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Kim Phuc finally records a full-length

1 Dec

Obviously this is really damn important if I logged in after nearly four months to mention it. My favorite Pittsburgh punks (best riffs, best lyrics, best energy at a show) just put this out:

Copsucker LP on Bandcamp

The new recording of “Prostitute” sounds much more formidable (it’s the only song other than “Black Triangle” and “Wormwood Star” that I’d heard before). Get down with these jams.


Screaming Females’ Castle Talk

26 Aug

Screaming Females
Thursday, Aug. 26th
Replay Lounge, 21+

Screaming Females will be returning to Lawrence exactly three months later from their show earlier this spring at the Replay in order to promote their upcoming album, Castle Talk, which marks their fourth full-length release to date. The show in May was pretty fantastic, not only because it made me realize how much I overlooked King Mike’s bass parts when it comes to their sound, which Marissa Paternoster ensures to pack a heavy punch, but also because watching Paternoster play & sing live is enough to bring tears to my eyes. The integrity of Screaming Females’ live sound remains such that it’s almost as if the tracks are playing over the PA, but with more ferocity and bite. And you gotta love a band that plays a killer encore for a crowd of some twenty people.

Castle Talk, which blasts outta Don Giovanni’s rock womb on Sept. 14th, is currently available for pre-order on Insound, and if you get it now, you can nab a free Screamales poster as well. All pre-orders also come with an MP3 download of the album so that you can listen to it as soon as you make your purchase. Highly recommended.

Order Castle Talk for a measly $9.99

Track by Track Review

1. Laura and Marty

A pretty menacing intro rolls into a brisk bassline and steady beat as Paternoster’s calculated notes throw down the pavement for her mighty vocal range to run upon. Besides displaying the wonderful quality of the recorded vocals (crystal clear with a healthy touch of reverb), the track also reminds listeners of the band’s great songwriting control–capable of keeping it subdued but interesting, and knowing when to let go and burn hard, which they demonstrate after the second verse by finally bringing in the chorus, and then letting their instruments ring loud and free. After this, Paternoster launches into a twenty five second guitar solo, which I’m not really sure is necessary, but then again, when is a guitar solo ever necessary? The woman squeezes three times as many arpeggios in that interim than anyone else in her age bracket, that’s for damn sure, almost to the point of distraction by nature of being so badass.

2. I Don’t Mind It

The first single off the new album not only tones it down a notch but also adds a proper serving of pop next to Paternoster’s tasty distortion and expressive couplets. The rhythm of King Mike’s bassline holds this track’s head up high and proud, even when the Paternoster busts out a terse guitar solo for the outro. Once again, the front woman’s skillful timing works to the benefit of the overall musical composition–by knowing when to hold notes out and when to let them flood, she works out a balanced chemistry between herself and the rhythm section. On the other hand, the snare barely ekes out over the rest of the crew and at times the drums almost sound like they are just there to keep time.

3. Boss

In this track, the band takes a sensitive approach to feeling subordinated, coming into the song with a slow-release–drums setting the tempo for a somber bass, which is then layered with a wailing guitar that then goes into Paternoster’s signature guitar sound. However, when the vocals drop in, the distortion drops out in order to match the austerity of the rest of the song. In the second verse, there’s no guitar and instead the listener is left bobbing their head to the tambourine played in conjunction with the drum parts. In contrast with the beginning of the song, the end fades out a combination of all the instruments and a hook-worthy guitar riff.

4. Normal

It seems that swift fingers and strong lungs aren’t enough for the front-woman, because her rhymes are darkly dexterous as well. The chorus contains sarcasm so thick that it peels away as Paternoster sings, “I wouldn’t be surprised if no one wants to waste their time with me/I’m joyfully employed and normal.” The switches between effects also make for shuddering transitions within the guitar arrangement. I especially love the tail of oscillating bass note that Paternoster latches onto the very end of the chorus. The stark musical contrast between the chorus and the bridge creates an atmosphere of withheld rage that then builds up and brims over before the song ends. The brevity and beat make this one of the catchiest tracks off the record.

