Tag Archives: feederz

Fred Mills: Recent 45 Reviews (and some not-so recent..)

Ed. note: We dig vinyl here at the BLURT temple of wax. And we dig it no matter the size. A number of singles have been turning up in the post of late, so who are we to complain? Here’s the lowdown…

FEEDERZ – WWHD (What Would Hitler Do?) 7”

Slope / www.sloperecords.com

Two slices of searing guitars and political screeds.

The Bay Area-Phoenix punk connection has always been symbiotic, and this 7” platter by Arizona’s Feederz neatly bridges the temporal divide between the early ‘80s and now: guitarist/vocalist Frank Discussion is joined not only by early member Clear Bob on bass, but also by drummer DH Peligro—yes, THAT DH Peligro, from the Dead Kennedys, San Fran legends who befriended the Feederz as early as 1981 then the band appeared on Alternative Tentacles compilation Let Them Eat Jellybeans.

As produced by the Meat Puppets’ Cris Kirkwood, WWHD serves up a twin-pack of pure outrage and sonic scree. Side A, “Stealing,” boasts a sinewy, fuzzed-out riff, a metronomic rhythm, and Discussion’s edgy vocal sneers, growls, and grunts as he mounts a call to arms for citizens to rise up and take to the streets: “Tonight we’re settin’ the world on fire.” And “Sabotage” makes explicit Discussion’s attitude to the current Republican administration – as if the sleeve art depicting a scowling Trump as Hitler didn’t already tip you off – with a snarling challenge set against a staccato, almost Wire-like minimalist funk-punk backing:

Time to put this country out of our misery…
You wanna fuck with Mexicans, you wanna fuck with blacks,
You wanna fuck with all o us? Then you better watch your own fucking backs.
We’ll be taking down your empire
And turning it into a bonfire.”

Clearly this band is, as the saying goes, “fired up.”

The single, incidentally, is pressed on beautiful orange vinyl—perhaps the same color as a certain politician’s hair and spray-on tan? Included is an inner sleeve with complete lyrics and a photo of the band wielding automatic weaponry. Best take them seriously.

THE SWEET THINGS – “Love To Leave” 7”

Spaghetty Town / https://www.facebook.com/SpaghettyTown/

More cowbell! Dolls/Stones acolytes know their sonic debauchery…

They could only be from Noo Yawk—East Village denizens The Sweet Things serve up a twinpack of Dolls, Stones, Hanoi Rocks, G ‘n’ R, and the like. Weaned on punk, subsequently smitten by glam, all scarves, mascara, and a serious Jack Daniels habit.

The fiery foursome kicks off their latest 7” single—grab it on hot pink or midnight black vinyl, collectors— with “Love To Leave,” all power riffs, sleazy slide leads, pounding ivories, and clanking cowbell. (But of course.)

Flip for the sensitively titled “Cocaine Asslicker Blues,” and no, it’s not a GG Allin cover. Instead, think Johnny Thunders backed by the original Alice Cooper band. You’ll fill in the cowbell parts mentally. Some things just continue to be revived as each new generation consults the classics. God bless The Sweet Things for diving wholeheartedly in. Sweet!

BALKANS-PEDRO FOUR-WAY – 4-song 7” EP

ORG Music / www.orgmusic.com

Garage pop and funk punk from the Mike Watt extended family.

The curious band name owes to the fact that the four bands on this 7” EP hail from  Zagreb, Skopje, Belgrade, and San Pedro, CA—the latter, of course, being Mike Watt’s home base. (You may have heard of him.) It’s a stellar slab of wax at that.

Thee Melomen kick things off with a spot-on slice of guitar-organ garage that bears worthy overtones of earlier European garage avatars the Nomads and the Watermelon Men. Up next is Vasko Atanasoski serving up a minimalist bit of pop-funk—the funk being supplied by Watt on Bass—not unlike recent material by distaff rockers Warpaint. Flip the platter—you remember how to do that, right?—and the stereo spews forth with a kind of Beefheartian blues-skronk take on Watt’s song “No One,” courtesy Disciplin a Kitschme. And Watt and his Secondmen themselves maintain that mood for “Do Not,” which was penned by fellow bassist Koya, from DaK, turning the dial up to “hectic” in true Watt fashion.

The EP arrived for this year’s Record Store Day, incidentally, limited to 1800 copies and pressed on both green and black vinyl—the two colors were inserted randomly in sleeves, so you basically flip the coin when you break the wrapper

THIGH MASTER – “B.B.C.” (7” 45)

12XU / www.12xu.net

Power pop riffage takes a Pavement-esque distorto detour, Australian stylee.

