Screaming Females – All at Once

It’s been a little while since we’ve had a full album from power trio Screaming Females, and now they’re back with a double album no less – All at Once.  I’m intrigued by the title, as it seems to imply the world at large – especially in First World nations.  Everything is available to us any time we want it, yet most of us are dissatisfied with what we have.  Thanks to the internet, we can be everywhere all at once, yet many of us are lonely or limit human contact as much as possible.

Screaming Females explore this dichotomy right away on the opening track, “Glass House.”  Lead singer and guitarist Marissa Paternoster sings about her desire to break out of a controlling relationship that she willingly entered, but knowing that doing so will shatter both parties (“I’m locked in is this glass house, impossible to get out.”).

Bassist Mike Abbate and drummer Jarrett Dougherty put down a hard groove for Paternoster as she unloads Helmet-like guitar fuzz on “Black Moon.”  Another possible meaning to the album’s title is the raw energy of Screaming Females that comes at you all at once during their live shows.  The album adeptly catches their turn-on-a-dime precision and angry wolverine power.

“I’ll Make You Sorry” is not only scorching, but also catchy as Paternoster tries to warn a new lover.  “I was once in love before you,” she sings.  She’s been down a path that didn’t end well, and wants to give it another shot, but perhaps cutting loses now is easier for everyone.  Paternoster’s solo on it flies around like a frisky blue jay.

“Dirt” has a bit of a post-punk sound to it that I love, and I’m happy to say that they add this flavor to a couple other tracks, like the excellent, sharp-angled “Fantasy Lens” and the funky bass-laden “Drop by Drop.”  “Agnes Martin” could easily be a metal song if they doubled the speed, but they smartly keep it between garage rock and stoner metal as Paternoster sings about seeking companionship, but only away from others (“Take me under your wing, the sun destroys me.”).  Dougherty’s chops are slick as axel grease on this, and Paternoster unleashes some of her trademark shredding.  Her vocals get distorted (and backed by what sounds like a church organ) on “Deeply” as she sings about how hard she tends to fall in love when the opportunity arises.

I think Abbate and Paternoster might’ve rushed Dougherty to a Ready-Med clinic after they recorded “Soft Domination” because his groove on it is wickedly sick.  “Tell me you’ll lift me up, tell me you’ll take me out of this place,” Paternoster pleads, desperate to get away from…what?  A specific place?  Life in general?  “End of My Bloodline” has a bit of a dub feel to it with Abbate’s creeping bass, Dougherty’s nice high-hat work, and Paternoster’s slightly distorted vocals.

“Chamber of Sleep I” and “Chamber of Sleep II” walk into psychedelia, and the world is better for it.  In both parts, Paternoster unloads her guitar like a flame thrower on a stack of articles that still refer to her as a “female guitarist.”  “Bird in Space” is downright lovely, with Paternoster singing once more of taking flight from the moment / reality and putting on a guitar clinic.

“My Body” has Paternoster singing about disconnection from a lover and the world (“I’m sleeping in this chair, while you sleep in the hallway…When they come to find me, then please burn my body.”).  All at Once ends with the fuzzed-out, massive (and abrupt) “Step Outside.”  Screaming Females encourage us to get away from the internet, our comfort zones, or even prepare for a fight.  The whole band cooks with gas and definitely unleashes in the spirit of the album’s title.  All you can do it sit back and let it hit you.

All at Once is a great addition to Screaming Females‘ catalogue.  Paternoster writes biting lyrics about love, heartbreak, and the weird complexities of relationships like few others in the rock business.  She is like one of those plasma nebula balls, glowing and swirling with a hypnotizing calm until you get too close, and then she arcs lightning at you.  She’s the lightning, Abbate is the thunder, and Dougherty is the driving wind and rain.  All three come at you all at once, and you can’t stop them.

Keep your mind open.

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Caroline Rose – Loner

 

I first heard Caroline Rose when I got sent a press release about her first single off her album Loner.  The song was “Money,” and it ended up being one of my favorite singles of 2017.

