles like 'Your Guess Is As Bad As Mine' are as good as anything you've heard this year, and the duo of drummer Kieran McShane and guitarist/bassist/vocalist Mike Quigley have followed with a damn fine full-length, which is streaming here on The 405.
Recorded in Brooklyn and Vermont, and packed with 15 tracks, All Aboard is tightly constructed and compelling follow-up to the band's debut, Here Comes Washer. Washer's uncluttered style has been refined upon here, as all of the album's tracks are concise and compelling. It certainly doesn't hurt that they are also packed with melodies that you'll find yourself humming or singing for days to come.
Give All Aboard a listen below and then buy yourself a copy here from Exploding In Sound Records. And trust us, you'll want this one.