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Category: Punk
Levitation Austin artist spotlight: The Men
make music that is hard to describe. It lands somewhere between punk, garage rock, and noise rock. It’s full of fury and powerful riffs and their Levitation Austin set (April 27th at Barracuda, starting at 11:30pm) will surely be one of the loudest at the whole festival. I’m glad I have new earplugs.
Keep your mind open.
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Levitation Austin artist spotlight: Ron Gallo
Art punk Ron Gallo will be playing one of the first time slot at Levitation Austin this year – 6pm at Stubb’s on April 26th. He’s also playing the next day at 5:30pm on Barracuda, both times in support of Ty Segall. I caught Mr. Gallo and his crew in Fort Wayne a couple years ago and was immediately impressed with his chops on guitar and witty lyrics wrapped in punk attitude. His debut album, Heavy Meta, was one of my top picks of 2017. Check him out while tickets for him are still reasonably priced.
Keep your mind open.
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The Damned unveil secrets of each track on upcoming album – “Evil Spirits”
THE DAMNED SHARE TRACK BY TRACK INFO FOR NEW ‘EVIL SPIRITS’ ALBUM
OUT FRIDAY APRIL 13TH ON SEARCH AND DESTROY / SPINEFARM RECORDS
PRE-ORDER ALBUM HERE
ANNOUNCE SELECT NORTHWEST DATES IN JULY AFTER BURGER BOOGALOO
US TOUR THIS FALL (DETAILS FORTHCOMING)
Following a hugely successful UK tour which saw British punk legends The Damned rev up 2018 by playing to thousands of rabid fans, including two back-to-back sold-out London shows, the band returned last month with a double A-side single culled from their forthcoming ‘Evil Spirits’ album, released April 13th via Search And Destroy/Spinefarm Records. The single featured the tracks ‘Look Left’ and ‘Devil In Disguise’,, two songs that perfectly represent the album’s many shifting moods and styles.
Recorded by legendary producer Tony Visconti, ‘Evil Spirits’ is the result of a frantic, high-energy burst of creativity at Atomic Sound studios in Brooklyn in October of 2017, with ‘Black Album’ and ‘Strawberries’-era bassist Paul Gray back in the fold.
Select shows in the Northwest have just been added, following their headline slot at Burger Boogaloo in Oakland July 1st. A US tour will be announced at a later date (details forthcoming).
‘EVIL SPIRITS’- TRACK BY TRACK:
‘Standing On The Edge Of Tomorrow’ (watch video)
Up-to-the-minute garage psychedelia that gallops like Scott Walker’s ‘The Seventh Seal’, amid ominous ‘dies irae’ chorale and mucho post-millennial frustration. Vanian: “An optimistic song even though it is about a dark subject. In a world obsessed by ‘self’, this is a cry for humanity to recognize its humanity, before it’s too late. There is a strong influence of Joe Meek here: ‘Telstar’ was a glorious song about the opportunities of the future. I’d like to think that ‘SOTEOT’ reflects a similar sentiment.”
‘The Devil In Disguise’ (listen)
Another energetic garage-punk monster, replete with Monty Oxy Moron’s era-specific Farfisa organ. Pinch: “People gravitate towards blaming individuals rather than the systems they are part of. Figureheads are only puppets. It’s the puppet masters we should be concerned about. The enemy of our enemy is our friend, apparently.”
‘We’re So Nice’
“Where there’s dispute you’ll find us there…” Sensible’s broadside against Anglo-American imperialist meddling around the world bops along gleefully on a Motown beat amid a deluge of melodic excellence. Sensible: “With all that we know about the Iraq war, and its consequences, does anyone still think we were the ‘heroes’?”
‘Look Left’ (listen)
Sugar coated mind grenade, addressing post-millennial society’s “media-induced coma” Vanian: “The weird thing about Pinch is, he listens to the most obnoxious music a lot of the time – all the real hardcore punk stuff – and he a very loud drummer, too, but then he goes and writes this great big show tune – like a massive ensemble cast coming on to sing at the end of the play!” Pinch: “While everybody’s looking left, what the hell is happening right? Tough subject matter is easier to digest when coated in honey rather than vinegar and the message in this song is so important, I couldn’t risk it being a throw away aggro punk tune that was immediately overlooked. I see it more as a love song to the human race. The future is here, and until you awaken your mind, I’ll wait for you.”
