Posts Tagged ‘energy’

Watch: ‘We Must Prevail’ by The Venomous Pinks

Posted: 13 July 2023 in Recommended Streams and Videos
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The Venomous Pinks fight against abortion bans in their newest release, “We Must Prevail”. In collaboration with Eternal Film Productions, and directors Nikki Carmela and Alexander Thomas, the Arizona-based band delivers an unforgettable visual response to the overturning of Roe v. Wade.

Staked full of social commentary, a distraught Lady Liberty gripping a bloody wire coat hanger, acts as a narrator of the video. Through music, The Pinks lead an angry mob of pro-choice protesters who demand immediate change. Symbolizing the injustice many Americans are currently facing, destruction overtakes the infamously engraved words “equal justice under law” that’s displayed above the United States Supreme Court entrance. With anti-abortion laws on the rise, this politically charged anthem encourages the masses to rally for reproductive rights.

Directors Alexander Thomas and Nikki Carmela (known collectively as “Eternals”) have issued the following statement:

“The right to choose is a human rights issue at its core. We stand vehemently against oppression in all forms and appreciate the opportunity to voice our dissent using art. When we first conceptualized this video we based it on a series of photographs we had created when Roe was initially repealed depicting Lady Liberty, bloodied from a coat hanger abortion to represent the current tidal shift of our society. The images, although disturbing, represent the reality that with abortion bans healthcare has been pushed back decades. Combined with images of the Supreme Court house cracking (a blatant metaphor for the disintegration of the “highest law in the land” who’s building is emboldened with the phrase “Equal Justice Under Law”) and the electric music of The Venomous Pinks this video is a protest to abortion bans and the assault of women’s rights.”

Guitarist/vocalist Drea Doll adds, "The government does not have the right to tell a woman what she should be doing with her own body. To quote Angela RoseRed (Photographer/Writer) ‘Angered by the misogynist men who forcefully shove religion into our uterus.’"

The band will be touring Europe this summer with Bad Cop/Bad Cop followed by a U.S. run with Less Than Jake and The Toasters.

Watch the video here:

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Photo: Jack Grisham

The Venomous Pinks On Tour

Europe with Bad Cop/Bad Cop followed by a US run with Less Than Jake & The Toasters

July 27 • DE, Hamburg • Hafenklang (SOLD OUT) *

July 28 • DE, Berlin • Cassiopeia *

July 29 • DE, Goldenstedt • Afdreiht un Buten *

July 30 • DE, Essen • Don’t Panic *

August 1 • DE, Stuttgart • JuHa West*

August 2 • DE, Wiesbaden • Schlachthof*

August 3 • DE, Hanover • Faust*

August 4 • DE, Cologne • Helios37 (SOLD OUT)*

August 5 • BE, Duffel • Brakrock Ecofest*

August 6 • NL, Utrecht • De Helling (SOLD OUT)*

August 8 • CH, Zurich • Dynamo*

August 10 • SI, Tolmin • Punk Rock Holiday (SOLD OUT)*

August 12 • DE, Munich • Strom*

August 13 • IT, Rimini • Bay Fest

August 21 • Seattle, WA • Showbox + ^

August 22 • Portland, OR • Revolution Hall + ^

August 23 • Medford, OR • Johnny B’s ^

August 24 • San Francisco, CA • Great American Music Hall + ^

August 25 • Los Angeles, CA • Echoplex + ^

August 26 • Santa Ana, CA • Observatory OC+ ^

August 27 • Tempe, AZ • Marquee Theatre+ ^

August 28 • El Paso, TX • Rock House ^

August 29 • Dallas, TX • Granada Theatre+ ^

August 30 • Austin, TX • Mohawk+ ^

* BadCop/BadCop +Less Than Jake ^The Toasters

The Eurosuite – Sorry

Posted: 11 March 2023 in Albums
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Human Worth – 10th March 2023

Christopher Nosnibor

There’s something of a tightness around the noise scene , especially around a nexus of London acts who swap members for side projects and collaborations on a remarkably frequent basis. This is a good thing, for while all of these projects share much common ground, each offers something distinctive and unique, too, a different twist or angle from the others.

