Category Archives: alternative

DEAD WOLF CLUB – Dead Wolf Club

Posted on by

The members of Dead Wolf Club weren’t out of primary school when Pixies called it a day the first time around, or when My Bloody Valentine released the seminal ‘Loveless’, but the influences and legacy of late eighties and early nineties arty alternative/noise rock is deeply rooted within their sound.  While Dead Wolf Club’s re-visitation of a 90s alternative sound could draw parallels with the much praised revivalists Yuck and A Place To Bury Strangers – at least in terms of attitude – on their debut album they’re not always as consistent as either.  That’s not to say the ideas aren’t there, though – these guys have plenty of inspired musical moments.

Behind the brightly coloured origami wolves which adorn the sleeve lies a world of visceral noise, interjected with atmospheres.  ‘Wave’, the centrepiece from both this album and the band’s live set, shows DWC at their absolute best.  On this mini-masterpiece of swirling anger, a four chord, looping riff has an almost hypnotic appeal, starting slowly and gaining momentum throughout.  Eventually, a much weightier riff (recalling early Smashing Pumpkins and Slint) crashes in under which the treated lead vocals are barely audible.  The sprawling six minute ‘Colossus’, works its magic via a similarly simple riff, creating a world of general trippiness via various alt-rock and shoegaze influences.  The multi-layed guitar parts (courtesy of John Othello and Alwin Fernandez) rise and fall, while Othello’s lead vocal interjects in an echoing fashion, like a man shouting from the end of a long corridor.  Looking beyond the twin guitars – fuzzed up and at maximum jangle – Martha’s hard bassline really carries the weight of the tune.  While not quite as distinctive as ‘Wave’, this tune represents a more than solid slice of arty indie rock.

On the slightly more aggressive front, ‘Headful of Horrors’ opens with a heady mix of clanging rhythmic chords overlaid with heavily distorted lead guitar and some similarly distorted vocals.  Surprisingly, given the DIY approach, there’s still a clear separation between the multi-layered guitar parts, allowing an occasionally used clean lead ample opportunity to ring out above the world of fuzz.  A busy drum part underpins the verses of ‘Radar’, but an ugly vocal and uninspiring tune initially suggests this song needed more work.  However, something more melodic soon appears over the horizon: a clean-toned guitar bridges the verse and chorus via a great (but all too brief) interlude, while the chorus itself is okay too.  By the track’s end, it fares better than initial impressions suggest, but measured against a couple of DWC’s best numbers, though, it’s not a classic by any stretch.  ‘Allison’ is even more guttural and basic with most of the song hammered home with a screamy vocal, occasionally backed by a shouting counter-voice.  Despite the brief running time, there’s still time for a couple of quieter sections where Martha offers some superb sounding bass.  On those quieter parts, for those willing to invest the time it takes to tune in fully, DWC prove the creation of multi-layered soundscapes within even their briefest of numbers is just as important as throwing primal aggression out there.

While some more discerning listeners may detect a slight inconsistency in drum sounds [the album itself having been recorded with three recording engineers/producers and as many different drummers], there are enjoyable results on ‘Dead Wolf Club’. While it may not always capture the levels of anger present during parts of their live set (which is worth catching to see drummer Serra Petale attacking her kit), this independently released disc has a ragged appeal and a bristling energy that captures Dead Wolf Club’s “geek rage” well enough for a first outing.

Listen to or buy the album via the widget below.

July/August 2012

REDD KROSS – Researching The Blues

Posted on by

Over the course of their career, Los Angeles punk/power poppers Redd Kross (formerly Red Cross) have released some great records.  Although their early raw releases are loved by some, for most listeners, their finest works are not those punk/garage influenced records at all, but the handful of later releases heavily indebted to Cheap Trick. ‘Third Eye’ – the first and most accessible of that short run of albums – is a largely unheralded masterpiece.

The band’s 2012 album ‘Researching The Blues’ breaks a fifteen year hiatus for Redd Kross, but it’s not as if the McDonald bothers faded entirely from view during that time.  Jeff played in Ze Malibu Kids with The Go-Gos’ Charlotte Caffey, while Steven turned his hand to producing records for others, before resurfacing in 2009 as bassist for hardcore punks OFF!

