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Parquet Courts

Parquet Courts
‘Light Up Gold’
(Dull Tools)

The words Parquet Courts may not mean much to most just yet, but punk and indie listeners on both sides of the Atlantic are going to get a fine taste of pure American post-teen rock rowdiness coming their way soon.

This New York four piece throw out pumped-up attitude with the passion and devotion for great, original rock music before coating it with the texture and flavour of a steak done rare. The band previously released a 4-track EP which was exclusively available on cassette and have followed that with a stunning fifteen track LP titled ‘Light Up Gold’ that pays homage to the likes of the 80’s US post punk scene and has the drive of the very best indie out there.

Vocalist Andrew Savage leads the pack with gritty, iconic vocals on opener ‘Master of My Craft’. His lazy style emanates the East Coast’s post-punk scene beautifully and he also delivers some pretty tasty lyrics too.

Parquet Court’s personality shines with every snare that drummer Max Savage makes. Don’t assume the brothers are doing all the hard work though, the marvelous rhythm, lively guitar and driving bass fuse together to move with soul in ‘Tears O Plenty’. What really works on this full length though are the jagged chords that are filtered with a vintage fashion in ‘Borrowed Time’, ‘Yr No Stoner’ and the absolutely must have: ‘Stoned And Starving’. This record has a wide variety of tunes that include the moody ‘N Dakota’ and gratifying melodies in tracks such as ‘Disney P.T’ plus title track ‘Light Up Gold’.

This album is one of the most exciting finds of the year so far. Look out for them this week as they cruise through London to play three debut shows. If their live sets are as spiky as on tape, then you will be in for a treat.

Jenny Chu

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UK Subs

UK SUBS
XXIV
Captain Oi!

Brothers and Sisters, the time to decide whether you dig the UK Subs is I believe long passed. You will definitely know by now if you do.

Inching ever closer to a fully continuous A to Z of album titles, “XXIV” is their 24th long player, and although that does include a few live releases, a majority are studio recordings, dating all the way back to ‘79’s “Another Kind of Blues”. That’s a pretty phenomenal legacy, and in Charlie Harper they are fronted by one of Punks endearing legends, a guy who has resolutely kept this band going for over 30 years.

I was a bit disappointed by the last album “Work in Progress” but approached “XXIV” with fresh ears, and guess what – it’s mostly a real ripper, chock full of some of the best Subs material since the two mid-Nineties albums “Quintessentials” and “Riot” that saw the classic Harper/Garret/Gibbs line-up regrouped to great effect. Opener “Implosion 77” launches “XXIV” in blistering fashion, Charlie hollering megaphone style to a thumping beat and striking power chords. I was surprised they threw in the harp driven “Coalition Blues” so early on, but it does in fact work, and nails some bang-on topical lyrics about the public school government, and all those “ministers who can’t administer”. From here on in it’s a steady mix of fast thrashers and mid-paced hoary punk rockers, and good old Charlie sounding in fine fettle.

The ‘expanded’ version of this album is boosted by an acoustic collection of songs, so kick back as Charlie and Alvin Gibbs split vocal duties, and these seasoned old rockers show a they can be sensitive boys when they want to. I’ve played these acoustic tracks a number of times, and there are some real nice tunes. “Thunders in The Wind” has Alvin pondering on the opiate felled Johnny Thunders, and warning of too much junkie business, whilst “Stormy Day” is a snappy shanty those of us down on the coast will very much understand.

A solid album from the UK Subs, and for longtime fans a definite cause for celebration.

Pete Craven

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Such Gold

Such Gold
‘MISADVENTURES’
Razor & Tie Records
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Such GoldAmerican pop-punk is kicking off in the UK – is it just because they’re American? Hell no. It’s because pop-punk is awesome.

After having a few setbacks in 2012 Such Gold have retained their strength and are back with their debut studio album, Misadventures that oozes impeccable pop-punk. If you have been with Such Gold from the start and you have enjoyed their previous EP’s, you’re truly in for a treat.

