Gummopunx Records out of Amsterdam released Sado-Nation’s “lost” 1981 LP (plus three tracks from a 1982/3 demo cassette) Disruptive Pattern on vinyl for the first time last summer. The 9-track LP was recorded one year after their self-titled 7” when Leesa Anderson was still in the band. By 1983, Mish Bondage had taken over vocal duties, notably belting several tracks on their better-known LP We’re Not Equal. (Disruptive Pattern actually features “Cut Off the Cord” and “Industrial Revolution,” both of which subsequently appeared on We’re Not Equal.) That LP is pretty great in its own right, but the raw vibe of Disruptive Pattern hits harder. Most songs on here don’t clear the two-minute mark, the band sprinting through some nasty, catchy punk and collapsing at the finish. Worth buying alone for “Phobias” (above) and the barnburner “Death Camp,” the latter turning “We’re going to die/we’ll die together!” into a manic anthem. Nice unearthing by Gummopunx. A fine compliment to your Wipers records, the Public Execution discography LP, and the X-Spurts LP that just came out on Ugly Pop.
I’m unable to find any US retailers for the LP - there were probably some carrying it closer to when it came out - but hopefully someone brings it back in soon. In the meantime, stream the whole thing here.
"I don’t want to be a critic and I find that putting question marks at the end of critical statements helps prevent that." - Mr. Urbankill (2014)
- ABANDOS playing NYC tonight 10/16/14 at soon to be artisanally exiled Death By Audio, which could be of interest to those in proximity (to Death By Audio that is). Like Ausmuteants if they were more believably sinister and from Camden, NJ…With FOSTER CARE and RAT FIST!
- Try this link: https://soundcloud.com/the-abandos
- …reblogged from urbankill…
The Abandos - Missing Chromosome
Ex-FNU Ronnies. From a recent self-released, self-titled 7”. Much improved from the Bruised Tongue release, which sounded…maybe a lil generic? I don’t want to be a critic and I find that putting question marks at the end of critical statements helps prevent that. This man has some positive critical input on the record, so maybe try him out.
The new record is not on Bandcamp, though, so I have no idea how to get you onto the record’s path.
It’s been almost three weeks since Letha Rodman Melchior succumbed to cancer, a battle she seemed to face without a shred of self-pity, faithfully documented on her blog with a sort of wry humor that really made the whole loss even tougher to swallow. There is one more document forthcoming from Letha, an album titled Shimmering Ghost that will be released this December on Siltbreeze. “Edymion / MWCIE” is the first track on the LP, picking up where last year’s beautiful Handbook for Mortals left off: theremin mingling with scattered samples and Mary Lattimore’s haunting harp, scraps of current events broadcast through a thin wall to someone in isolation. It’s hard not to read too much into it all given the gravitas of Letha’s passing, but the promise of “Edymion / MWCIE” indicates that Shimmering Ghost will be able to transcend any pigeonholing provided by terms like “posthumous” and “final.” This is one we would’ve liked to celebrate with her. Rest in peace, Letha.
A previously scheduled benefit show for Letha Rodman Melchior will go on as planned on November 9 in NYC with Versus, Thalia Zedek, Rogers Sisters and Antietam. Proceeds will go to surviving family members. Please consider going if you’re in the area.
richard neutra… us embassy, karachi, pakistan (rondal partridge)
Exhaustion’s Biker comes out October 31 via the tastemakers at Aarght (no more exclamation point) Records. Hotly anticipated in these parts, as last year’s Future Eaters is still in heavy rotation. That drum beat at the beginning of “Lonely Cars” stays strong amidst the tremolo guitar and feedback, buncha leather jackets walking tall down the street while the rest of the block hides behind barred windows and triple-locked doors. As good as it ever was. Look to Easter Bilby stateside later in the month to get your payoff.
Absolute monster of a track from Denton, TX’s Video, something only hinted at on this year’s Total Punk 7”. That’s a pretty great single in its own right, but this track simply mows down everything in its path. TV’s Daniel is fully in command, beckoning the masses away from neutered garage and punk and into a future where Video’s message is law. Sheer confidence can go a long way, and Video’s proved they have that in spades - but here the band’s got the seamless execution to live up to such bloated swagger. Almost definitely my favorite track of the year so far. Some distros have this imported 7” in stock: Sorry State, Florida’s Dying, probably a few more. Or you can spring for the limited-to-200 white vinyl version direct from No Good Records. It’s probably a better use of your money than buying that Crime reissue anyway.