‘Evil Spirits’
Fantastically searching, in the best sense ‘progressive’, rocker, with vague echoes of The Who’s ‘Magic Bus’ and The Rolling Stones’ ‘Can’t You Hear Me Knocking’, and some commensurately exploratory soloing from Sensible. An urgently free-spirited riposte to today’s political stasis. Sensible: “Whoever you vote for, nothing changes. Labour or Tory, two cheeks of same bum.” Vanian: “The Who are never far away from The Damned’s sound. We’ve had some big noses in this band, too. I suppose there are some parallels between us, because they were a high-energy band, too, but then Pete started writing his rock-opera stuff, stretching out, looking for different ways of writing. Queen did the same sort of thing as well – we’re one of those bands whose music can cover different genres of music, within one song.”
‘Shadow Evocation’
Quintessential Vanianism, about espousing the night and finding a better way forward than “chasing ghosts of the past”. Features acrobatic backing vocals from American singer-songwriter Kristeen Young. Vanian: ”Kristeen has a remarkable vocal range reminiscent of Yma Sumac [1950’s Peruvian-American soprano]. Her singing at the end of the song was originally played on a Theramin but once Kristeen sang the part, there was no need for the instrument anymore.”
‘Sonar Deceit’
Another garage-psych belter, propelled by a jaunty His Latest Flame-style bassline. “What makes a fish desert the sea?” ponders the Captain in this hard-hitting critique of whales and dolphins being driven insane by bombardment by deafening sonar.
Sensible: “What could it possibly be that drives whales and dolphins to prostrate themselves on beaches around the world?”
‘Procrastination’
Noel Coward-esque study of creative deferral, with more mid-’60s Farfisa from Mr Oxy Moron. Sensible: “One of Monty’s, this one. A bit of self-analysis here: what could be the reason that this band’s last album was recorded back in 2008? It’s good to be able to laugh at yourself – well, at least I think he’s talking about himself there… Isn’t he? Or is it me? Blimey!”
‘Daily Liar’
Co-written by Sensible (tune) and Vanian (lyric), another anger-fuelled barnstormer, with a Kinksian introductory fanfare, a driving beat, and a stirring melodic ascent. All together now: say “no, no, no…no-no” to media misinformation! Sensible: “For his own selfish reasons, Trump started a discussion about ‘fake news’, but it’s one that some might say has been long overdue. Not a pinch of salt required – you need a whole cellar of the stuff these days.”
‘I Don’t Care’
Punk heedlessness rebooted as a triptych of political disaffection, spanning moody piano balladry, Who-y explosiveness, and nocturnal jazz
Vanian: “This should have been a short song, perhaps only a minute long, written on a rainy afternoon in my study. Demoing the song, I almost forgot that there were two more sections, turning it into a three-part epic in about the same amount of minutes, which seems longer because of the differing moods.”