The album kicks off with the aggressive, yet upbeat ‘Two Year Plan’, which is pretty much the album condensed into two minutes and eighteen seconds of pure pop-punk brilliance. To be honest, most the songs merge into each other. They’re not particularly bad, just generic pop-punk tunes. However, there are a couple of songs which are more distinctive than the others. ‘Storyteller’ is a lot heavier than the rest and offers a chance for the listener to really appreciate the devotion that these guys have put in.

The lyrics portray a veil of youthful emotion. When vocalist Ben Kotin sings …and I wish that I could say the days alleviate / this artificial pain I never thought that I’d be feeling at this age”, his words strike a familiar chord; this is music you would listen to while trashing your ex’s house.

Kotin’s vocals blend perfectly with the pounding drums and contagious guitars to create a relentless wave of emotional angst and passion throughout. Everything that comes out of his mouth just seems like he is in a hurry to tell you, and that you must know whatever he is saying instantly.

Misadventures has everything that you would expect from a pop-punk record: catchy riffs, great beats and a singer screaming into your ear drums. Oh, and what is a pop-punk song without the whole band shouting in the background? Although most of the songs just get a nod of approval, there are some goldmines – pun not intended. It’s a good album, not spectacular, but worthy of your time none the less.

Words: Emily Gunn

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Deathfix

Deathfix (S/T)
Dischord Records
Deathfix.com

If there’s one thing that will instantly grab our attention when hearing about a new band it’s the words ‘featuring ex-Fugazi member…’ Such was the incredible influence and power of their music, ideas and attitude that anything the members of Fugazi have created since their hiatus is always met with excitement and interest.

Deathfix feature Fugazi drummer Brendan Canty who, as part of Fugazi created some of the greatest, body-jarring rhythms ever produced out of pots, pans and drums. Deathfix formed after Brendan met producer Rich Morel when they were touring as part of Bob Mould’s backing band. After the live work was done, the pair started to work in Canty’s home studio, fleshing out basic song ideas and instrumentals before enlisting bassist Mark Cisneros and drummer Devin Ocanpo to fully form the songs and take them to the stage.

The end result is one of the best new album’s to come out of the once vital Washington D.C. music scene. Wonderfully melodic and beautifully produced, songs like ‘Low Dying Dreams’ and ‘Mind Control’ ebb and flow with pure pop melody but there’s a swaggering cool to the band’s sound that recalls fellow DC post-punks Girls Against Boys. Midway through the album, ‘Dali’s House’ is another real stand-out, featuring a repetitive guitar-lick that burrows its way under your skin and refuses to budge.

Deathfix have succeeded in crafting an album of songs the are tuneful without being clichéd, backed up by a challenging array of rhythms, moods and motions. Superb.

James Sherry

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Pissed Jeans

‘Honeys’
Sub Pop
ALBUM OF THE MONTH

pissedjeans_honeysalbumThere’s a reason why Black Flag are so heralded and respected so long after they existed by younger generations. It’s not just the fact that they had a cool logo, it was also their inspiring drive and energy that, against all odds, saw them power their utterly uncompromising and original noise at a time when long hair, tattoos and punk rock was not a career option. They sounded the way they did because that’s how they felt and how they wanted to express their feelings. Pissed Jeans are no Black Flag tribute band, but there’s something about their ridiculously heavy punk rock noise and venomous approach that makes you feel if Black Flag had existed in this frustrating, jittering modern world, this is what they’d sound like.

Four albums in, Pennsylvanian quartet Pissed Jeans have mellowed NONE. ‘Honeys’ is a raging barrage of noise that goes nose-to-nose with all of the essential BLACKS (Big/Sabbath/Flag) with a stomping Jesus Lizard strut and a boot boy Negative Approach stomp. This is nasty music with a production so viciously heavy It’ll bite your fucking nose off, send warm jets of piss running down your thighs and render pretty much all of what passes for punk rock these days obsolete.