Human Worth has given a home to a number of releases from acts which have emerged from this mini-melting pot, notably recent output from Remote Viewing and Fucking Lovely. And now they’re really spoiling us with the latest endeavours from The Eurosuite, who, their bio informs us ‘consist of 4 lovely people who make disquieting no wave songs that will equally pierce your ear drums and move your hips’ and whose ‘previous musical endeavours include USA Nails, Nitkowski, Screen Wives and Mister Lizard.

What Sorry has in common with both the Remote Viewing and Fucking Lovely releases is, that like most Human Worth releases, it’s noisy. It’s also absolute class.

But it’s also very different, with electronic elements not only incorporated, but highly prominent. The first track, ‘Cup of Water’ is sparse and atmospheric, with glitchy mechanised drums bouncing about, and it’s intriguing and really quite gentle – and then they bring the noise with ‘BODY’ where it really does all kick off – and kick off it does, with frenetic drums and guitars blasting away like crazy.

The electro/noise rock crossover is unusual – while they’re by no means the first act to do it, their approach means they don’t really sound like anyone else, not least of all because the range across the album’s span is quite remarkable. Noisy as it is, the noise is quite contained for the most part, or otherwise countered by the synths to conjure an equilibrium of sorts – or, at times, a jarring, jolting contrast.

‘Seven’ showcases just how hard it can hit when everything’s cranked up and going full-tilt, but then again, ‘LIB’ throbs and pounds and nags like a melding of DAF’s ‘Der Mussolini’ with I Like Trains’ latest output, but as performed by Big Black. They leap and lurch between jarring, jolting blasts to rather more accessible structures, and I’m variously reminded of Killing Joke, Selfish Cunt, and Daughters – the latter not least of all because of the manic energy and intensity, as well as the skewed angular noise that cuts across the rhythm section.

‘Total’ throws it all into the mix as it goes big on a mathy post-punk vibe while packing on some dense guitars and thudding bass into its two-minute duration, with hints of …Trail of Dead, and again, it positively crackles with a frenetic energy. The last song, ‘The Dream’ is truly climactic, an explosion of squalling guitars, thudding drums and sparking electricity.

Sorry is an album of contrasts, of variety, and an album that doesn’t give a fuck for genre or convention. For these reasons, Sorry is an exciting album. It’s an album that doesn’t sit still for a second, and it’s impossible to predict where it’s going to go from one bar to the next, never mind one minute to the next. It’s dizzying, but also – to use a phrase popular in the tabloid press – jaw-dropping. Sorry is a sonic frenzy and endlessly inventive, and if it leaves you feeling punch-drunk and giddy by the end – Sorry, not sorry.

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Honeybadger – Cold Wind

Posted: 30 January 2023 in Singles and EPs
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28th January 2023

James Wells

Honeybadger’s bio describes the Brighton trio as ‘spiky’ purveyors of ‘gutter psychedelia/grunge’, and ‘Cold Wind’ certainly delivers on that. Fast and gritty, lo-fi and fuzzed out, the guitars are all the grunge – but then the break brings a full-on tremelo-happy wig-out that’s out of this world!

But if the song is carried by an energy that invites comparisons with early Arctic Monkeys, the bassline runs away in a completely different direction, with one of those wild grooves that runs here, there, and everywhere: Luca – age just twenty-one – is possessed of magic fingers. Or perhaps he’s just possessed. Either way, these guys pack in so much dynamic and raw talent into three-and-a-half minutes that it’s dizzying, and it’s a proper rush.

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Honeybadger Artwork

Ketamine Kow – Shoe Shopping

Posted: 5 December 2022 in Singles and EPs
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Warren Records

Christopher Nosnibor

On witnessing Hull band Ketamine Kow playing live low on the bill supporting Mannequin Death Squad a little while ago, I found myself feeling exhilarated and fully charged by the raw energy of the performance and 100% sold on their punk energy, and I wrote as much after the fact. So it’s nice to see my enthusiastic comments repeated in the press release for their new single, ‘Shoe Shopping’, and it certainly doesn’t disappoint.