When a band or artist returns after such a long time out, quite often the results can be a little disappointing.  Thankfully, that is far from the case with regard to this record, since ‘Researching The Blues’ is a classic Redd Kross release on all fronts.  Firstly, it features the line-up that recorded 1987’s ‘Neurotica’ – a somewhat pivotal release which saw Redd Kross making the transition from garage-based tunes to developing stronger pop sensibilities.  Secondly, and perhaps most importantly, it blends the best elements of their three 90s records [1990’s ‘Third Eye’, 1994’s ‘Phaseshifter’ and 1997’s ‘Show World’].

It may have been a long time coming, but Redd Kross have given their fans a selection of brilliant tunes here and the album’s overall sound picks up where the band left off, almost as if it was recorded without any hiatus at all.   The short and punchy ‘Meet Frankenstein’ puts the band in a Flamin’ Groovies mode, all sixties chords and jangle.  In classic style, that’s not quite enough for Redd Kross, who then decide to dress an already enjoyable romp with some smart Cheap Trick styled harmonies.  Keeping with a horror theme, the potentially tacky ‘Dracula’s Daughter’ is equally wondrous.  With a much slower pace, dominated with echoing drums (which, in turn, absolutely drenched in crashy cymbals), the McDonald brothers share their love for all things sixties sounding, a fusion of Big Star and Teenage Fanclub.    The more throwaway ‘One of the Good Ones’ provides a little fun via an almost danceable beat, clean rhythmic chord patterns, a bass part which has more going on than initially expected and a world of handclaps.  While slightly more bubblegum than most of ‘Researching The Blues’, doesn’t get anywhere close to the high camp of ‘Bubblegum Factory’ or their 1994 cover of ‘Yesterday Once More’ in the name of trashy fun, but it’s fun all the same.

The simplistic arrangement of ‘Winter Blues’ allows plenty of room for a multi-layered vocal, while beneath pounded drums, a great bassline pulls everything together.  Although not quite stretching to two and a half minutes, there’s also room for a brief twangy lead guitar break which tips the hat to some sixties greats.  Sounding like The Byrds dressed in glam-rock clothes, Redd Kross sound terrific during ‘Hazel Eyes’ which places their complex vocal arrangements against a brilliant jangling guitar line.  Just as you think you’ve heard it all, Steve breaks into a fat bass lead and Robert Hecker tops everything with some brief Pete Townshend-eque  bluster with brilliant results.   In a slightly angrier fashion, the title cut fuses choppy guitar with another pounding drum part.  The album’s most direct offering – perhaps more in keeping with material on the band’s 1994 release ‘Phaseshifter’ as opposed to anything more bubblegum – the guitars are fuzzy and a lead break appears suitably aggressive while throwing out melodies in favour of whammy-bar antics.

While the catchy choruses and harmonies come thick and fast throughout, best of all is ‘Stay Away From Downtown’, a high energy rocker which combines 60s riffs and harmonies with a rawer post-punk attitude.  It’s ringing guitar tones have a relentless approach, but the general mood of the number is absolutely joyous.  The simple chorus which barely extends beyond the one line but it’s so, so infectious.  A casually thrown in “Yeah you!” at the end of each chorus refrain is a throwback to the arrogant teen attitude which peppered their earliest discs, while the shameless “sha laa laa” which brings the track to a close echoes the sugary pop hooks of ‘Third Eye’s best outings.  In short: the harmonies, energy and attitude collide in a way that’s so distinctly Redd Kross that long standing fans will absolutely love this track after the very first listen.

With a running time of just over half an hour for ten songs, there’s no padding here. Like Van Halen’s first couple of records, Redd Kross exploit the theory of “quality, not quantity” and ‘Researching The Blues’ really benefits from such a lean and mean style.  It’s one of those albums which, once ended, you’ll find yourself listening to again…and again. If you loved ‘Third Eye’, this release should be high on your priority list.  If you’ve never heard Redd Kross before this release is a good a place as any to start listening.

August 2012

POST WAR GLAMOUR GIRLS – Tragic Loss; he had such a lovely house EP

Posted on by

This 2012 release by art-rockers Post War Glamour Girls, capitalises on the great promise of the few singles which have been previously released.  A four-track EP, ‘Tragic Loss; he had such a lovely house’, is ugly and twisted, while at once epic and engaging.