So, for young and old gazing into the past with rose-tinted glasses wishing there was bands as intense and FOR REAL as Black Flag still playing, fuck the nostalgia, there is and they’re called Pissed Jeans. Now hear them roar.

Download the amazing riff heavy ‘Cathouse’ track for free here.

James Sherry

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Pure Love

PURE LOVE
‘ANTHEMS’
(Vertigo/Mercury)

purelove_albumcoverListen without prejudice, as George Michael once said. After all, it’s tempting to view this record through a prism of ‘What Frank And Jim Did Next’, given their pedigree in Gallows and The Hope Conspiracy, and given Frank’s assertion that he’s “so sick of singing about hate” on first single ‘Bury My Bones’. That track is included here, and although it’s a decent tune with a great riff, there are more rewarding treasures to be found on ‘Anthems’.

Frank is blessed with a kind of cold croon that, when paired with Jim’s chiming, often Johnny Marr-esque guitars, creates a sound that will lodge in your consciousness whether you like it or not. The soaring choruses of ‘Handsome Devil’s Club’, ‘Riot Song’ and ‘The Hits’ will sound absolutely epic live, and they even manage to pull off a decent ballad in ‘Heavy Kind Of Chains’.

That’s not to say that all the duo’s rough edges have been smoothed over, though. Opening track ‘She’ rides in on a spiky riff reminiscent of early Manic Street Preachers, whilst ‘Scared To Death’ sees Frank howling away like in the days of old. “All’s fair in love and war/And I’m a soldier in both” he asserts, over a barrage of jagged power chords from Jim, to exhilarating effect.

Ultimately, ‘Anthems’ is an album brimming with addictive, unadulterated rock n’ roll songs and no little confidence. Only time will tell if that’s enough to gain Pure Love the same kind of rabidly devoted fanbase that the duo’s previous bands enjoy, but there’s definitely enough quality here to merit them being taken seriously as a band in their own right.

Alex Gosman

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Bad Religion

Bad Religion
‘True North’
(Epitaph)

I think pretty much every superlative to describe the uber-lengthy career of Bad Religion has by now been well exhausted. So, let’s cut to the chase; having dusted themselves down in the mid-Eighties, following a brief loss of direction (read; ‘Into The Unknown’) these guys have been going hard at it ever since, and gaining a rabid global following along the way. ‘True North’ is their 16th studio album, and a landmark in stubbornness and perseverance, if nothing else.

Recorded in summer 2012, the assembled 16 tracks pretty much tick every Bad Religion box, with intelligent satirical vocals played out to a 2 minute burst of concise guitar filled melodic exuberance, and layered with their by-now infamous backing vocals – “In Their Hearts is Right” particularly indicates opportunities in Barbershop, if all else fails.

Yes indeed, there is energy aplenty in these songs, and the impassioned social message they shout about is one I relate to; a world of money hungry bankers and corporations, lying politicians, and a bitter realization that humankind is slowly but surely destroying the planet that sustains us. I had “Land of Endless Greed” running thru my head earlier, listening to the latest developments on Goldman Sachs, and their attempts to take advantage of a fall in the top rate of income tax, and stuff their pockets with further millions in bonuses. Incidentally, the song smokes.

Funnily enough, one of the standout tracks for me, “Dharma and The Bomb”, is the least stereotypical Bad Religion sounding song on the album, a sun drenched, good time garage rock ‘n roller, that I could have done with at least another 60 seconds of. And those with a sharp ear will note references to The Adolescents, Germs, and Sham 69. I’ve had this album now for a few days, have spun it regularly, and can declare it a top notch Bad Religion album, a band that still do it for me, talk my language, sing my song.

Pete Craven

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P.O.S

P.O.S.
We Don’t Even Live Here
(Rhymesayers Entertainment)

www.doomtree.net

pos_we_dont_even_live_hereIt had been a little while since the last album from Minnesota’s P.O.S but, like all the best artists, the wait was well worth it. His new album, ‘We Don’t Even Live Here’, is the natural progression from its predecessor, ‘Never Better’, seeing the rapper embrace the electronic side of music that he loves whilst maintaining his punk rock ethics, melding them into another powerful statement against authority.