A nervous, but soft jangling guitar yields to a welter of everything going off all at once and at a hundred miles an hour and they charge headlong into a raucous blast of driving alternative rock that channels post-punk and grunge as much as it does classic vintage punk, while Adam Stainforth rants about uncomfortable shoes.

If that sounds like facetious fluff, it’s far from it, and Stainforth’s explanation of the song’s subject matter shows a depth and reflection that may not be immediately apparent based on first impressions:

“The song battles with the idea of gender identity being a lot like a pair of shoes,” he says. If you have a good comfortable well-fitting pair, then you don’t think about it and as you walk about you aren’t constantly thinking about your shoes and their comfort. But if your shoes are too small, or there’s a pebble in them, it’s all you can think about. Every step is annoying and you don’t want to do anything else until you fix the problem and your shoes stop hurting. So, I think in that sense most people probably can’t conceptualise the feeling of their gender well, because it just fits right and always has – and therefore it’s hard to imagine how all the small, normal things just constantly feel wrong, even if you are alone in your home.”

Put simply, there’s more than just all-out attack happening here, although the full-throttle, furious delivery is, unquestionably, a major draw. With the momentum they’ve built – and the speed at which they’ve gained it – this year, 2023 is looking like being a stormer for Ketamine Kow.

The Battery Farm – Flies

Posted: 9 November 2022 in Albums
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18th November 2022

Christopher Nosnibor

Following on from big-hitting introductions in the form of single releases ‘A Working Class Lad’, Manchester’s The Battery Farm hit us with their debut album, Flies.

They describe it a ‘an album about end times fear and societal breakdown. It is an album that tries to come to terms with the violent world we find ourselves in, and tries to reconcile with an uncertain future in world that we have decimated. It’s about the endless, screaming noise of 21st Century living and the squalid claustrophobia that entails. Driven by fury, black humour, compassion and a desire for hope.’

These are all things I’m on board with: it’s essentially a list of the top things that gnaw away at my psyche and my soul on a daily basis. Because to live in the world right now is to live and breathe all shades of anxiety.

Some people – mostly right-wing wankers and idiots on social medial, especially Twitter – like to jeer and poke fun at those who intimate any kind of panic over the state of things, laughing their arses off at those who perpetuated ‘project fear’ and the so-called ‘remoaners’ and scoffing at the idea that this year’s heatwave is anything to do with climate change citing the summer of ’76. But these are the same tossers who whine about health and safety and speed limits as being symptomatic of a ‘nanny state’, and also the same tossers whose kids will die after swallowing batteries or burn the house down lighting fireworks indoors.

What I’m saying is that anyone who isn’t scared is either beyond oblivious or in denial. The world is literally on fire and drowning at the same time. Fittingly, Flies is an album of contrasts, both in terms of mood and style. There are fiery, guitar-driven flamers and more introspective compositions which are altogether more subdued and post-punk in their execution.

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The title track is but a brief introduction, a rushed, desperate spoken work piece set against – at first – a tense bass and a growing tide of swelling drums and guitars that in just over a minute ruptures into a full-on flood of rage. Distilling years of anguish into a minute and a half, it’s got hints of Benefits about it, and then we’re into the snaking groove of ‘A Working Class Lad’, that sees The 80s Matchbox B-Line Disaster collide with The Anti-Nowhere League in a gritty, gutsy punk blast with a surfy undercurrent.

It’s the combination of gritty synth bass and live bass guitar that drives the sound of the album. The former snarls, while that latter thuds, and in combination they pack some serious low-end punch in the way that Girls Against Boys and Cop Shoot Cop did. The synth gyrations also lend the sound a tense, robotic edge that gives it both a certain danceable bounce while at the same time heightening the anxiety of the contemporary, that sense of the dystopian futures so popular in science fiction are in fact our current lived reality.

‘In the Belly of the Beast’ is a stuttering blast of warped funk. In contrast, ‘Everything Will Be Ok’ is altogether more minimal, with hushed spoken word verses reminiscent of early Pulp, and tentative, haunting choruses which exude a subtle gothic vibe. And it all builds slowly, threatening a climax which never arrives. But then ‘Poet Boy’ drives at a hundred miles an hour and burns hard and fast to its finale in three and a half minutes.