5. A New Kid

Hands-down my favorite song–all I could think was, “Fuck,” when I first listened to it. With its merciless hooks and engaging composition, it tells the story of a newcomer who has overstayed his welcome. Paternoster reaches record-high levels of creepy with her lyrics–“If I invite you over can you look me in the eye?/Because your head is a cavern and I want to crawl inside/I put some speakers in your ears and I stuff up where you sleep/You’ve got a whole lot of nerve to think that you can fool me” and “Let me travel up your brains, hang my image in your skull/So I can be the gizzard(?) in your nightmares from now on”–while hazy guitars and lolling bass torridly circle one another before switching from a stagnant mood into a frenzied chorus. The guitar solo after the second verse is especially driven and forceful, blending in nicely with the subsequent riff.

6. Fall Asleep

Not to be outdone by the previous track, this song’s appeal profits from a cruising bass and a diverse guitar sound that switches between psychedelic and grunge. Not forgetting to throw in a helpful dose of skillful guitar picking during the chorus, Paternoster keeps it slamming in the last minute with another lively solo before throwing down notes befitting of a metal musician. I can’t get over this bassline though, which makes the heavy tones surprisingly danceable.

7. Wild

If there’s one anthem off of Castle Talk, it would be this track. A sensitive bassline matches an emotional, yet not delicate, guitar part and vocal melody. The build before the chorus makes for a great transition, and the bridge heightens the intensity of passion before flowing from chorus into a third verse that utilizes an alternate guitar melody, which is quite nice as well. I didn’t initially like this song as much as some others, but I found that it possesses a lot of replay value and gets stuck in my head a lot.

8. Nothing At All

I thoroughly enjoy the guitar riff that occupies the intro and chorus in this track, and it stands out from the sneakily unadorned verse. The drums sound pretty sweet too, with some cool tom action going on throughout the song. It’s nearly epic when Paternoster sings that she “want[s] to be your late night crisis lion” and the instrumental part that comes in toward the end of the song channels some serious late 60s rock n roll vibes.

9. Sheep

Got to appreciate a song that criticizes casual, unconcerned promiscuity–“You count sheep with anyone/Yeah anyone would do”–quite bluntly. I’m kind of interested by that weird “zipping” guitar noise that occurs in the intro and unsurprisingly excited by the sweet bassline near the last refrain of the chorus and generally by the different measure of rhythms King Mike uses throughout the song.

10. Deluxe

A solitary acoustic track with lots of reverb trails at the end of the album. I can’t figure out if this is a cover or not, but it sounds nice either way. It’s odd hearing Paternoster sing in a tone that’s much closer to her speaking voice.

11. Ghost Solo

Thundering, reverberating drums start out this song, which is a nice change of pace from all of the other guitar heavy intros that dominate most of the band’s songs. I love the guitar melody in the short bridge; the listener is also gifted with a psychedelic guitar solo afterward. Once again, Paternoster gratifies with her diverse guitarwork. The only thing that dismays me is that the album has now come to an end…hah.

photos © 2010 Mahsa Borhani, all rights reserved

Bombay Bicycle Club’s Acoustic Album

19 Aug

Wow, so, what a wet dream. I’ve always really loved Bombay Bicycle Club (it’s a tear-jerking moment when early demos that kicked major ass turn into well-produced EPs and then a full fledged album) and after Evening/Morning came out, “You Already Know” was a favorite of mine (I posted it later on in my anniversary mix). Despite my heavy sonic leanings, I’m as much of a sucker for acoustic songs as the next person. I just saw this was out today (I know, I’m terrible with new releases), and didn’t hesitate in getting it–there is never a dry patch or stark moment in the acoustic efforts of the band. I suppose it’s also a pretty risky move to have your second full length record be completely acoustic, and I praise the band for believing in their strengths enough in order to make such a decision. I knew I’d fall in love. I know you will too. Leonard Cohen made the Rock and Roll Hall of Fame for a reason, so any querulous BBC fans that are critics of this release should put a damn sock in it.

I’m not lying when I say the acoustic treatment of “Dust on the Ground” might rival the original song (I’d like a little more bass via drum though). I also relish what seems to be the Spanish guitar styling of “My God.” And of course, “Ivy & Gold” is quite an irresistibly dapper tune. “Swansea”, the Joanna Newsom cover, is pretty good as well, though not one of my favorites. Utter beauty is my initial response to the title track. I’m throwing out too many superlatives right now, I know–deal with it. Fantasy collaboration? Bombay Bicycle Club with The Dodos. YES. Yes, yes.