Whatever Brains tunnel further down the rabbit hole on their new release for Sorry State, a double-12” consisting of five largely guitar-less tracks that hone in on the band’s eccentricities while simultaneously increasing accessibility. “///////” from SSR-63 steals its content from a fascinating Smithsonian article about the Lykov family’s religious exile to the Siberian taiga where they lived for 40-some years without any other human contact. The 22-minute opus bounces, limps, picks itself up and descends into chaos, chronicling the family’s expedition and struggle both with survival and with the band of outsiders who finally discover their dwelling. It’s a brilliant track that glides easily through all of its separate moods, and fitting territory for a band as contrarian as Whatever Brains to cover. Tracks this long are usually a hard sell, reliant on excessive repetition or devolving into aimless prog-rock wankery, both pitfalls that Whatever Brains nimbly sidestep with ease. Simply one of the year’s great triumphs.
SSR-64 is the other half of the equation, four comparatively short tracks that are equally erratic and impressive. Guitars again are tossed aside, and I’m starting to think that the oft-contested vocals of this band are much more fitting in an electronic atmosphere. The band’s written a fitting soundtrack for a party inside of an evacuated nuclear power station, sprinklers going off and shorting out electronics, smoldering fires coaxed into sound mixing with blaring sirens. And somehow these are all relatively catchy songs, the above “UVOD” being the most extreme example of this. Admittedly they are the band’s strongest songs to date (I back the piercing slow boil of “NY Dodger” as my favorite on this 12”), but these aren’t things native to just this Whatever Brains record; similarities can be found scattered over their last three LPs. The bite-sized portions here seem to allow the songs more space to really sink in deep. Potent poison across both sides of this 12”, becoming more virulent with each listen. You’ll succumb, you’ll see.
Listen, if you’re blowing hundreds of dollars tracking down records by the Decayes or Country Teasers, it’s time to get a grip and dedicate some of that money to Whatever Brains. This new double-12” is only $15 and comes with great artwork, and you can buy all three of their (also great) past LPs for only $5 a pop: here, here and here. Ya can’t top that.
Pretty great self-released 7” by Richmond, VA’s Mensroom, which starts off in a sprint with “Passive Problems” and then slows to a crawl for the last two tracks. Big burly riffs are what’s on order here: “MCV“‘s bouncy lead spills into a nasty guitar solo, and “I Quit” sounds like it could’ve fit right into Rollins Band’s Life Time LP. Creative drumming and welcome tempo changes keep this one afloat and set it apart from the hordes of Side B of My War worshippers. Rock solid 7” right here. Limited to 300 copies. Grab yours direct from the band (and stream the other two tracks) or from Feel It! Records.
Naomi Punk, “Firehose Face” from Television Man (2014)
A strange pairing for Naomi Punk to be on Captured Tracks now, but any broader release for this Olympia, WA band is good news for the rest of us. It takes some time, but the jarring combination of sharply truncated chords and crashing drums that make up the majority of this record start to click after a few listens. The biting, cynical vocals sometimes backed by almost sugary harmonizing add to the band’s singularly disorienting assault, giving credence to the handful of Unwound comparisons thrown around. Lots of tension on Television Man, thoughtully interrupted by a handful of short instrumentals, but there’s also a lot that sticks during a quick exposure: there’s a pretty mean riff that slowly changes shape throughout “Eleven Inches,” and the revisited “Linoleum Tryst” stomps as hard as two guitars can, forearms flexing ‘till tendons burst and the vocalist sighs “Feel cool, just take me.” Lines like that are littered all over this record, delivered through clenched teeth and betraying a heavy cloud hanging over this band that wasn’t so apparent on their last record. While the stutter-step start of opener “Firehose Face” (above) eases you into Naomi Punk’s oppressively overcast realm, it’s the churning downtrodden closer “Rodeo Trash Pit” that rises slowly to drown out the protesting vocals, punctuating the move with a repeated chord that’ll rattle your ribcage. Though Naomi Punk are more subdued and cryptic than their peers in other Pacific Northwest bands like Gag and Hysterics (but actually quite similar to the Pac NW dark lords in dreamdecay), they’re easily as potent - albeit in larger, slower-acting doses. Swallow the horse pill and Television Man will show you the way down. This trio leaves a mark.
Although it was released almost two months ago, one can still purchase the special edition of Television Man direct from Captured Tracks, which nicely shows off the stark aesthetics of the band. A worthy purchase that should get your mind and body ready for the dreary fall season ahead.