Tag Archives: noise

Stream: Fleeting Youth Records + r/cassetteculture – “Blooming”

I mean, how could you even go wrong? Fleeting Youth Records, one of our favorites and based out of Austin, Texas, has put together a compilation of 33 bands that clocks in at over 90+ minutes. Every single song is a noisy, feedback and fuzz soaked garage-rock stomper ready and waiting to be loaded up onto your tape deck and blared until the speakers add yet another layer of distortion.

It’s hard to tell even where to begin. Covering such a substantial paean to garage rock is not something that can be taken down track for track. A (relatively) random sampling is going to have to suffice.

First off, true to it’s name this compilation truly is “fuzz-fucked.” Every track seems to be following the same production standard of no production standards. Appropriately, the opening track, “Vent” by the band Weak Nerves, comes screaming out of the gate with a few squeals of feedback before introducing some super crunchy and fuzzed out riff-rock. There is a mix of garage-rock noise with groundswells of shoegaze awe. Somehow Weak Nerves are able to float between these two worlds, creating a really interesting and expansive sound that adds significant depth beyond just fuzzed out noise.

I’m also happy to see Chat Logs getting some space here. They had a pretty exciting release on Already Dead tapes a while ago that I still enjoy. Their jittery, aggressive approach with Earth-shaking low end violently contrasted by screeching guitars fits perfectly amongst the garage-rockers and punks that fill out the rest of the album.

There really isn’t a bad track across this collection. It’s all just perfectly amped up rock. Post-Child’s “Stop What You’re Doing to Me” cuts the noise with pop hooks and bouncy synth sounds, while Goners intone their teenage depression before cutting into an extended guitar solo; and toward the end of the album The Void bring us back to the mid-90’s with the fuzzed out, Smashing Pumpkins-esque bliss of “Summer.”

I could probably just go on all day, moving through each track one at a time, but instead I’ll leave you to it. Start with these tracks and just keep listening from there. While you’re at it, grab a copy. Limited run blue cassette with full-color 3-panel j-card featuring amazing hand drawn art from Valentino Tettamanti.  Head over to the Fleeting Youth bandcamp to pick one up, and to listen to the compilation in its entirety.

Stream: Unholy Two – “Talk About Hardcore”

If listening to this doesn’t keep you up and get you through the rest of the week then I don’t think there is any hope for you. Maybe you should check your pulse.

Track after track after track of chaos in the form of uncontrollable feedback, noise, screams, growls and static. The energy, immediacy and all out anarchy that has been committed to wax here is absolutely astounding. This is an aural assault the likes of which you don’t hear very often, if ever. It’s impossible to tell how many guitars are on here, because even though I know there are only two, at times it sounds like there might be ten or more. One is possibly just dedicated to generating feedback, it seems. Perhaps it is just left leaning up against a Marshall stack. Meanwhile another guitar pops up and might pluck out a bit of a solo. Either way, everything tends to (and by “tends to” I mean “definitely will”) descend into a swirl of unrelenting feedback, like on the fifth track “Muta Scale.” There, it seems, that the song at the beginning of the track is just a means to unleash a blast of feedback to assault the air in a loud spinning drone for the last few minutes.

“OKC1995” bursts forth from the pall of feedback that has permeated a good 98% of the album thus far and presents the listener with an honest, blues(ish) based riff. It isn’t long before the bass alone is responsible for all the harmonic underpinnings before the guitars just go into aggressive shoegaze mode.

There’s really no great way to categorize what Unholy Two are doing on this album. The only thing left to do is to listen to this 30 minute hardcore offensive. The album is currently available from 12XU, and there might still be some limited edition, muta-mist green colored vinyl copies here, so check that out.

Stream: Housewives s/t debut on Faux Discx

The noisier the better, in my opinion. And things don’t get much noisier than this.

Right out of the gate Housewives are throwing around dissonant strains of fragmented guitar lines, severed rhythms, distorted crunchy stabs standing in for harmony and a voice that is swallowed up by the whole beautiful mess.

The early 80’s no-wave scene most certainly plays an incredibly important role in Housewives’ songwriting approach, though with a consideration for a bit more clarity and complexity. Take, for example, “Almost Anything” with its drastic tempo shift that is perfectly, perhaps mathematically, executed. A subtle prog-ish sensibility starts to peek out from behind all the art-rock boundary destruction.