Which a morse-like drum intro and a hard vocal ‘Today I Am a Man’ begins in a rather anxious manner.  By the time PWGG hit their stride, the combination of buzzsaw guitars and smashing drums creates something that sounds like The Birthday Party featuring Marc Ribot on guitar experimenting with more of a psychobilly mood.  This opening statement captures the unrestrained energy within the Leeds based four-piece excellently. In contrast, ‘Tremor’ shows a greater sophistication, harnessing those previous energies with haunting, quieter passages which push a male/female dual vocal to the fore.  The guitars adopt a lovely 50’s echo while, as before, the drums are often the dominant force.  This pair of tunes are like a yin and yang from which most – but not all – of PWGG’s strongest influences come into play; both excellent, but for completely different reasons.

‘The Trawler Man’s Code’ creeps in with atmospheric clanking and droning, but it’s not long before the staccato guitar parts start ringing out and the voice creaks and croons drawing in the listener.  For what passes as a chorus, there’s far more of a melody melody at play here, borrowing bits from the 80s goth movement and blending them with other fuzzy noises to create something alternative yet wholly accessible.   Saving the best for last, ‘She Will Always Be My Anchor’ begins with a slow, doomy intro.  Just as the listener is fooled into thinking PWGG are heading into a four minute sludge-fest, the chords crank out an unsettling and distorted waltz, while a suitably aggressive voice sweeps between a croon an full-on shouting.  Again, comparisons with the more aggressive works of Nick Cave just cannot be avoided, while the music – part waltz, part drunken sway – borrows a heavy influence from the one and only Tom Waits.  During the quieter moments, the drums sound fabulous against a wailing voice, while at the other end of the scale, there are huge skull-pounding riffs.  Imagine Kurt Weill’s work given a distorted makeover and you’ll pretty much capture the spirit of the piece.  In case you were in any doubt, this track (and, indeed, the rest of ‘Tragic Loss; he had such a lovely house’) is bloody amazing.

The Cave-esque lead vocal will provide comforting familiarity to some, while naturally will be off-putting to the more foolish.  Post-War Glamour Girls are far more than the sum of their more obvious influences, though…and as a result, this EP is essential.

August 2012

COLLISIONS – Believe In This EP

Posted on by

With intense beats heavily rooted in alternative dance and guitar riffs chunky enough to satisfy most rock fans, Collisions are taking no prisoners.  Having landed support slots on tours with UK crossover heroes Senser and US rap/metallers Hed(pe), the Brighton based quartet have already built a live following.  This debut EP – although a far too brief snapshot of a very talented bunch – captures their barely containable energy levels with often uncompromising results.

As the intro of the opening track ‘Believe In This’ emerges from the speakers and the electronic sounds clash with the atmospheric wordless voice, it’s hard not to instantly think of Newport’s finest ragga-metal merchants Skindred (a band with whom Collisions gained early, favourable comparisons).  As the meaty riff kicks in, Collisions attack most of the next couple of minutes at full pelt: that riff sounds huge and awesome and the electronic beats suggest an equal love of Pendulum, while the vocal – unashamedly English (and none the worse for that) – is loaded with plenty of shouty charm.

While the other three tracks are in a very similar vein, ‘Fire Fire’ ups the ante, and the band’s mix of metal, dance and industrial edginess sounds ever more intense.  While the dance elements bring most of the energy here, the enormous – and hugely downtuned riff – carries nearly all of the musical weight, sounding not unlike something from Skindred’s 2011 opus ‘Union Black’ played with maximum force.  Likewise, ‘Push’ really pumps up the listener with its hefty beats while simultaneously pummelling you with some superb sledgehammer riffing.   The ferocity in the performances really highlights how pumped Collisions are musically; after listening, you should feel hugely pumped too.

Perhaps the weakest of the four tracks here (and, in this sense, weakest is very much a relative term) ‘Chasing Forms’ isn’t quite as instant.  This is largely due to the slower intro combining clanky beats, clean guitar chords and electronic vibes.  The vocal is not quite as insistent either, with the rappy style recalling the male vocals from Sonic Boom Six, another cult UK genre-bending outfit.  By the time things slot together – just before the halfway mark – Collisions’ usual aggression takes over.  After spending a great amount of time with this EP, ‘Chasing Forms’ works its magic eventually, but never quite reaches the all-round brilliance of ‘Believe In This’ or ‘Push’.