‘DisdainGain’ comes on like Motorhead at their grittiest and most rampant, and again shows just how broad The Battery Farm’s palette is. By their own admission, they draw on elements of ‘Punk, Hardcore, Post Punk, Krautrock, Glam and Funk’, and one of the key strengths of Flies is its diversity – although its range does not make for a lack of coherence or suggest a band who haven’t found their identity, by any means. What’s more, the diversity is matched by its energy, its passion, and its sheer quality. Full of twists and turns and inspired moments of insight, Flies is a bona fide, ball-busting killer album. Fact.

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Mannequin Death Squad / The Bricks / Ketamine Kat / KissKissKill – The Victoria Vaults, York, 18th August 2022

Posted: 18 August 2022 in Live
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Christopher Nosnibor

It’s been a very long while since scuzz-punk rock duo Mannequin Death Squad came to our shores, and even longer since they last set foot in York – but hailing from Melbourne, Australia, it’s been quite a while since they’ve set foot anywhere outside their province, with now fewer than six lockdowns and more than 260 days under restrictions during the pandemic, which led to Victoria’s state capital to be dubbed the “world’s most locked down city”, according to the BBC. Hardly conducive conditions for a band who thrive on playing live.

MDS seems to have harnessed all of that pent-up energy for this month-long UK tour, scheduled at relatively short notice, but before they’re on, they’ve got a solid bill of local talent in support, too (let’s face it, four bands for £7, you can’t go wrong), and first on, up-and-coming KissKissKill (styled as XXK so as to avoid any iffy connotations, and who’ve been around a while but seem to be finally kicking things up a notch) prove to be a solid opener giving an assured performance. Their sound may bet kinda standard rock with some big guitar solos, but they’ve got a good level of energy and enthusiasm. Singer Gemma-Louise performs with her eyes as well as with powerful lungs, and she’s backed by some solid riffs and she bounces around a lot: they all do, apart from the bassist who hides at the back behind his straightened hair. They’re a lot of fun, and clearly have potential for great things.

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KissKissKill

Ketamine Kow bring mouth frothing energy and aggression. They’ve had their songs shared on Twitter by Sleaford Mods. The front-cunt’s proper mental and the songs are almost secondary to the spasmodic energy as he charges around maniacally, getting in people’s faces and generally creating a disruptive energy. I mean, there seems to be something not quite right about the guy, but this is the spectacle of a performer who lives every second of the performance for real. Like a young Iggy Pop, it’s all for the moment. There are some squalling riffs and pounding percussion going on behind the manic screaming and shouting. Ketamine Kow could well be the new Baby Godzilla: with the exception of the drummer, who also provides strong second vocals, the band spend as much time in the crowd than on stage, the singer everywhere all at once, hollering from the back of the room, leering in and looming over the crowd, or writhing on the floor. Skinny white boys with gangly limbs, you can’t imagine that being in a band is likely to help any of the members of Ketamine Kow to pull: they’re sweary, sweaty, raw, authentic punk, and so, so angry – and fucking brilliant.

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Ketamine Kow

The Bricks Draw the Line at the start of the set, and they seem to get sharper, more solid, more meaty with every outing, and singer Gemma is more confident and more commanding than ever. The sound is a perfect amalgamation of juggernaut bass with choppy stuttering riffs that splinter onto shards, with heavy hints of Gang of Four and Wire with martial beats. In terms of performance, Gemma doesn’t ‘do’ much – no bouncing about, no, posing: she doesn’t have to. The voice is immense, and is all the presence, allowing the three middle-aged blokes (no criticism, especially as they’re clearly having a blast playing the songs and have the sound absolutely nailed) to fade into the noisy background.