Loner, it turns out, is already one of the best releases of the winter.  Her deft use of organs, synths, and keyboards turns the record into a blend of psychedelia, power pop, and electro.  Plus, she’s one of the wittiest songwriters I’ve heard in a while.

“More of the Same” is a great opener about ennui and people wanting to be individuals just like everyone else.  She unleashes impressive vocal chops as she sings about all of her friends having “alternative haircuts,” school being a colossal bore and a haven for crushed dreams, and wanting to get away from the ruts the world at large has created for her.  “Cry!” reveals Rose’s love of Devo in the opening synth chords.

“Money” adds spaghetti western guitar and is one of the wildest cuts you’ve heard in a long while.  Rose flat-out admits, and calls us out on, how much of her / our day-to-day activity is for the pursuit of cash.  The roller rink keyboards of “Jeannie Becomes a Mom” perfectly sum up the fear, joy, and uncertainty of the song’s subject.  Plus, the electric beats are wicked.

“Getting to Me” includes what sounds like a plucked violin as Rose sings about the  life of a waitress who craves more out of life but yet is a master at her craft.  Rose gets a David Lynch-vibe going on “To Die Today” with its echoing guitar, subtle percussion, and her haunting vocals about the feeling and release of death.  It’s fitting that the follower is “Soul No. 5,” a song about embracing life (“I ain’t got a job, but I got a lot of time.).  The synths during the chorus are exuberant, and they’re laced with surf rock on “Bikini” (a song about the benefits of sex appeal and the objectification of women).

The stabbing synths of “Talk” push the desperate narrative of the lyrics, in which Rose sings of blissful, sexy silence with her lover.  The closer, “Animal,” with its synthesized handclaps and trippy keys, is a sexy song about two lovers in the throes of passion.

The whole album is a mix of sex, death, mishaps, and comedy.  In other words, it’s about real life.  Rose might consider herself a loner, but she’s really all of us.

Keep your mind open.

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The Coathangers announce winter and fall tours.

The Coathangers are heading out on tour this winter and spring, starting on the west coast, to promote an upcoming live album.  Some of these dates include shows with Death Valley Girls, Dengue Fever, and Minus the Bear.  Catch them if you can!

Keep your mind open.

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Shopping – The Official Body

Are you shopping for Valentine’s Day gifts?  Do you need something for your lover who hates everything played on commercial radio, or your husband who loves 80’s music, or your wife who enjoys funk and dance rock, or yourself?   Let me save you some time: Buy them The Official Body by Shopping.

Consisting of just three members (Rachel Aggs – guitar and vocals, Billy Easter – bass and vocals, Andrew Milk – drums and vocals), Shopping’s third full-length is the grooviest post-punk album I’ve heard all year.  The opener, “The Hype” (which you’d better believe with this band), begins with a Bow Wow Wow-like drum count before the three of them put down a groove that instantly gets you moving.  I love their vocals bounce off each other like they took lessons from the B-52’s.

“Wild Child” (a song about keeping up appearances) continues the dance grooves (and Easter’s killer bass work), but brings in some subtle synths into the mix.  The use of synths is frequent throughout the record and brings even more of a dance-punk feel to the album.  Aggs’ guitar on “Asking for a Friend” is bouncy and tight, which is difficult to pull off, but she seems to do it with ease.  “Suddenly Gone” is a sharp song about Aggs’ struggles of being black and queer in an industry dominated by straight white dudes.

Milk sings about losing one’s sense of self  on “Shave Your Head” while Aggs’ guitar chatters over his typewriter-like beats.  The synth bass on “Discover” is a bit jarring at first, but I love the darkness it brings to a song about being desperate for attention.  “Control Yourself,” despite its title, will get your toes tapping before you realize it (thanks in large part to Milk’s wicked beat).  I also love the chorus of “I know what I like, and I like what I know.”  It sums up the (closed) mindset of many these days.