Evil Spirits is available on digital download via Spotify and i-Tunes, on CD and 180g vinyl available to pre-order HERE
Photos: Dod Morrison
LIVE SHOWS:
EUROPE:
May 17 – Frankfurt – Batschkapp
May 19 – Lausanne – Les Docks
May 20 – Milan – Magnolia
May 22 – Munich – Strom
May 23 – Berlin – SO36
May 19 – Lausanne – Les Docks
May 20 – Milan – Magnolia
May 22 – Munich – Strom
May 23 – Berlin – SO36
May 25 – Hamburg – Fabrik
May 26 – Oberhausen – Turbinenhalle
May 27 – Amsterdam – Melkweg Oude Zaal
May 26 – Oberhausen – Turbinenhalle
May 27 – Amsterdam – Melkweg Oude Zaal
May 29 – Paris – Petit Bain
UK:
June 16 – Birmingham – Genting Arena *
June 17 – Manchester – Arena *
June 19 – Glasgow – The SSE Hydro *
June 20 – London – The SSE Arena, Wembley *
US:
July 1 – Oakland – Burger Boogaloo Festival
July 5 – Vancouver – Commodore Ballroom (on sale 4/6 10am PST)
July 6 – Portland – Crystal Ballroom (on sale 4/6 10am PST)
July 7 – Seattle – Showbox at the Market (on sale 4/6 10am PST)
July 6 – Portland – Crystal Ballroom (on sale 4/6 10am PST)
July 7 – Seattle – Showbox at the Market (on sale 4/6 10am PST)
UK:
August 22 – Southampton – 02 Guildhall
August 23 – Holmfirth – Holmfirth Picture House
August 24 – Warrington – Warrington Parr Hall
August 25 – Belfast – Belsonic Festival (main support to Stiff Little Fingers)
* supporting the Hollywood Vampires
“…hard-charging ethos accented by smooth hi-fi production and a stylistic debt to pop’s pre-rock era.”Stereogum
The Damned have become, if possible, more eccentric and outrageous as they grow older.” – The Independent
“The King’s people have drunk from the Fountain of Youth. This truly is a band at the top of its game. Long Live The Damned”
– Louder Than War
The Damned are:
David Vanian – Vocals
Captain Sensible – Guitar
Monty Oxy Moron – Keyboard
Pinch – Drums
Paul Gray – Bass
Captain Sensible – Guitar
Monty Oxy Moron – Keyboard
Pinch – Drums
Paul Gray – Bass
Keep your mind open.
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Live: Shopping, Tyvek, and Ganser – Chicago, IL – March 28, 2018
It’s a bit difficult for me to believe that it took me nearly three months to see some live music this year, but it’s true. January and February were filled with crazy work schedules that weren’t conducive to making a trip even an hour’s drive away to see any bands or performers.
That all changed with getting to see Shopping, Tyvek,and Ganser at Chicago’s Beat Kitchen two nights ago. I’d been keen on catching Shopping since hearing their newest album, The Official Body. I knew nothing about Tyvek and Ganser going in, apart from a few video clips and digital tracks here and there. Tyvek was loud and brash garage punk. Ganser was darker and local post-punk. This was also my first time at the Beat Kitchen. It’s a nice, small venue, and the food there looked pretty good.
One thing I’ve discovered about Chicago shows is that, for the most part, the set start times are rigid. Ganser kept up this tradition by starting at promptly 8:00pm. They played an impressive set to a hometown crowd that included multiple tracks from their upcoming album Odd Talk. Their stuff was sassy, jagged, and assertive. Odd Talk should be a fine record based on what I heard at the Beat Kitchen.
Up next were Detroit’s / Philadelphia’s Tyvek. They were as loud and hammering as I’d expected, and throwing saxophone riffs into the mix only made it better. Lead singer / guitarist Kevin Boyer‘s axe looked like it had been bounced off a few floors and used as a cutting board, and the blaring chords he drew out of it only seemed to confirm my suspicions.
Shopping had a large crowd by the time they took the stage. I was glad to see so many people for the U.K. band that had spent most of the last couple months zig-zagging across the U.S. They had the crowd jumping almost from the first note, and encouraged dancing throughout their entire set. They sounded great. Rachel Aggs‘ gets notes of her guitar that jump like water across a hot griddle. Every song had a bouncing energy to it that was inescapable. Highlights from the set included “The Hype,” “Wild Child,” and “My Dad’s a Dancer.”
The best way I can sum up their set is by what a woman yelled out from the crowd between songs: “You guys are so fun!” Bassist Billy Easter said, “Thanks. It’s fun being up here, too.”
Shopping set the bar high for live bands to follow this year. Catch them if you can. You need to get in on the fun they’re delivering.
Keep your mind open.
[Thanks to Sam McAllister from Pitch Perfect PR for hooking me up with a press pass for the show.]
Shame releases new single, “Lampoon,” during spring tour.
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The Damned’s “Evil Spirits tour” has begun, and their new album is out April 13th!