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It’s gone 10:45 when Mannequin Death Squad start, but when they do it’s incendiary: the set is back to back killers, heavily raiding their 2016 debut mini-album ‘Eat Hate Regurgitate’ alongside songs released on-line since and brand new material, too. They’re loud and they’re tight with a full sound, the dual vocals really defining the sound over the big, grungy riffs. They play hard and fierce. ‘Sick’ lands third before a new track off the forthcoming debut album. Elly’s eyes lol up into her head as she kicks out the riffs. The mid-set instrument switch seems to take it up a notch, and Dan steps out from behind the drums to take over the guitar and lead vocals, and stomps the stage fiercely. Meanwhile, the hi hat’s fucked and zip on her trousers is bust, but still Elly doesn’t miss a beat. They’re committed, alright. Live shows don’t come better than this.

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Mannequin Death Squad

Things are running late and curfews are a kicker for most venues these days, especially those in residential areas, so they’re forced to truncate the set a little – and so what it lacks in duration, they compensate in energy, turning the small venue into a total sweatbox as they deliver the title track from their forthcoming debut album, ‘Super Mental Psycho’ as the penultimate song, and it’s blistering. We’re all wiped and melting by the end, and while there’s no chance of an encore, the rush to the merch and to chat to the band after showed the level of appreciation. And rightly so – they’re one of those bands who never disappoint.

The Battery Farm – A Working Class Lad

Posted: 5 August 2022 in Singles and EPs
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Rare Vitamin Records – 5th August 2022

Christopher Nosnibor

It almost goes without saying, but I’ll say it – again – anyway: we live in pretty bleak times. Everything is fucked. But perhaps with the many things which have deteriorated, diminished or otherwise been eroded in recent years, from various freedoms and basic rights to quality of life, be it access to medical and mental health care to how far paychecks go, one of the most depressing in many respects is the rise of anti-intellectualism. It’s not even a question of dumbing down, so much as a culture that seems to mistrust, and even dislike intelligence, debate, and even artistry and creativity. To question the motives of funding of an individual or organisation is healthy: to denigrate and dismiss all ‘experts’ is insane.

England, in particular, has a uniquely worrying and ultimately debasing attitude which stems from members of its ultra-privileged, ultra-capitalist, right-wing government, which is disconcertingly open about nits agenda to attack the arts and culture, not only in having a minister for culture who has precisely none, but also an education department hell-bend on defunding and cancelling degree courses in the arts on the premise that they don’t dovetail into careers that pay. There’s clearly something wrong here, since the music industry generates billions of pounds a year in the UK – or at least it did, before the double whammy of the pandemic and Brexit screwed both grassroots venues and musicians alike.

The arrival of The Battery Farm’s ‘A Working Class Lad’, then, is something of a breath of fresh air. Taking its title from a poem from A. E. Houseman’s A Shropshire Lad collection (1986), it’s a song which addresses the uniquely British issue of class, and how class division can affect a family.

The Manchester four-piece may describe themselves as ‘gutter punk’ and promise ‘a ferocious, muscular, gnarly track that ebbs and flows with purpose, precision and venom’, but they’re unafraid to be open with their literary allusions and reflect on issues without lapsing into the common political / anti-government tropes through a bunch of half-baked slogans that are standard punk fare.

With a jet-propelled drums and a robust, chugging riff behind the sneering vocals, The Battery Farm prove in three minutes that it’s possible to be punky and abrasive but not dumb. Just as the song tackles duality and (inner) conflict while at the same time being a seething roar of vitriol, so ‘A Working Class Lad’ showcases some savvy songwriting beneath the fire of a throat-grabbing rager. It’s a rare joy to hear a song that actually says something, but is equally fine to take on face value as something to most around to and pump your fists at the raw energy.

With a brace of EPs under their belts and ‘A Working Class Lad’ being the first single from their debut album, out in November, The Battery Farm are a rare thing – the perfect combination of brains and balls, they’re a band worth getting excited about.

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Watch: ‘Super Mental Psycho’ by Mannequin Death Squad

Posted: 3 August 2022 in Recommended Streams and Videos
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Yuss! It’s been a while since Australian duo Mannequin Death Squad gave us new music, but on the brink of an extensive UK tour, they’ve slammed down another slice of grungy, adrenaline-fuelled pink rock in the shape of ‘Super Mental Psycho.

