Posts Tagged ‘USA Nails’

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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USA Nails release their fifth album “Character Stop” on October 23rd 2020 through Hex Records (USA) and Bigout Records (Europe).

The record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though “Character Stop” still features the pummelling noise-punk that USA Nails have become renowned for, it’s balanced with more sober, downbeat moments. On it they explore identity – like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments,

"For me "Character Stop" is the best album USA Nails have ever made by miles. It’s more varied than anything we’ve ever done before and I think it’s stronger for it. I feel like it’s more fully realised, and more complete as a collection of songs. Everytime we get in a room together and write, the dynamic of our relationship as writers (and mates) develops a bit further, we get better at anticipating and complimenting each other. We’ve always tried to be efficient in our creativity, to do what feels natural and just let things flow. I’m obviously still really happy with all the music we’ve written up to this point, but on this record everything seemed to come together so sweetly. “

Frontman Steven Hodson describes first single ‘Revolution Worker’ as ‘about not knowing how long you have left at being in a band and life in general. My Dad died quite young and now I’m a father it’s something I think about quite a lot. It’s also about balancing time between family, work and band. All that grim stuff is wrapped up in a hell of a catchy riff, feedback and woodblocks.’

Ahead of the album, they’ve unveiled the video for ‘Revolution Worker’ . Watch it 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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