THE DAMNED ANNOUNCE NEW ALBUM ‘EVIL SPIRITS’ TO BE RELEASED APRIL 13th VIA SEARCH AND DESTROY/SPINEFARM RECORDS
LISTEN TO NEW SINGLE ‘STANDING ON THE EDGE OF TOMORROW’ ON SPOTIFY
Photo: Steve Gullick
Formed in 1976 at the forefront of the fledgling London punk scene, The Damned kickstarted the birth of punk as we know it, leaving an influential legacy for generations to come. Their musical journey has seen the quintet intent on moving forward, courageously exploring sights and sounds way beyond their brash wide-eyed beginnings – and they’re back to do it all over again.
Some ten years since the release of their last studio recordings, The Damned return with a new album, ‘Evil Spirits’, to be released April 13th on Search And Destroy/Spinefarm Records, preceded by the new single ‘Standing On The Edge Of Tomorrow’, streaming online today ahead of their forthcoming Evil Spirits UK tour starting January 26th.
Propelled by an enormously successful Pledge funding campaign, the band headed to Atomic Sound Studios in Brooklyn in early October 2017 and began a frantic, high-energy, nine day burst of creativity with famed producer Tony Visconti, whose list of past working-relationships reads like a who’s who of popular music. (David Bowie, T Rex, Morrissey, U2, The Stranglers, Iggy Pop and Thin Lizzy to name but a few), Reunited with former bassist Paul Gray (who played on the legendary ‘Black Album’ and ‘Strawberries’ in the early eighties), the renewed line up took full advantage of the studio’s classic Neve recording desk, valve gear and vintage equipment to form the new record.
“We deliberately recorded the album retro style,” explains guitarist Captain Sensible. “The same way our debut album was made, basically. There’s something wonderful about the seventies sounds; glam, rock and punk records, they all sound so great and Tony specializes in beautifully crafted old school production. He had us all playing live, bashing it out in the same room with a focus on getting the initial band version of each song as close as possible to the finished thing.“
The first taste of ‘Evil Spirits’ comes in the form of ‘Standing On The Edge Of Tomorrow’, a song penned by frontman Dave Vanian, that packs a punch and carries a melody that is impossibly hard to shift once heard.
“It’s supposed to be very optimistic, even though it’s about a dark subject,” states Vanian. “As an artist, you can’t help but reflect the times, because that’s what art does. I think we always do it, but in a slightly different way. So a song like ‘Standing…’ may seem quite joyous and uplifting musically, but some of the lyrics might be about quite dark things. That’s what I’d like to think this album is – an uplifting album, not a moaning old album – not ‘this is terrible, and that’s terrible’, and then not offering any answers. It’s more a case of, ‘If we get it together, maybe we could change things a bit”.
Across the album’s ten-tracks, The Damned get to the root of their collective song-writing and ‘Evil Spirits’ is an album which doesn’t shrink from opposing the dastardly political forces at work in 2018, and indeed triumphs in seeking higher ground, to progress beyond them.
“This album is filled with a lot of influences from our earlier, pre-’70s tastes – the ’60s stuff. ‘Standing…’ is really linked into Joe Meek, ‘Telstar’, and that kind of stuff,” continues Vanian. At first, I’d said in an interview before we started writing this stuff that the album would be psychedelic, and maybe a trip through the historical side of The Damned, as in what we like. It didn’t happen in the way I thought it would, but it still does the same thing. It still has all that in there, but it’s not as obvious as it could’ve been, which is good. It’s not like pastiches of songs you remember, it’s more a case of, what was great about something you loved as a kid has somehow influenced a guitar sound, or the way the drums are. You might not even know it if you’re one of our younger fans, but if you’re a little older, you’ll hear it, which is kinda cool.”
And of the ‘Evil Spirits’ that the album intends to dispel? “I started buying records in 1967, the Summer of Love,” adds Captain Sensible. “There were so many positive changes happening through the 60s and 70s; civil rights, feminism, the anti-nuclear demos in particular. Whatever happened to all that? Where are today’s anti-war marches? Whatever happened to the beautiful hippy dream of worldwide peace and love?”