It’s a corker – but don’t just take our word for it: check it here:

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Deaf Kids / Fuzz Lightyear – Wharf Chambers, Leeds, 1st July 2022

Posted: 2 July 2022 in Live
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Christopher Nosnibor

It’s always good to be back at Wharf Chambers, and this actually my first visit this year. Since my last trip, the cost of a train from York to Leeds has absolutely rocketed. It wasn’t that long ago that an off-peak day return for the 23-minute journey was about eleven quid. Now it’s more than £17, plus booking fee. Pre-lockdown, late 2019, it was around £15. This is the cost-of living crisis and inflation in sharp relief. It may only be a couple of quid, but as a percentage, it’s substantial, and when you apply the same kind of increase to everything… My dayjob pay hasn’t gone up by anything like as much, and we know that rail workers’ wages haven’t. But the consequence is that I have to be more selective about what gigs I travel to attend, which means in turn lower attendance for live acts, and less beer sold by venues, and so on. Thankfully, with shows at Wharf Chambers, I can offset the travel costs with decent hand-pulled beer at £3.40 a pint. When was the last time you paid under £3.50 for a pint?

It’s not all about the cheap beer, of course. Live music is always about more than just the music, though: it’s about the whole experience, and Wharf Chambers is a great venue with a great vibe that hosts great bands, and there are two on tonight’s bill.

Fuzz Lightyear are infinitely better than their somewhat flippant name, which doesn’t particularly convey what they do. Sure, there’s distortion, but the guitars take second seat to busy, heavyweight drumming on songs that feature abundant tempo changes, and are weighty, and shouty. Post rock collides with Fugazi. I’m a sucker for the full tom roll rhythm, and the drummer absolutely nails it on the third song. There’s a dash of Trail of Dead in the mix, and the bassist’s manic eyes are as compelling as anything. It’s a solid set, with a lot of range, that sets things up nicely ahead of the headliners.

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Fuzz Lightyear

Deaf Kids start gently with something of an ambient intro. It’s dark, and they move as shadows. There are drums played with elbows amidst drone noise. And it builds… and builds… and then it bursts. And how!

The Brazilian trio aren’t your staple Neurot act: instead of slow-lugubrious, rust-stained metal, this is a band with a vibrancy and an energy that’s positively eye-popping. It’s as if they’ve bottled everything since the release of their last album, Metaprogramação and are finally letting it all out. The set feels less like a succession of songs than a continuous overall work. They play in almost complete darkness. Briefly, there’s a percussive break that’s almost a mellow conga, but then it builds again before it explodes. The set is punctuated by bursts of noise, and – additional djembe breaks aside – it sounds like there are two drummers… There’s just ss much percussion, and so much urgency, and so much energy.

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Deaf Kids

And I realise on reflection, as I relive the immense buzz of the show, that chuntering about the price of trains from York to Leeds is likely nothing compared to the effort of transporting a band from Brazil to play in post-Brexit Britain in a venue with a sub-200 capacity. Really, we’re spoiled. I can only hope we continue to be.

Ivory Skies – Bring Me Up

Posted: 22 June 2022 in Singles and EPs
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17th June 2022

Christopher Nosnibor

Blackpool isn’t exactly a roaring flame on the musical map, hanging in the shadow of Manchester and being more geared toward tourism than seemingly existing as a place to live in its own right. Sure, Jethro Tull originated in Blackpool, along with – although some time apart – The Membranes, and Alfie Boe – but it’s hardly indicative of a cultural melting pot with a thriving scene to represent it.

Ivory Skies may – or may not – change that. Formed in 2019, they’ve released a couple of singles already, and scored support slots with Kyle Falconer from The View, and The K’s, which puts them on the fringes of the bigger leagues.

Perhaps it’s a coastal town thing: ‘Bring Me Up’ calls to mind the uptempo punk / indie crossover sound of Southend-on-Sea’s Asylums, and it’s buoyant, energetic – inoffensive, but certainly not lacking in a bit of bite, yielding four minutes of melodic, guitar-driven joy with a dash of realism.

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Ivory Skies - Artwork

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