Prog rhythms don’t end with “Almost Anything,” but instead continue to carry the palindromic titled EP closer “62426.” I don’t want to focus too much on these elements though, because the most exciting parts are the blasts of screeching feedback and angular guitar noise that will rip through your speakers without warning.  Additionally, elements of minimalism are thrown into the mix with hypnotic cycles of rhythmic and melodic fragments.

While the guitars hold down the atmospheric swirling clusters of noise and chaos, the bass remains grounded in its thick, round tone that pulsates steadily underneath it all.

Housewives’ darkness tinged sound brings to mind Women, This Heat,  and DNA.  You can hear the release in its entirety at the Faux Discx bandcamp where you can also grab a physical copy on cassette, or simply as a download.

You can also check out the video for “Almost Anything” below.

Stream: Purling Hiss s/t 2009 limited edition re-release

Ultra distorted, lo-fi psych punk. That just about sums it up.

If you know anything about Purling Hiss, and Permanent Records that originally put this album out back in ’09, it’s that they are both synonymous with fuzzed out, lo-fi (sometimes to an extreme) psych/stoner garage rock.

This recording is overblown, in the red nearly the entire time, really capturing the energy and immediacy of a debut release. Since this album came out 5 years ago Purling Hiss has gone on to release tons of stuff on other labels like Woodsist and Drag City to name a few. Purling Hiss has gone from the solo project of Mike Polizze to becoming a full-fledged band, jamming non-stop on endless tours across the country.

“Almost Washed My Hair” lays out an 8 minute guitar solo over static harmony that explores almost every classic rock guitar idiom known to man while simultaneously slicing through squeals of feedback and an incessant wash crash cymbals. “Montage Mountain” takes the noise element up a few hundred notches, with guitars bleating and screaming wildly, trying to find their place. Both tunes stretch on for what seems like an indefinite period, again, just a noise, feedback jam session. And I didn’t even bring up the track “Purple Hiss,” the longest on the album, clocking in at 14 and a half minutes.

And now that we have a better idea of what Purling Hiss sounds like in their current incarnation-specifically a Sabbath influenced, stoner rock guitar riffage band-it’s interesting to be able to hear where that all started. Head on over to the Permanent Records site to grab one of the limited edition cassettes or vinyl while you can, as I’m sure they aren’t going to last very long. If you miss out, you can still head to their bandcamp and get in on the download.

Purchase LP (limited to 250)//Purchase Cassette (Limited to 100!)//

Stream: Nothing – “Guilty of Everything”

Add another band to the list of “ungoogle-able bands.” They’re in good company though. I mean, Women is one of my favorite bands of all time and they are tricky/impossible to do a google search on.

So many thoughts and memories came rushing to mind as soon as I started listening to this Nothing album. Shoegaze is, to start off generally, one of the first and most noticeable characteristics of Nothing’s sound.  But it’s not all just a My Bloody Valentine cloud of distortion. Inside that wall is a concentrated core that contains so many recognizable elements.

Hum, The Smashing Pumpkins, Longwave, all of these emerge from Nothing (the more I mention the band by name the more it sounds like I am making some lofty philosophical statement: “they all emerge from Nothing.” Or maybe it would be better to say “they all emerge from the sound of Nothing.”)

The hushed vocals, thick power chords, persistent focus on one long drawn out harmony like the band is carving a path through a thick, dense fog, all coming out of the shoegaze tradition. But, this isn’t a bad thing. No bands are out there really doing the same thing. I suppose We Were Promised Jetpacks is going for an approximation of the same aesthetic, but really the details are quite different. Nothing re-presents shoegaze in much the same way that Yuck re-presented grunge with their first album.

“Guilty of Everything” is dark in tone, which is unavoidable given the parameters. There is something slightly sinister, or at least ominous about that combination of relaxed, whispered vocals and a barrage of loud guitars. One can’t help but have a visceral reaction. You get pulled into the music listening intently to the vocal, which in turn results in getting lost inside the sound of that barrage of guitars.