Aggs’ guitar work on “My Dad’s a Dancer” is a bit Middle Eastern and her vocals about bigotry (i.e., “Would you like me if I looked like you?”) are sharp as a knife.  “New Values” begins with synth bass that reminds me of weird 1990’s 16-bit video games, but Easter’s vocals are solidly in the modern world.  “Overtime” seamlessly blends the synths and the traditional instruments as it builds in tempo toward an exhilarating finish to the record.

I’ve been on a post-punk kick all year, and The Official Body is a great kick-off to 2018 for me and the genre.  Don’t let it slip by you.

Keep your mind open.

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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.

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Top 30 albums of 2017: #’s 5 – 1

Happy New Year!  What were the best albums of last year?  Well, these topped the list for me.

#5 – Blanck Mass – World Eater

The somewhat startling cover is a warning for a powerful, teeth-baring electro record that somehow catches all the chaos this year displayed.  There was a lot of early buzz about this record upon its release, and for good reason.  It’s a stunning piece of synthwave, dark wave, and psychedelic fever dreams.

#4 – All Them Witches – Sleeping Through the War

This psychedelic blues-rock was pretty much a lock for my favorite rock record of the year as soon as I heard it.  ATW brew up haunting tracks that range in subjects from being stuck in purgatory to internet addiction (which are pretty much the same thing).

#3 – LCD Soundsystem – American Dream

Their reunion was possibly the most anticipated of the year, and they proved they hadn’t lost a thing on this great record.  Front man James Murphy‘s lyrics are as searing as ever as he confronts aging, love, social media, partying, and Millennials.  One of the singles, “Tonite” (one of my favorites of the year) is a great example.  It’s a song about songs, but it’s also about the fears and joys of aging.

#2 – WALL – Untitled

This is a bittersweet choice because one of the best post-punk records, and best records in any genre, of the year is by a band who broke up before it was released or even named.  WALL‘s only full-length record is shrouded in mysterious lyrics about the current political landscape and the band itself.  It’s also full of sharp guitar hooks and sass that is sorely missed.  Consider yourself blessed if you caught one of their too few live shows.

#1 – Kelly Lee Owens – self-titled

I read a review of this album that described it as “a breath of fresh air.”  I’m not sure I can beat that description because this stunning debut is the most beautiful record I heard all year.  Ms. Owens’ synth soundscapes immediately seem to lighten gravity around you.  It’s a tonic for the toxic atmosphere we’re living in right now (both in the real world and in the one that blitzes us from cyberspace every day).  If 2017 got you down, listen to this album today and you will have a much better outlook on the year to come.

Keep your mind open.

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Top 30 albums of 2017: #’s 10 – 6

It’s my top 10 of the year.  Who’s here?  Read on for the first five.

#10 – Sleaford Mods – English Tapas

Bold, brash, and at times brutal, this is a punk rock album disguised as a hip hop record.  The minimalist beats get under your skin and the scathing lyrics stick it to the Man, ourselves, and everyone in-between.

#9 – Gary Numan – Savage (Songs from a Broken World)

This industrial powerhouse of a record was a great return for Gary Numan and a fantastic concept album (about life in a post-apocalyptic world) to boot.  It has some great riffs and Numan’s synth work is top-notch.  He shows no signs of slowing or aging.

#8 – Soulwax – From Deewee

Recorded beginning to end in just one take, this amazing record combines three drummers with four other people playing vintage synthesizers, drum machines, and sequencers.  It’s an impressive piece of work and it produced one of my favorite singles of the year – “Missing Wires.”

#7 – Honey – New Moody Judy

I picked up this album after hearing just one song from it, “Dream Come Now (another one of my favorite songs of 2017),” and was astounded by the rest of the record.  It’s fierce and chock-full of garage-punk riffs that flatten nearly everything else I’ve heard this year.

#6 – Slowdive – self-titled

This is one of the most beautiful records of the year and marked a big return for not only Slowdive but also the entire shoegaze genre.  Everyone wondered how this record would sound once Slowdive announced their reunion, and it exceeded everyone’s expectation.  It’s easily the best shoegaze release of 2017.

Who makes the top five?  Tune in on New Year’s Day to find out!