From the opening track Bumper, where fuzzed distortion and thunderous drums smash through the speakers, Stefon Alexander lays down his values – “They on some nonsense, we on some non-stop”. He loves his family, his crew and his friends, he hates being told what he should do and how he should live within walls and his lyrics get right to the root of the problem. His greatest triumph on this record however is that he delivers his ideas without becoming a preacher, it’s not tired and it doesn’t feel like you’ve heard it all before.

There is plenty for hip hop heads to get involved with too, ‘Fuck Your Stuff’ reps his crew brilliantly on a ridiculously big beat, ‘Wanted/Wasted”s beat has a classic Doomtree sound and the stripped-down ‘Lockpicks, Knives, Bricks and Bats’ could easily find itself on earlier P.O.S. albums, sonically speaking. The variety never stunts to flow of the record either, the Bon Iver assisted ‘How We Land‘ is the standout track and ‘Get Down’ three-quarters of the way through the album is as big a dance track as you’ll hear all year.

We love P.O.S., always have, always will and when he drops albums like this, it’s hard to see that ever stopping. The chorus line from Get Down sums it up perfectly:

“No-one gives a fuck about shit, so fuck your shit, we fuck shit up cos shit’s fucked anyway, shit is run into the ground (I know right?), I don’t wanna think about it, I just wanna get down”

So what are you waiting for? Get down then!

Abjekt

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100s – Ice Cold Perm

100s
Ice Cold Perm

(Free Download)

I love rap that talks about being a gangster, I love backpacker rap that talks about life and social consciousness, but sometimes, just sometimes, I get a need to listen to filth. Back in the day there was Too $hort delivering unutterable smut but what about the new generation? Well, thankfully it looks like there’s a new kid on the block that’s going to take that crown, get it drunk, lay down with it and do something most definitely X-rated to it.

100s is a 19 year old from Cali and has a mouth on him that would make even the most hardened pimps blush. His mixtape, Ice Cold Perm, is one of the best albums of the year without a doubt, showcasing both his lyrical talent and his ability to flow elegantly over the beat. The content is mostly about bedding ladies, but at no point does it get one-dimensional.

Whether he’s talking about Romeo and Juliet getting down or the difference between his old hood-dwelling flames and his new mink-coat wearing, expensive carpet having conquests, 100s is a rapper you’ll immediately be down with. He has character, swagger and let’s not forget that hairstyle of his. The record is free to download and you can get a sample in the video below – It’s not politically correct, you have been warned, but it is brilliant. Get involved.

Abjekt

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Tilly and the Wall

TILLY AND THE WALL
‘Heavy Mood’
(Team Love)

When you’ve documented the joys and pains of youth as much as Tilly And The Wall did on their first two (fabulous) records, how best to grow up? Three of the Omaha quintet are now parents, and with evenings of drunken hi-jinks (as recounted on early classic ‘Nights Of The Living Dead’) surely growing distant in their rear view mirrors, you’d be forgiven for fearing that the feisty Tilly spark has dimmed over the last few years.

Not a bit of it. Having started to shy away from their swoonsome folk-pop sound on their previous self-titled record, they’re getting feistier and noisier with age. The title track is the closest they’ve come so far to an out-and-out dance number, whilst ‘All Kinds Of Guns’ (replete with girl-group melody) and ‘Thicker Than Thieves’ (typical Tilly riotousness) are among several fine additions to their bulging armory of ‘us against the world’ anthems.

It’s when they finally slow things down that the band run into trouble; ‘I Believe In You’ and ‘Hey Rainbow’ just drift languidly by without making much of an impression, in contrast to genuinely affecting past efforts like ‘Let It Rain’.

A chorus of kids accompanies the closing ‘Defenders’ – an appropriate finale, as on the evidence of ‘Heavy Mood’, Tilly And The Wall are still very much in touch with their collective inner child.

Alex Gosman