Evil Spirits will be available on digital download via Spotify and i-Tunes, on CD and 180g vinyl available to pre-order HERE
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TRACKLISTING:
1. Standing On The Edge Of Tomorrow
2. Devil In Disguise
3. We’re So Nice
4. Look Left
5. Evil Spirits
6. Shadow Evocation
7. Sonar Deceit
8. Procrastination
9. Daily Liar
10. I Don’t Care
Catch the band on tour this January and February. Main support comes from fabled Stray Cats drummer Slim Jim Phantom (*except Koko), whilst support at Koko and The Forum comes from Kristeen Young.
See The Damned on their ‘Evil Spirits’ tour 2018:
27th January – Dundee, Caird Hall
28th January – Glasgow, O2 Academy
30th January – Leeds, O2 Academy Leeds
31st January – Manchester, Academy 1
1st February – Birmingham, O2 Academy
3rd February – Leicester, O2 Academy
4th February – Nottingham, Rock City
6th February – Folkestone, Leas Cliff Hall
7th February – Southend, Cliffs Pavilion
9th February – Cardiff, Great Hall
10th February – Bristol O2, Academy Bristol
11th February – Bournemouth, O2 Academy
13th February – Southampton, O2 Guildhall
14th February – Bexhill De La Warr Pavilion
16th February – Koko, London*
17th February London, O2 Forum
Tickets available HERE
Follow The Damned at:
Keep your mind open.
[No evil spirits will visit if you subscribe…I think.]
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L7 – Detroit (live)
There aren’t many better ways to start a new year than a release from L7, and it’s ever better when it’s a recording of a crazy 1990 live show in Detroit. Detroit begins with the band apologizing for arriving late, co-lead vocalist and guitarist Donita Sparks making fun of a drunk guy in the crowd, and then having issues with guitarist / co-lead vocalist Suzi Gardner‘s microphone before unleashing a sonic assault with “Fast and Frightening.” Thankfully, Gardner’s microphone works just fine for “(Right on) Thru” as she belts out the vocals like a professional boxer.
“Scrap” chugs along like a monster truck. “Broomstick” is a forgotten metal classic. “Packin’ a Rod” seems to fly by at 100mph (and ends with more great banter of Sparks taking down the rude drunk). The inclusion of one of their earliest hits, “Cat-O’-Nine-Tails” is a welcome one, and the first time I’ve heard it live. It’s crazier (and better) than I’d hoped it would be. “Deathwish” is like a saw slicing through a log while the lumber mill is being swarmed by killer bees. It ends with more fun banter like Sparks promising she’ll learn how to play guitar before their next tour.
“Till the Wheels Fall Off” has drummer Dee Plakas going bonkers through the whole track and probably terrifying most of the men in the crowd. Gardner’s vocals on “Shove” are, as always, more like a hockey check than a push. They end on “Bloodstains” before coming back for a fiery encore. They initially offer to take requests, but that quickly devolves into drunken chaos in the crowd and Sparks dealing with tuner problems. Bassist Jennifer Finch briefly teases playing some Black Sabbath before they announce “This is really going to suck, but we’re gonna do it anyway,” and launch into “Shitlist.” This was when “Shitlist” hadn’t reached its levels of popularity that it has today. This is the first time I’ve heard reverb effects on Sparks’ vocals (as she dedicates the song to her broken tuner), and they push her voice to the back wall of the venue.
Detroit is a welcome edition to L7‘s catalogue, and a nice time capsule of raw 1990’s rock. By the way, they haven’t lost a thing. They still hit as hard almost thirty years later.
Keep your mind open.
[Shove your e-mail address in the subscription box before you go.]
Terminal Mind – Recordings
Austin, Texas punk / no wave legends Terminal Mind only blazed through the Austin scene for three years (1978 – 1981), but they are back with a powerful release of rare cuts from their short time together. Recordings collects a rare four-song 7″, live cuts, and unreleased studio tracks. It’s a solid collection and already in the running for best reissue of 2018.
Opening with the skronky, bold “I Want to Die Young,” the band’s powerhook guitars are put front and center right away. “I see life as a TV at midnight, nothing but static and outdated reruns,” Steve Marsh sings as he dreams of becoming something better than he is now before he gets old and waits for a heart attack.
