Showing posts with label punk. Show all posts
Showing posts with label punk. Show all posts

Tuesday, May 3, 2011

Andrew Graham & Swarming Branch


I woke up this morning and said to myself, "I want some eccentric, left of center, randomized goodshizza up in my eardurms." So I perused the card catalogue for something to fit the bill, of which Andrew Graham & Swarming Branch does in spades. Graham, at the ripe age of 24,

{I'll take a moment here to mention I've reached the age where I have some difficulty accepting the talent and success of those I tutt-tutt and think "...ah to be [insert # here] again." blarf.},

had already flexed his musical biceps with bands like RTFO Bandwagon, Pink Reason and, my personal favorite, Psychedelic Horseshit. Now he's doing his own thing with a rotating cast, aka Swarming Branch, on the Mexican Summer label. Bluegrass infused with some punk and plenty room to breathe, don't be hating on Kathy. At least she can dance.

Andrew Graham & Swarming Branch // Take It Easy On Kathy At Least She Can Dance

Wednesday, November 24, 2010

Young Marble Giants


Macaron-light vocals (Allison Straton) peeping out from akimbo guitar and steel bass (Moxham brothers) were things of revolution back in '78. The post-punk act from Cardiff, Wales loosely hold hands whilst taking us on a voyeuristically eerie journey.
Helluva single-take crane shot to boot.





Young Marble Giants // Final Day

Friday, December 11, 2009

White Denim



Punk, spit in yo face, bluesy, psychedelic rock from Aussie Austin, Taxin Texas.

And if you wanna to wear them after Labor Day? Eff it, it's your world.

White Denim// Regina Holding Hands

White Denim // All You Really Have to Do

Monday, October 12, 2009

White Lies



80's post-punk revivalist, take heart. This Brit trio is pouring their waxy sound into the mold of the Cure - they've even signed to their label. These lads surprised me with the strength of their American following. The crowd was packed and everybody was singing along - ranging from gorgeous 20something redheads who can't dance to mangy 50something bikers with braided ponytails 8inches longer than mine.

Something to be said for a diverse fan base, just look at the dude cheesin' in the pic.

Last seen opening for KOL, it's worth it to catch these elegantly morose, dramatically gallant pretty boys before they hop back over the Pond.


White Lies // To Lose My Life

Monday, April 6, 2009

The Ettes - Empty Skeleton Interview


Take 50 bobble heads of your choice, put a spring on their little plastic feet, bounce them up and down, put them in front of an amp with three (fashionable) action figures on top labeled Coco, Poni and Jem, and video tape for 120- 180 seconds. You now have the video for a miniature Ettes show. That’s just one way to go, but after listening to their new EP, Danger Is, on repeat for the past few days, that’s what I feel like — A springy bobble head (Mr. T). When your band ingredients are 60s Beat, 80s punk, and driving, ultra sonic bass vibrations, I think that’s the desired reaction. I could be wrong.

I begged and pleaded with the band for an interview and it turns out it’s much easier to answer a few questions than secure a restraining order. Here’s how it went down with the Ettes sassy front woman, Coco.

ES: First things first, I hear you all live together in a small house in Nashville. Two girls and one guy. Does the seat stay up or down?

Coco: The seat stays down. We make Jem piss outside, which is also where he sleeps, in a ragged pup tent he picked up at the local Army/Navy.

ES: Where do you guys hang out in Nash Vegas? I'm sort of partial to Robert's Western World, but I have a fondness for boot walls.

Coco: We go to Robert's when our parents visit...

ES: Zing!

Coco: But we've been partial to the Villager, what with the darts and the smoking. The changes you will soon notice in the juke box have everything to do with me, and if you've got a problem with it, you can come tell me. I'll be at the end of the bar, watching Tim and Eric, talking to Kevin, ranting about audio books.

ES: You were recently on tour with Kings of Leon. Any fiery sex orgies? Kidding, don't answer that. But seriously, were there?

Coco: I was advised to say something to the effect of "Oh, I couldn't possibly answer that!" They're really good guys. Sooners, but pretty as hell. I can attest that a lot of sex was indeed set on fire. At 6000 capacity venues. 6000 sexes being set on fire at once is really a sight to see. I recommend it.

