US alt-rockers Plastic Rhino mean business on their second release ‘Recondition’, as they celebrate a trashy hard rock sound with a nineties slant. Bringing back riffs from a (mostly) pre-grunge world, there’s a retro quality, though surprisingly, given the potentially disposable feel of some of the material, there’s a defiant steering away from the more obvious glam roots. Each track is loaded with a tough riff and often a strongly suitable melody, but those riffs are rarely pivotal in making Plastic Rhino’s material hit with a sizable punch, it’s never really Jack Glazer’s guitar playing that leaves an indelible mark. His playing is rhythmically solid without any hint of flashiness, for it doesn’t need an overt flair; the winning factor throughout these seven songs is frontwoman Atara Gottschalk (ex-Luxx), a performer who approaches each performance with consummate ease, whether called upon for something gritty, slightly unnerving or a more obvious rock wail.
Tag Archives: alternative
SIRS&MADAMS – Sirs&Madams
Brooklyn’s Sirs&Madams is very much a band of two distinct moods. On this debut release, when not laying down thoughtful pastel sounds with an alt-folk leanings, they’re tearing it up via some chunky and melodic indie rock workouts. While this perhaps might sound a little too broad stylistically speaking, they have one absolute constant. Whether rocky or rootsy, the bulk of the material is held together by some truly outstanding performances from frontwoman Laura Gwynn. Her voice, a confident, belting array of sounds with a sheer melodic edge cutting through at all times, is one of the finest voices to appear on the DIY music scene for a very long time. It’s one of those voices that has such power, she could sing almost anything and make it sound utterly spellbinding.
MY CRUEL GORO – My Cruel Goro EP
A multi-national trio of joyous noisemaking intents, the oddly named My Cruel Goro bring loud guitars and a boundless energy that’s potentially appealing to those who found themselves glued to the pages of Britain’s NME music rag back in the mid 90s. Perhaps not the guys who fervently followed the Blur vs Oasis spats, or those who patiently awaited news of the next Echobelly tour or were just casually looking to see if editorial policy meant that Morrissey was out of favour that week; more those readers and listeners who looked forward to new releases from Superchunk and were keenly following the progress of Ash’s recording career. Indeed, for those who still get a kick out of Ash’s noisier material – ‘Darkside Lightside’ etc – the three songs which make up this release should bring both a nostalgic charm and a sense of relief that a musical influence that’s some twenty years gone at the time of this release could still sound so vibrant.
HONEY MOON – Honey Moon EP
In terms of retro sounds, things rarely come any more assured and gorgeous than those of London based Honey Moon. On their debut EP, it’s as if the quartet have been sucked through a time tunnel back to 1967, to a time when fashion boutiques like Granny Takes a Trip were all the rage for the wealthy and hip in-crowd, a time when experimental music was still in its infancy, but more importantly, a time when music was becoming rather sophisticated. From there, they’ve learnt a great musical craft, transported it back to the present and layered it with a modern sheen and a few filters. The EP’s four tunes jangle with a lazy, blissed-out sense of cool; each of the players bringing something special to this short musical throwback.
THE FIERCE AND THE DEAD – Magnet EP
Post-rock quartet The Fierce And The Dead first captured the attention of listeners the artier end of the rock spectrum with their 2011 full length ‘If It Carries On Like This We Are Moving To Morecambe’. While the intricacy of the album’s music inevitably found the band gaining the “prog” tag, the instrumental wig-outs pulled far more from various alternative rock sources, with elements of noise rock, often making their love of Hüsker Dü/Minutemen et al fairly obvious. The following album, 2013’s ‘Spooky Action’ was potentially even more bonkers, showcasing four very talented musicians working their frenzied guts across a variety of angular rock sounds, with most of the material sharpened by brevity. With no filler, ‘Spooky Action’ is potentially TFATD’s masterwork; in addition to the world of looped guitars and mind bending, gleeful complexities, Kevin Feazey’s bass sound – particularly on ‘I Like It, I’m Into It’ – comes across with a genuine force. It is a record that anyone interested in quirky and thoughtful musicianship should lend an ear.