Keep your mind open.

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Top 30 albums of 2017: #’s 20 – 16

It’s top twenty time!

#20 – Brother O’ Brother – Neon Native

I’m happy to include some “local” (as in from the same state as I) cats on my list of top albums of the year.  This is a blistering garage-blues record that further proves you don’t need a lot of fancy gadgets and studio trickery to make hard-hitting rock.  They’re one of my favorite discoveries of the year.

#19 – The New Pornographers – Whiteout Conditions

This album is one of the best reactions to the year in politics that was 2017.  Band leader Carl Newman has openly spoken about how the 2016 election and his battle with depression formed a lot of the songs on this record, but it’s not all doom and gloom.  There’s a lot of hope on this fine power pop album, and we all need a lot of that right now.

#18 – Thundercat – Drunk

I didn’t expect to pick up a jazz fusion record this year, but this one is certainly outstanding and was all over the place in 2017.  It made the top of many lists, too, and for good reason.  It’s an incredible concept album about the day in the life of a guy who parties too much and knows he’ll probably regret it later.  It’s the closest we’ll get to a Frank Zappa album any time soon.

#17 – Priests – Nothing Feels Natural

As I mentioned in an earlier post, I got on a big post-punk kick this year and albums like this are the reason why.  It’s a vicious takedown on corporate bigwigs, consumerism, and greed, and the music is sharp as a hatchet.

#16 – The Black Angels – Death Song

If you know me, then you’re not surprised that a Black Angels record made my top 30.  They’re one of my favorite bands, and this album is one of their hardest-hitting in a long while.  It, too, is a bit of a reaction to the 2016 election and the country we’re now living in and seeing on the nightly news, but the Black Angels also let us know that all things are transient and this, too, will pass.

We’re halfway to home!  Who makes the cut?  Come back soon to find out.

Keep your mind open.

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Priests – Nothing Feels Natural

This album almost slipped by me in this crazy year of alternate facts and a lot of yelling. I’m glad I saw a recent article about it that reminded me to buy Priests‘ Nothing Feels Natural, because it’s a sharp post-punk record and one of the records 2017 needed most.

The album begins with drummer Daniele Daniele‘s urgent beats before lead singer Katie Alice Greer comes in with her vocal style that immediately grabs you by the throat.  Soon, guitarist G.L. Jaguar and bassist Taylor Mulitz are slapping you around and Greer is singing, “It feels good to buy what you can’t afford.”  She’s put her finger in the eye of American consumer culture in under two minutes.  On “JJ,” Jaguar unleashes some clever surf rock hooks and Greer’s vocals go from menacing to playful while the lyrics keep twisting a knife into the culture of artifice we’ve created.

“Nicki” has some goth touches (mostly in Jaguar’s guitar and Mulitz’s bass) that catch you off guard before it flattens you with hard shoegaze riffs.  “Yes, it’s true, I want more,” Greer sings.  She’s just as easily seduced by consumerism and always projecting a perfect image as the rest of us, but the power behind her vocals lets us know she’s fighting temptation.  “Lelia 20” offers us some of that strength as Greer sings, “Things could be much worse.”  Never forget that (and you won’t forget Daniele’s great drumming throughout the whole track).

“No Big Bang,” with vocals by Daniele, is about disappointment and shattered illusions.  “Your mind keeps running along the same narrow track of logic for what feels like forever…” is just one of the insightful lyrics in this near-spoken word piece.  The title track has some of Greer’s best vocals and saddest lyrics.  “Perhaps I will change into something,” she begins as the rest of the band puts down great riffs and beats behind her.  Jaguar’s guitar soars on this cut, taking it to another level.

“Pink White House” is the first song I ever heard by Priests.  It’s fiery, vicious, and yet completely danceable as Greer keeps chanting about “Anything you want.  Anything, anything!”  It’s a wake-up call to walk away from the temptations of a new SUV, mindless sitcoms, dwelling in nostalgia, and thinking money will solve everything.  “Kneel at the feet of programming…You are just a cog in a machine,” she warns.