ES: Musically, who and what turns you on?

Coco: A great beat, honest and threatening lyrics, rhythm and melodies that stick in your head. Now tell modern bands that and have them get to work so I have someone to mention.

ES: How much did Liam Watson influence your sound, if at all?

Coco: Liam tightened us up and really taught us a lot about the history that influenced the sounds we love. He's a gentleman and a scholar, and a musical historian of the highest order, in the least pretentious way.

ES: How did you guys hook up?

Coco: We asked him if he would record us and he said yes.

ES: He also produced Wild Billy Childish whom you've been compared to. Is that a fair comparison? His mustache scares me.

Coco: You should be afraid of Billy.

ES: How do you feel about rainbows? I have this tatt...

Coco: They're pretty gay.

ES: Oh. So, what made you decide to self-release Look At Life Again Soon?

Coco: We were tired of waiting for someone to come along and do it for us. We're very impatient.

ES: How does one go about doing such a thing without breaking the bank?

Coco: Oh, the bank is plenty broken.

ES: The new EP, Danger Is, hints at a slightly evolving sound with the bass-driven "No Home." Is that a bad observation?

Coco: Maybe it's a good one. I'm lazy as hell, and Jem picks up a lot of my musical slack. He's a guitar player first, so he's got an interesting approach to playing bass for the Ettes. Hopefully our sound will evolve so much that I can just sit in a recliner on stage and tap my foot. That will truly be the day.

ES: Is this a preview of something in the works?

Coco: We're recording our third album this month with Greg Cartwright.

ES: You guys toured with the Black Keys last year in Europe. Is Dan Auerbach really the second coming of Christ? Because he really seems
like he might be.

Coco: There's no real reason he couldn't be, but if the Bible and the Left Behind series are to be believed, you would notice some people missing about now, and a charming incarnation of the antichrist named Nikolai Carpathia would soon appear on CNN. Or Fox.

ES: I mean seriously, how great is he?

Coco: Great in the best of ways. He knows his shit, is talented and fun, and is a good friend. His studio ain't half bad either.

ES: Dan Auerbach.

Coco: You said it.

ES: Your name is a suffix. Care to elaborate?

Coco: Not really.

ES: Pffft. Well, what's with the nicknames?

Coco: Poni and I pretending we were in the Switchblade Sisters. Jem is a common abbreviation for Jeremy, at least where I come from, in the south. Jem Finch's name is actually Jeremy Finch. And as we and Scout and Atticus know, he is a very important little man.

ES: I guess. I've seen/read you talking about boozing it up a lot. Should we be worried?

Coco: Probably. I mean, probably. I'll think about it.

From the new EP, here’s No Home, recorded with Christ Almighty himself, Mr. Auerbach.

The Ettes // No Home

Monday, February 16, 2009

Wavves


Three-chords plus distortion divided by lo-fi static equals California beach punk in this disaster of an equation. The dingy noise plaguing this entire album will make your ears bleed if you forget to take a break every few songs. But do that and you might find yourself hearing a nice, and sometimes melodic, extension of 80's punk sock. I mean rock. Punk sock? I’m sick, forgive me. Physically sick, not mentally demented. The latter is yet to be proved.

But seriously, you could end up stabbing your grandmother’s eyes out with the dull end of a plastic spoon if you take too much in at once. So please BE CAREFUL!

I’d like to make a quick note about the labeling of music. Or rather propose a question about it. What the fuck is College Rock? Who decides what gets labeled what and on what criteria? Are those in college the only ones who can appreciate such music? And what if you’re an athlete that goes straight to the NBA after high school because of a gifted set of calves? Do you bypass this music altogether like some type of music time machine? That seems really unfair. I mean just because I can jump really high doesn’t mean I don’t want to enjoy some quality sock rock. I’m just sayin’ maybe the powers that be should be more thoughtful when it comes to these sorts of things. You never know who’s gonna get hurt.

Never mind, I don’t care anymore.

See also No Age and Jay Reatard.







So Bored