The resulting LP, Charles and Roy’s Purple Wang, is a loaded foray into unexpected turns with spasmodic keys, fiery sharp tremoloed clang guitars, stomped percussion, all ready to implode, shatter, puke all over you.
Bloomington, Indiana’s Thee Open Sex: Where the shadows are stretched into clouded psych, canvased sheets of whispered muse stretched thin but strong with creeping sounds and tribal beats.
Holy Terror is an apt name for a burner that isn’t necessarily frightening, but hulking and hair-raising. From the opening frenzy of “HeXXX Games,” Bummer reveals itself as a steward of noise rock, stirring the nest with a popeyed mass of stops, lurchings and oozings brewed within the feedback
The New York trio’s follow-up to 2017’s Bye Bye Berta expands on their scribbled notes on tune arrangement, deconstructing pop into their own contorted delivery of lo-fi flings. Roach Goin' Down presents 22 songs that flail with an on-the-spot schizophrenia of ideas and movement.
The Dreebs have achieved a monument that they’ve been scaling for a few years now. The record has the feel of a concept album. They have convinced the listener to trust. It’s a dark but enchanting beat to follow.
They have been creating no wave/new wave/post-punk shivs into establishment ideals and sexist stupidity for decades and still stab heavy with their latest EP, Take the Fall on Wharf Cat.
The latest record, Pinkus Abortion Technician, is no different: a slab inhabited by regulars King Buzzo and Dale Crover, with relatively new member Steven McDonald teaming on bass duties with Butthole Surfers’ Jeff Pinkus.
27 Passports is the first “regular” full-length the band has released since 2010’s Catch My Shoe, filling that eight year gap with seven-inches and a series of musical exchanges with Ethiopian musicians.
