Posts Tagged ‘Death Pedals’

London based noise/punk band USA Nails have launched the 2nd single from their upcoming album ‘Character Stop’ which is set for release on 23rd October through Hex Records (USA) and Bigout Records (Europe). You can watch the video for short and sharp single ‘I Don’t Own Anything’ which clocks in at just 1 min 23 seconds.

USA Nails feature current and ex-members of Sly & The Family Drone, Blacklisters, Kong, Oceansize, Silent Front, Death Pedals, Future of the Left and Dead Arms.

Guitarist Gareth Thomas comments,

At the risk of sounding like a dick; this song is about millennials and zoomers. Generations who have been shafted by their parents, who can’t afford anything, who live on zero hours contracts, and who are currently experiencing a mental health epidemic. They are blamed for their own misfortune because they like to eat avocados sometimes. It’s also got a beat that’ll get your toe tapping.

And with all music being streamed via Spotify and YouTube, no-one even own their own music collection any more. Which also massively sucks.

Check the vid here:

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Hominid Sounds / Rip This Joint –10th May 2019

Christopher Nosnibor

Do we need another sort-of semi-supergroup? When said collective features members of USA Nails, Death Pedals, It Often Takes A War, and Los Bitchos, we absolutely do. The label promises an album packed with ‘succinct slices of Jesus Lizard infused garage punk dealing with the big issues of our time from Brexit to Hollywood sex scandals’.

The lyrics aren’t always – or even that often – decipherable, but this is the kind of roaring guitar racket that you listen to first and foremost for sonic impact and the sheer viscerality. Then again, titles like ‘Biased Broadcasting Corporation’ give a fair indication of their anti-establishment antagonism. No messing: Dead Arms play proper punk, hardcore style, fast and incredibly furious: the rage burns and pours from every pore, every bar, every note. And yes, the influence of The Jesus lizard on their gritty, dirty, sweaty heft of noise is more than apparent even without single cut ‘Apocalypse Yow’ (which is straight out of the book of That Fucking Tank punning titles and is accompanied by a zero-budget video cobbled together from BBC footage from the House of Commons).

The howling mania and jolting, juddering, lurching rhythm and angular guitars are raw and primitive, and there’s nothing pretty about this. With the majority of the songs clocking in well under the three-minute mark, it’s a short album that achieves maximum impact through sheer brute force.

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Album Artwork