And the quieter moments shouldn’t be overlooked. I’m reminded of some of the more introspective moments on “Siamese Dream” like “Mayonnaise”  or the end of “Hummer,” throughout the titular track of this album. Moments that work to just pull the listener in with ringing open strings that cut through the wall of guitars; feedback that squeals uncontrollably for a few seconds in the background–it’s all here. Another distinct connection comes in the form of “You’d Prefer an Astronaut” era Hum that comes out loud and clear on “Dig” (listen to “Little Dipper” below to compare).

“Guilty of Everything” is certainly an entrancing debut that will resonate strongly with listeners who grew up listening The Smashing Pumpkins and My Bloody Valentine, but I’m sure it will also manage to draw a new crowd that may have missed the chance to experience those bands when they were first around (and not a shell of their former selves like they are today). Nothing still has a few shows coming up in March, while their debut album is set for release on March 4th through Relapse Records. Check the links below to pre-order the album and to connect with the band all over the internet.


Upcoming shows:

Mar 12 Austin, TX Relapse SXSW Showcase @ Dirty Dog

Mar 16 Dallas, TX Spillover Music Fest @ Club Dada & Three Links w/ Ty Segal

Stream/Purchase: Sun Angle – “Diamond Junk”

Sun Angle - "Diamond Junk"

Sun Angle – “Diamond Junk”

WOAH! This was a good find, and a complete accident to boot. I think this marks the first time that a site has said “you may also like…” and gotten it right.

Last night, as I was writing while listening to a track on soundcloud, after which the site decided to start playing things it thought were similar. Though this isn’t similar really at all to what I was listening to, it sure is a damn good find. And it gets better too, as the band, Sun Angle, is from Portland. Close enough.

I only wish that I could have somehow come to know about this band earlier, as their debut album was released back in November. Better late than never.

Somehow the mix of jammy tendencies with psychedelia and a surf-rock vibe makes complete sense. It makes more than sense, it works incredibly well. I’m picking up a distinctly Akron/Family influenced sound. Title track, “Diamond Junk,” could fit on Akron’s “Meek Warrior” for sure. The sound is perpetually in danger of going into the red, and everything is just ringing and feeding back, creating a beautiful, energetic sound that is exploding with ideas. And that one note in the opening ascending guitar line that becomes somewhat of a motive; that note just sounds so shockingly wrong upon first listen. Listen for about 5 more seconds, though, and it sounds so very right.

“Raspberry” places the jam band-type sound up front at the very beginning with it’s bass groove and sharply echoed guitar. Though, it isn’t very long before the distortion comes blasting to the surface, obliterating everything in its path. “Time Snakes” similarly starts out with the understated bass, a complete fake out before the surf-rock/Bow-Wow-Wow guitar comes in, drums rumbling behind at breakneck speed. It’s got that ramshackle quality, where it sounds as though the entire thing might fall apart at any second, that I wish more bands would embrace. These guys are really putting themselves out there on a tight-rope and taking chances.

I know that there are only 3 songs here, but I am still just sitting here listening to them over and over trying to figure out which one is my favorite. I think that the only answer for me is going to be to buy the album. It’s out now on vinyl, CD and cassette at New Moss Records. Come to find out, their lineup is pretty great. But, more on that later. And, on a side note, I’m wondering if this album is a response to that one Supergrass album

Buy//New Moss Records//Soundcloud//

Video: Child Abuse – “Cut and Run”

This band was just brought to my attention today and my first reaction (after about somewhere between 1 and 1.0001 seconds within hearing their stuff) was that I had to write about them.

I’m literally looking stuff up about them as we speak, but I think that it would be better if I just sort of let the videos do the talking. There are a bunch of live clips of Child Abuse playing at Death By Audio over the years. From what I can gather the situation we have here is that if you like Lightning Bolt, then you are going to love Child Abuse. Noisy, loud, distorted beyond seemingly all comprehension, unintelligible lyrics and more fierce energy than normal humans can muster in a week, right there on stage in moments.

There’s a pretty OK interview with them here where they discuss classifying their music as a hybrid of jazz and metal and “a bunch of other stuff. Everything really.” It does have elements of math-rock and thrash with the stop-start spasming of rhythm with the occasional quasi-blast beats coming forth nonchalantly from the drummer. To be honest, the entire band makes this music seem effortless, though this is not “easy” music, either to perform or to digest. Child Abuse is most certainly not making background music.

Obviously the most important thing is to listen to them. Their first album is available through Rococo Records.