While Collisions’ literal collision of genres sounds awesome, there is not always a huge variety in the end results.  That really doesn’t matter, though, since their main objective is to get you either dancing like a mad thing or going headfirst into the pit. In that respect, ‘Believe In This’ is a resounding success.

May/July 2012

THE MOTHERSHIP – Ten Miles Wide

Posted on by

The Mothership is a four-piece alternative rock/grunge band from Seattle.  In March 2011, they released a debut three song EP.  That gave a reasonable taster of The Mothership’s sound, but this full length  released just six months later,  allows the band a longer – if not always broader – canvas on which to show off their talents.

The general mood of the record is quickly apparent once ‘Songbird’ kicks in.  After a slow intro peppered by trumpet, the band launches into a piece of chunky alternative rock, which could best be described as something from ‘Superunknown’-era Soundgarden if it were reworked by Joshua Homme.  The ominous pace captures the spirit of all that was great about Seattle in the 90s, but while it comes with an undeniably plodding approach, it never actually feels leaden at all. While the band sounds relatively weighty in their delivery, the DIY production is good enough to make ‘Ten Miles Wide’ sound finished, but not too shiny – which obviously, is just right for The Mothership’s chosen subgenre.  The “heavy but never leaden” feel applies to most of The Mothership’s best work; their arrangements often appear to move along rather briskly despite often being hugely riff heavy.  [As proved by Soundgarden’s second album ‘Louder Than Love’, it is easy enough to make a heavy record, but much harder to make such heaviness remain buoyant.  For the most part, that album sounded like a dragging dirge in the early 90s, and time has not improved things.  For a band whom would later prove themselves masters of their art, it has to be wondered how that 1989 outing went so horribly wrong. The Mothership’s work has no such problems here.]

‘The Plank’ comes in with another meaty riff, mixing typical Seattle-isms with a more groove-laden approach.  The twin guitars of John Beckman and Paul Fraser aren’t always subtle, but an occasional melody played in a higher key provides a great musical touch.  ‘No Minor’ allows drummer Will Andrews to lay down a slightly more complex rhythm, while a dual vocal is delivered with a 90s sneer.  Despite the lack of instant hook, there’s enough attitude here to grab the listener, recalling early Soundgarden and a few of their peers.  Those influences pulled from classic grunge should provide enough plaid-shirted thrills to those who still love early 90s (then) alternative music.

The more typical alt-rock styles take a rest during ‘Knifey Spooney’, as the band trade in their preferred approach for something much funkier.  A choppy guitar riff melds with a fluid bassline as the band tinker with something bordering on jam-band territory.  While there’s a dose of funk here that’s occasionally peppered with a slight Latin-eque mood, it’s not as if the band has suddenly started to channel Dave Matthews or Stephen Stills’ Manassas… There remains a strong alt-rock edge to the rhythm guitar and basslines, while Beckman’s vocal still retains enough ragged qualities to remind the listener of the truest roots of The Mothership’s music.

The acoustic blues-rock which begins ‘Ugly Love’ owes a huge debt to The Screaming Trees – perhaps more specifically Mark Lanegan’s solo debut ‘The Winding Sheet’ – with more obviously laid back qualities.  Echoing electric guitar parts cutting between the woozy vocals are a great flourish and in turn have an equally fantastic sound.  Things turn full electric for the choruses, when The Mothership sounds as if they’re embarking on their own Desert Session.  In all, this track is superb – without doubt, ‘Ten Miles Wide’s finest moment.  Similarly, the acoustic based ‘Burn Pile’ aims for atmospheres over bombast, allowing the vocal to carry most of the tune.  Extra atmosphere comes via a few swirly reverb sounds, making this downbeat number the ideal way to wind things down after the maximum rock posturing elsewhere.

There are three or four genuinely excellent songs found within ‘Ten Miles Wide’s twelve cuts, and a few more really solid offerings (with no outright duds).   Joining a whole barrage of bands keen to revisit alternative music of the early 90s, The Mothership’s first full length may often sound a tad predictable, but for those willing to spare the time, it should be a mostly enjoyable ride.

June 2012