“Puff” has Greer saying she wants to start a band called Burger King (Who used to have the slogan “Have it your way.”) and use it to make others’ dreams come true.  It is, of course, a slap in the face of people who look to the media to solve their problems and make up their minds.  I love that the album ends with a song called “Suck.”  It’s slick as oil (Daniele, Jaguar, and Mulitz fire on all cylinders throughout it) and has Greer singing, “Please don’t make me be someone with no sympathy.”  She wants to care, but sometimes people make it so damn hard.

2017 was like that.  It was hard to care, but Priests know we must.  We are all each other have.  Nothing Feels Natural, both in title and content, is a glass of cold water in our collective faces.  Wake up.  Snap out of it.  Preach on, Priests.

Keep your mind open.

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Shopping announces 2018 North American tour dates.

SHOPPING ANNOUNCE 2018 NORTH AMERICAN TOUR
IN SUPPORT OF THE OFFICIAL BODY

NEW ALBUM OUT JANUARY 19 ON FATCAT RECORDS

(photo credit: Matthew Williams)

“The Hype” is Shopping at its best: barbed invective set to a prickly, dancefloor-ready groove.” — Pitchfork

“one of Shopping’s loosest, funkiest songs to date. . . ‘The Hype’ is a great sign of things to come.” — NPR Music
Next month, Shopping are set to release their third full-length album, The Official Body, on January 19th via FatCat Records. The album sees Shopping — comprised of Rachel Aggs (guitar, vocals), Billy Easter (bass, vocals) and Andrew Milk (drums, vocals) — retaining their minimal dance-punk ethos while “amping up the party vibe.” Now they’ve announced they’ll bring the dance party on the road! In March, Shopping will head stateside for a North American tour taking them all across the US and Canada, including stops at both Savannah Stopoverand SXSW. The tour kicks off Thu. March 1st in Boston before heading down the east coast, across the southern states to the west coast, and back to the midwest. A full list of dates are below, with tickets on-sale now.

Watch Shopping’s “The Hype” Video – 
http://www.youtube.com/watch?v=JnAm6AphanY

Shopping Tour Dates:
Thu. March 1 — Boston, MA @ Great Scott *
Fri. March 2 — Providence, RI @ Columbus Theatre *
Sat. March 3 — Brooklyn, NY @ Market Hotel *
Sun. March 4 — Philadelphia, PA @ Johnny Brenda’s *
Tue. March 6 — Washington, DC @ Union Stage *
Wed. March 7 — Asheville, NC @ Mothlight *
Thu. March 8 — Savannah, GA @ Savannah Stopover *
Fri. March 9 — Atlanta, GA @ 529 *
Sat. March 10 — New Orleans, LA @ Gasa Gasa *
Sun. March 11 — Houston, TX @ Walter’s *
Tue. March 13 – Thu. March 15 — Austin, TX @ SXSW
Fri. March 16 — El Paso, TX @ Lowbrow Palace *
Sat. March 17 — Phoenix, AZ @ Rebel Lounge *
Sun. March 18  — San Diego, CA @ Whistle Stop *
Tue. March 20 — Santa Ana, CA @ Constellation Room *
Wed. March 21 — Los Angeles, CA @ Resident * #
Thu. March 22 — San Francisco, CA @ Rickshaw Stop #
Fri. March 23 — Portland, OR @ Bunk Bar #
Sat. March 24 — Seattle, WA @ Vera Project #
Tue. March 27 — Minneapolis, MN @ 7th Street Entry
Wed. March 28 — Chicago, IL @ Beat Kitchen
Thu. March 29 — Detroit, MI @ Delux Fluxx
Fri. March 30 — Toronto, ON @ Baby G
Sat. March 31 — Montreal, QC @ Bar Le Ritz

* = w/ French Vanilla
# = w/ Lithics

Pre-order The Official Body:
via Bandcamp – http://bit.ly/2kZQL6Z
via iTunes – http://apple.co/2iBSknm
via FatCat Shop – http://bit.ly/2C3DGO8