Monday, May 27, 2013


BAD VISION - 112/VISIONS 7" (Selfreleased)
Don't let the unispired bandname stop you: this is an totally awesome double a-side single. Melbourne based four-piece Bad Vision play varied melodic punkrock, that merges influences ranging from garage to protopunk, power-pop and late 70s punk. "112" on the a-side carries an early L.A. punk vibe. It reminds of releases on Dangerhouse records. A well done poppunk gem underlayed with plenty of great melodies and excellent short guitar-solos. This is the kind of song you want to listen to over and over again. "Visions" on the flipside maintains the high level. It starts with a super catchy guitar riff, that will stuck in your head after the first listen. The whole song is a immediate, trashy power-popper. It's comparable to The Briefs, if they were good. Bad Vision have toured Europe in April and May, but unfortuantely I've heart about it too late. I guess I've missed a great live show. They've announced a debut full lenght for late 2013. Can't wait for that! (Listen to it here)
EX CON - S/T 7" (Bon Voyage)
Ex Con are a new Brisbane based band featuring former Slug Guts vocalist James Dalgliesh on guitar. The frontcover is a bit misleading. It looks like a Circle Pit or Fabulous Diamonds records, but it sounds a lot more ugly. Ex Con's selftitled debut title offers three tracks of super noisy punkrock. The guitar is loud and crushing driven by reverbs and heaviest distortion. The straight and pounding drum beats sound like they've been recorded in a cold cave far away. They are very low except for the banging cymbols. Joanna Nilson's vocals range between ugly growled shouts, that are not unlike Nü Sensae, to a more melodic and catchy style. The recording is lofi and noisy, but it captures a certain kind of coldness, that links to the twang of Sacred Bones releases. The a-side starts with "Cuda 82" a straight no frills punk blast, that sounds like Jesus And The Mary Chain were into hardcore with a noisy guitar wall in the forefront. "Bronzer" is a little bit more varied, but also totally furious and unpolished. "Right Brain" on the flipside is the most memorable track. It sounds like a catchy garage tune under a vail of merciless noise-punk. During the first half of the song the focus is on the fantastic vocal harmonies, then for the last three minutes it turns into instrumental based on a brilliant extended guitar tune, that could go on forever. A highly recommended debut single! (Listen to it here)   

Sydney four-piece Ghastly Spats nail down four tracks of gloomy 60s inspired mid-tempo noise-punk. Their tunes are underlayed by a scary organ making it sound like it's coming from another far away galaxy. Ghastly Spats combine psych with garage and postpunk, but in the end it's their own highly destructive style. "Flesh Thing" is a pretty catchy short cut, that could have been taken from a HoZac release. It's comparable to the Myelin Sheaths, even that's probably not a very well known reference. "Sordio" is more on the UK postpunk side with a bizarre, discordant twang. The A-side ends with "Kid" a painful, monotic noise-blast with crushing out of tune guitars and fantastic male-female double vocals. "The River" on the flipside is psych-punk gem, that finds the right balance between supportive melodies and dissonant weirdness. "Border Town" the last track is a slow psych stomper, that's raw, ugly and unpolished with a super spaced out guitar and a drug-influenced sound. As a whole this is really an astonishing great debut 7" and Ghatsly Spats have created a totally unique and weird brand of 60s inspired punk. (Listen to it here)
SPROT - SUMMER OF SPROT 7" (Wormwood Grasshopper)
After the first few spins I wasn't sure on which speed this single is played on. Then I found a small paper inside the cover sleeve with the correct rpms printed on. Finally I came to the conclusion, that it doesn't really matter, because it sounds good on both 33.3rpm and 45.rpm. Sprot is a noise duo from Brisbane, Australia. The a-side seems to capture a rhythm section doing a jam session in the rehearsal room. The bass plays a cheesy poppy melodie again and again. The drums are recorded in lowest quality with loud crashing cymbls. They add a simple straight beat. In contrast to that the guitar creates a mess of blown out noise, made with reverbs, distortion, feedbacks and effects. It sounds like two different songs were put into one and the guitar wants to destroy everything. The b-side is a ear-bleeding electronic noise attack. I guess they've recorded several different sounds (probably also made with a guitar!?), that were then modified to one big ugly mush of noise. The result is comparable to something that could have been released on Aryan Asshole Records. The single also captures a musique concrete vibe, even if it isn't arty. This is pure painful noise without a spark of hope. (Listen to it here)

"Realistic Pillow" is a four-way split compilation focused on groups from the fifth continent. It features one track by Mad Nanna, Pumice, Kraus and Slug Guts. Mad Nanna, one of the most impressing current Aussie bands, offer one untitled, slow and monotonic live cut. A super primitive song with their typical anti-supportive, jaded vocals in the forefront. You're never sure, if it will break together within the next second. Flying Nun inspired music with an unsigned, hopeless and destructive sound. Kiwi artist Stefan Neville should be well known from his several releases under his Pumice moniker. "Glordinary" is based on a loop of a warm and beautiful piano melody with Neville's low recorded vocals floating somewhere in the background. Kraus contribute a mesmerizing 60s psych instrumental based on a catchy organ line and a groovy beat, which is repeated again and again. The Slug Guts song is taken from their "Play In Time With The Dead Beat" LP studio session. "Creepin' Out" is a brilliant goth meets postpunk tune with their low gloomy vocals and a sick saxophone performance in the forefront. They take the best parts of Birthday Party, Bauhaus and Gun Club to create their own cold and dark style. This is really a totally awesome compilation without a single filler track. (Listen to it here)