Buy the album through Amazon
or buy it through iTunes

Toro y Moi

2 Aug

photo by Dustin Shey for

Toro y Moi will be coming to Kansas City twelve days from now, so if you missed Chaz Bundick play with Caribou in Lawrence earlier in June, you can check him out at the Czar Bar. Bundick released his album, Causers of This in January. Though Bundick has been linked with Washed Out (stage name of Ernest Greene)–which is why I decided to check him out–I was delighted to hear more bits of 90s r&b, pop, and funk mixed into his arrangements.

“Fax Shadow” starts a beat by looping a texture that sounds like a softly skipping record. The gentle skewing pitch in conjunction with a muffled bass, looped vocals and his own vocals–running with reverb–allow the listener to float through a soundscape laced with mystery. “Talamak”, on the other hand puts you into a groove as soon as it begins; a rolling scale peaks into an intermittent beeping synth beat that keeps the vocals company throughout the song. The overlapping effect 2/3’s of the way into the song changes it up before Bundick goes back into his chorus and then ends the song.

On his most recent release (7″ Leave Everywhere/First Date), however, Bundick launches into garage pop stylings, complete with glockenspiel. I’m not gonna lie, I’m a sucker for this sound, but I think that if Bundick makes friends with the rock monster, his talented production would be more interesting to observe in a post-punk or darkwave setting.

Also, what would you give to see a Zola Jesus // Toro y Moi collaboration? I think that would be pretty damn exciting. Speaking of which, here is “Sea Talk” from Niki Danilova’s latest work; the Stridulum EP is available at the label’s website here: Sacred Bones Records

Anyhow, Nomathmatics, Shaun Duval & MODE will be wrapping up the night after Toro y Moi’s set if you wanna dance dance dance.

Toro Y Moi
August 14th
Czar Bar
9 PM, 21+, $5

Midwest Beat New Record

29 Jul

Server space is back up and The Midwest Beat have put out a new LP entitled At The Gates which you can purchase here:

Dusty Medical Records

ALSO I will not be posting music until I get DNS issues figured out with my FTP because supposedly the links work for everyone yet I cannot connect to the FTP. I’ll try and post the Barbara album review by sunday so people on the fence can figure out if they want to go to the show coming up. Otherwise I am going to lay low. Keep checking flickr for gig photos.

More and More Mas Y Mas

13 Jul

I just spent overtime on the shitter writing a mas y mas post when I realized that I’m on a new computer and didn’t allow most of the wordpress scripts to run, therefore when I used the search function on gigawave to see where my post about “The White Visitation” was in order to reference it, and opened up a new WP script, my post refreshed and I realized the draft hadn’t saved.

All my shit went to waste. Badum-ching!

Now that whining is over, MAS Y MAS are releasing a full length LP sometime in the late fall, entitled Sally Jessy Raphael. Why do I care about this? Because Mas y Mas still make music better than most of the bands that have started releasing der scheisse in the past four years. I used to style my curls to some older Mas Y Mas that you could stream off the Rock So Tough website. If I had owned those albums, I could be listening to them now, and then maybe I’d remember the song titles. It’s not like one can just google “mas y mas discography” to reconnect with her long lost curl jamming tunes.

Therefore I implore you to check out the You Name It LP (don’t you find that [sic] after “2 TUFF” a little endearing?) and if you’re feeling a touch adventurous, maybe you’ll find a way to get yourself the split 12″ Mas Y Mas have done with New Rock Church of Fire.

In the meantime, you can listen to the newest song Mas y Mas have posted on their myspak–“I Hope It Hurts.” Reminiscent of the quick strumming of “The White Visitation,” the words “virgins” and “teenage virgins” are thrown in there a couple times. I don’t think it is about that. Maybe Vinnie is singing, “versions”? But then he says that “there’s a hardness to the process” and that he “hope it hurts.” Something about girls and that he can’t bone them–sorry boutya. Good song regardless, go listen to it.

If you’re a member of the tweeting demographic, you can follow them on twitter. They don’t even have fifty followers yet. I don’t know if that is pathetic or an internet crime–you’re guilty until you’ve followed Mas Y Mas twitter, sort of thing.

first myspak regret

19 Jun

So yesterday Thinking Machines posted a bulletin about a contest where you could get a free download card for their new album:

Thinking Machines’ Work Tapes

You can also stream the album at:
It’s at times like these that I wish I had a set of external speakers. Lamentation, proceed.