“Refugee” has Marsh continuing his themes of alienation as he sings, “In a war, there are winners and losers. I’m in-between.” The post-punk attitude of “Sense of Rhythm” is sharp as a hatchet (and so is the drumming). “Zombieland” sounds like an early Devo cut as Marsh sings about the joys of “living in negative space” and ignoring the suffering and injustice around you. The guitars on it devolve into a wild cacophony that almost sounds like air raid sirens by the end.
“Obsessed with Crime” has a raw energy not unlike something you’d hear from the Stooges. Terminal Mind once opened for them, so the influence shouldn’t surprise anyone. The guitars and bass on “Fear in the Future” are downright dangerous. Marsh growls “Time is a trigger, I hold it in my hand. I point it at the future. I think you understand.”
The live tracks begin with the snappy “Radioactive,” in which Marsh sings about hoping to have super powers so he can survive a nuclear war and watch everything burn around him. The equally speedy “Bridges Are for Burning” follows it.
“No one wants to know the meaning of life anymore,” Marsh sings on the angry “(I Give Up on) Human Rights.” “Black” is like Joy Division if they decided to speed up the beats and crank up the distortion. You can almost feeling the audience grooving during “Missing Pieces.” The keyboards on “Bureaucracy” slather the song in a glorious, distorted noise that ends the album on a high, post-punk note.
Three years was too short for a band this good, but at least we have this reissue to remember Terminal Mind. Let’s hope for some new material in the future. I’d love to hear their take on modern times.
Keep your mind open.
[I don’t want you to die young. I just want you to subscribe.]
Austin punk legends Terminal Mind release first single from upcoming retrospective album “Recordings.”
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Terminal Mind premiere track from forthcoming retrospective Recordings
Extremely rare collectors’ fave 7″, Live at Raul’s compilation cuts and unreleased studio & live tracks from Austin first wave punk trio
Hear & share “Refugee” (Soundcloud) (Austin Chronicle)
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“Grayscale art-rock with punk desperation channeled through instrumental and songwriting legitimacy…Terminal Mind remains an act locals still celebrate despite a short lifespan and being under-recorded.” — Austin Chronicle
First-wave Austin, TX punk trio Terminal Mind premiere the first track from their forthcoming retrospective album today via Austin Chronicle. Recordings collects the short lived band’s 4-song 7″ (which fetches upwards of $100 on eBay), Live At Raul‘s compilation cuts and outstanding unreleased studio and live recordings. Hear and share “Refugee” HERE. (Direct Soundcloud.)
Terminal Mind, formed in 1978, was one of the early first-wave punk acts in Austin, TX. Based far from the urban roots of a genre in its earliest stages, the band absorbed influences as disparate as Pere Ubu, Roxy Music, John Cale, and Wire. The life span was short, but their influence touched many of the next generation of Texas noise and hardcore acts as they shared bills with fellow proto-punks The Huns and Standing Waves at Raul’s, The Big Boys on the UT campus, and even opened for Iggy Pop at the Armadillo World Headquarters.
Founding members Steve Marsh and the Murray Brothers, Doug and Greg, started as a trio before adding synthesizer player Jack Crow. Steve Marsh moved to New York with his experimental noise band Miracle Room (before eventually returning to Austin and forming space/psychedelic rock band Evil Triplet and beginning an experimental solo project dubbed Radarcave), while Doug Murary joined the Skunks and Greg Murray played in a later version of The Big Boys. Jack Crow passed away in 1994.
This collection of songs is a journey back to the ‘anything goes’ first steps of American punk as it left the dirty streets of New York and Los Angeles and made its way into the heartland. Like the Austin of 1978, Recordings is a small outpost of musical individualism that planted seeds for the alternative music explosion familiar to later generations.
Recordings will be available on LP, CD and download on January 19th, 2018 via Sonic Surgery Records.
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 Artist: Terminal Mind
Album: Recordings
Label: Sonic Surgery Records Release Date: January 19, 2018
01. I Want to Die Young
02. Refugee
03. Sense of Rhythm
04. Zombieland
05. Obsessed With Crime
06. Fear In the Future
07. Radioactive
08. Bridges Are For Burning
09. (I Give Up On) Human Rights
10. Black
11. Missing Pieces
12. Bureaucracy
On The Web: |