Shopping To Return Stateside For Fall North American Tour
In Support Of The Official Body, Out Now On FatCat Records
Playing Hopscotch, OctFest, Basilica Soundscape, And More
|
|
Shopping To Return Stateside For Fall North American Tour
In Support Of The Official Body, Out Now On FatCat Records
Playing Hopscotch, OctFest, Basilica Soundscape, And More
|
|
Photo: Gary Leonard
Chicago noise-punk outfit Melkbelly are playing one of the earliest sets (1:45pm on Friday) at this year’s Pitchfork Music Festival in their hometown, and it would be well worth leaving work early to see them. Their fierce rock has an edge to it that will slap you out of your doldrums and fire you up for the rest of the festival. Their 2017 album Nothing Valley was one of the best of the year, and I’ve heard their live performances are game-changing. Don’t miss them.
Keep your mind open.
[Get updates in the middle of your inbox when you subscribe.]
BODEGA‘s Endless Scroll is probably my favorite post-punk record of 2018 so far. Consisting of Nikki Belfiglio (vocals), Heather Elle (bass), Ben Hozie (guitar and vocals), Montana Simone (drums), and Madison Velding-Vandam (guitar), the quintet offering a sharp commentary on hipsters, the digital age, sex, masculinity, femininity, and politics.
No track better sums up their thoughts on the world of 2018 than the opener – “How Did This Happen!?” Aren’t we all asking that every day here in the U.S.? “It’s the world now, don’t discriminate. Everyone is equally a master and a slave,” Hozie sings. Preach it, brother. He name checks failing bookstores, people curating their playlists more than their relationships, and people angry for no damn reason. “Bodega Birth” shows off more of Elle’s slick bass lines as Hozie and Belfiglio sing about how the internet, which should be the greatest educational tool of all time, is now a colossally boring shopping mall.
Elle’s bass takes the lead on “Name Escape” as Hozie sings about how he can’t remember names of people he sees all the time, even though he can notice things like someone wearing different pants than the last time he saw him. Also, he doesn’t often care (“Have I heard the latest something ’bout so-and-so? / No, I have not, my son. Now I don’t want to know.”). Again, preach it, brother. “Boxes for the Move” is a story of heartbreak following a break-up as Hozie leaves his lover’s place with “fifteen soggy boxes” of stuff and wishing he had the booze that used to be in the boxes he got from the liquor store. “I Am Not a Cinephile” is a collective middle finger to movie snobs and other ultra-hipsters.
Hozie and Velding-Vandam’s squeaky guitars on “Can’t Knock the Hustle” sound like alarm klaxons or steel being hammered by a blacksmith. Belfiglio invites us all to love ourselves (if you get the drift) on “Gyrate” – even if you want to do it “in the middle of a party, in the middle of the floor.” “Jack in Titanic” is Hozie’s commentary about modern expectations of masculinity. It’s wonderfully catchy, and is currently tearing up airwaves in England. I’ve heard it on BBC 6 Music every time I listened to the station for the last three weeks. “Margot” is a tale of internet lust (ending with a computerized voice saying, “I touch myself while staring at your chat text box.”).
Elle and Simone are in perfect synch on “Bookmarks” while Hozie and Belfiglio sing about how easy it is to get distracted from work when the endless internet is in front of you. “Warhol” has the band proclaiming “Form against everything” and making fun of people thinking their fifteen minutes of fame is still in effect. “Charlie” is their latest single and a touching tribute to a friend of Hozie’s who drowned on New Year’s Eve 2007. “Williamsburg Bridge” sounds like a Velvet Underground track with Elle’s bass groove, Simone’s tribal drumming, and Hozie and Velding-Vandam’s guitars squawk in the background. “Truth Is Not Punishment” has Hozie singing about worrying about his mother and trying to convince a friend that honesty is the best policy (even when he’s not sure he believes that). The guitars in it build to near-manic levels, reflecting Hozie’s angst.
This is one of the best and catchiest albums of 2018 so far. I’m glad that post-punk is having a great revival, and bands like BODEGA are leading the charge.
Keep your mind open.
[Jack in Titanic subscribed. Why haven’t you?]
|
||||||||
|
|
|||||
|
Opening with something that sounds like a song you’d hear on the tape deck of one of those Blade Runner flying cars, Flasher‘s debut full-length album, Constant Image, is strongly self-assured post-punk. That opening track, “Go,” encourages you to “suck it up” and get ready for a fast ride.
“Pressure” builds with its namesake until the chorus, and even then it doesn’t let up too much. Daniel Saperstein‘s bass seems like it’s all over the place, but he grounds the tune like metal stakes into circus tent loops. I like how Saperstein’s vocals blend with those of Emma Baker (drums) and Taylor Mulitz (guitar) on “Sun Come and Golden.” The whole track has a brightness to it, but it doesn’t ignore the shadows caused. “Material” raises the attitude of the record, as Mulitz’s vocals border on snotty punk and throw down the right amount of tongue-in-cheek sass.
Mulitz’s guitar buzzes like a green hornet on “XYZ.” It’s one of the hottest cuts on the record as Flasher sing about self-introspection and the expectations of their generation and the ones before and after them. As good as it is, “Who’s Got Time?” is even better. Saperstein unloads on it. It has a rough urgency and is yet highly danceable. “Skim Milk” was their first single, and it’s easy to hear why they chose it. Mulitz’s guitar is precise and fuzzy when it needs to be, Baker keeps time and thrashes when she needs to, and Saperstein keeps up his serial killing of bass grooves. Their triple vocals weave together well and it’s pretty much everything you want in a post-punk song.
There’s a neat piano riff underlining “Harsh Light” while Mulitz sings, “Every corner that you turn, you never learn.” Good grief, can’t we all relate to that at times? “Punching Up” has a bit of a punch-drunk beat to it, with Baker providing co-lead vocals and a Pixies-like rhythm. The Pixies influence is thick on the entire track with its back-and-forth bouncing between soothing guitars and heavy distortion. “Business Unusual” would be a great name for a TV show or comic book, but it’s instead about a “man, now a boy in blue, this whole world’s got it out for you.” It also throws in some saxophone (a welcome addition to any post-punk record) with the quirky guitars and the repeated question from Flasher – “What’s the worst thing you’ve ever done?”
It’s the last lyric of the album. Are they asking us to reflect and perhaps realize it isn’t that bad? Are they asking us to forgive ourselves? The name of the album is, after all, Constant Image. We all constantly project different images of ourselves, and often to cover up what we think are horrible flaws but are usually things about which no one cares. Most of the things we worry about never happen. Flasher want us to know this, I think. We should thank them for the reminder. You can do it by buying this record.
Keep your mind open.
[Who’s got time to subscribe. You do.]
July/August North American Tour Announced
Endless Scroll Out July 6th On What’s Your Rupture?

|
|||||
|
|
||||||
|
||||||
|