Monday, September 23, 2013


The Bips' "Every Day I Nap" session is recorded in a two-piece line-up consisting of drums and guitar only. Consequentially the four tracks are pretty much stripped down to the essentials. The songs capture a discreet, but highly distinctive pop feel, that stands out within the 60s folk influences. The gently singing from all two is a core part of the Bibs' appeal. Things are based on basic drum beats and a brilliant jangle folk guitar, both resulting in unique, sophisticated, yet broken ballads. The Bibs take the essence of Velvet Underground's poppy side and fuse it with a more weird and unpolished approach. The rough and ready four-track recording is the perfect match to The Bibs' music. Also fans of 80s Flying Nun pop simular to early The Clean and The Bats won't be dissapointed here. (Listen to it here)

The previously reviewed The Bibs tape featured drums and guitar. Here, things are based on a acoustic guitar and bass smearing each other's tendrils across the night sky. They add 12 string leads, restrained double vocals and undertones of organ and harmonica melodies. But the focus is clearly on the interplay of the strings. It's driven by a fat ugly droning bass sound. The folk influences are still apparent, even if the songs also recall Spacemen 3 with it's slow psychedelic gesticulations. Most of them are pretty short and only a few turn into extented trips in a deep psych space. The sound is raunchy and dense  with an experimental approach, that brings to mind New Zealand artists like Dead C or Pumice. Again the fantastic lo-fi four track production is one of this tape's main secrets. The Bibs recently toured with Mad Nanna. This should have been a hot and fitting package. (Listen to it here)

HLEP - ZHAN TAPE (All Gone) 
Hailing from Ann Arbor Hlep are a postpunk group consinsting of members of the K-9 Sniffies. Their sound has classic UK postpunk hellmarks. You can hear influences of Televsion Personalities, Swell Maps and Wire, but Hlep keep their brand of postpunk interesting and varied enough to be more than a complete imitation. They find a perfect balance between catchy song structures and vocal harmonies on the one hand and a straight blasting punk attitude on the other. The whole musical performance is well done and it goes far beyond the typical postpunk spectrum including hints of space- and psychrock. Most songs are based on a slight dissonant, but highly addictive groove. You get five tracks, of which the titletrack "Zhan" is probably the most memorable stomper. But the whole tape is a winner and it could be a lovely lost Rough Trade release. (Listen to it here)

This is the latest release by the K-9 Sniffies following their smashing "Rawsonville" 7" on Urinal Cake. The six tracks on "Dehydration Guys" are rooted in the sound of US garage and rock'n'roll groups. At the same time the recording is raunchy and destructive driven by a unique kind of weirdness. The tape kicks of with a disturbing sound collage intro. Next comes "Full Of Bust", a destructive punk tune made with heavy feedbacks, a super noisy guitar and sick high speed vocals. Things become more melodic with "Doctor's Orders" sounding like a rawer version of the Swell Maps. "Tar Heel-Blues" on the b-side is a groovy garage-psych munge filled with blown out guitar-solos and catchy organ melodies. "Mr Willie" captures a straight on garagepunk vibe. The final track "2012" is an amazing cover version of The Stooges' classic "1969" and it's really the best evidence of The K-9 Sniffies' genius. Very nice. (Listen to it here)

This is the second vinyl single by this Melbourne based trio. The band is made up by people involved in Mad Nanna and White Woods. The broken, sloppy, slowed down and inadequate approach shows simularities to Mad Nanna, while the melodies and jangle could be taken from a White Woods record. The songs are in the first moment minimal, stripped down and centered. But after a few spins you'll realize, that they develop something complex and addictive within their monotony. The titletrack is a poppy indie-folk banger with Carla's bizarre heartbreaking vocals in the forefront.  "At My Cuffs" on the flipside is a lazy. more dissonant number with melodies arising and disappear. The home recorded four-track sound forms the perfect complement for Mole House's compositions. Fantastic! (Listen to it here)

Public Urination are a new band emerging from the hot current Detroit scene and I think this tape is their first release so far. Their bandname is at least as dirty as their music. You get six short and frantic slaps of ugly noise-punk. Public Urination play music in the most primitive and destructive way. A distorted squeaking guitar is paired with manic screamed vocals, brilliant lyrcis and hammering drums sounding cheap and unconventional like they were not made with an usual drum kit. Most tunes consist of rough hateful midtempo parts with a banging groove. Then all of the sudden they turn into sick high speed hardcore assaults, that are truely genuine, authentic and crude. This is great primitive music. (Listen to it here)