Hoo-boy, don’t even try Googling this band unless you still cling to adolescent fantasies of Suzanne Somers (that’ll date you). Instead, direct your jizz in the direction of the Brisbane (Australia) outfit’s Stateside label, which will kindly provide you with a Soundcloud link to the group’s latest A side. It is, indeed, the sonic equivalent of—as the band’s bio assures us—“a lost Flying Nun band.”

Now, I don’t expect anyone reading this, other than my partner-in-Oz (and BLURT blogger) Tim “Dagger” Hinely to fully dig that ref. So perhaps I should laud the Oz outfit’s masterful deconstruction of twinkly power pop riffage, in which they overlay distorto-rumble stylings and Pavement-esque rhythmic ruminations, ultimately emerging with a tune that, verily, defines Indie Rock 2017. (Or maybe 1987, take your pick.) But that would be saying a mouthful, and life is short.

Once upon a time, Amerindie labels would take a chance on Down Under artists, damn the quarterly reports. The golden era of 1985-95 (or thereabouts) passed long ago, however. Perhaps with folks like 12XU and In The Red stepping into the commercial fray anew, other labels will pick up the baton.

FITS OF HAIL – Belmore 7” 45

Sound of the Sea / www.soundofthesea.com

The Upshot: Velvets-esque folk rock and choogling drone, with a distinctive Clevo vibe, and on colored wax to boot.

This utterly gorgeous—sonically and visually—splatter-colored vinyl 7” comprises a pair of must-hear tracks, along with a bonus digital tune should the consumer opt for the CD or download versions. If you are a regular reader of BLURT, you no doubt already know which format we strongly recommend. It’s by Cleveland quartet Fits of Hail, the brainchild of vocalist/guitarist Chris Anderson, who did the bulk of work on the previous two FoH releases, and is now joined by bassist Alan Grandy, guitarist Mike Reilly, and drummer John Kalman. Together, they make a moody-yet-joyful noise of an irresistible earworm quality.

Main track “Clutter” has a kind of low-key, subtly choogling Velvets vibe, a folk-rockish drone ‘n’ chime emitted from the guitars and Anderson’s yearning vocal powering the narrative. Flip the single, though, and be prepared for, as the saying goes, something completely different: “Came Through the Change” has a brash—in places almost ground-zero, late ‘70s NYC punk—vibe, all tumbling percussion and fuzztone riffs spliced by Verlaine/Lloyd-style fretboard strafing.

It’s only one man’s vote, but allow me to just state for the record: Fits of Hail. Long-player. Now.

You are welcome to head over to their Bandcamp page where the three Belmore tracks can be downloaded for a ridiculously affordable price. Once you do, though, I predict you’ll find yourself coveting the aforementioned color-wax physical artifact, so surf on over to the label website and order away.

BORZOI – Surrender the Farm  7” EP

12XU / www.12xu.net

Australian noize-rock that will have you camping out at the Ticketmaster office.

Are they from Melbourne, Australia, or recent transplants laying seed in Austin, Texas? Considering the sheer brazen, brutal (but serene to we tinnitus-afflicted music fans) racket this trio makes, it’s a moot point. On this four-songer, Borzoi sings of flak jackets, millipedes, Florida, Skoal chaw, and existential dread (of the latter topic, I’m not certain, but work with me). It’s kind of like fellow Oz-ites feedtime, if feedtime’s members were reincarnated as glue-sniffing teens, recorded all their material live, and then processed the resulting tapes through a CB microphone.

I’m sorry if most of you have no idea what a CB is.

There’s something remarkably energizing about this band, the kind of “energizing” that one dares not attempt to put the proverbial journalistic finger on. If records, in 2017, are supposed to be groups’ calling cards for tempting the public to spring for tickets and tees, consider this Oz aficionado “sold.” Where do we queue up?

 

 

SCHIZOPHONICS – Ooga Booga 10” EP

Pig Baby / www.pigbabyrecords.com

The Upshot: With a sound hearkening back to the MC5’s Motor City ramalama, the San Diego trio unapologetically kicks out da… you know.

Ooga booga, indeed. San Diego’s Schizophonics—the unholy spawn of Roky Erickson, Sky Saxon, and Rob Tyner—serve up a sonic scorched-earth policy guaranteed to singe even your nether hairs. I mean, seriously, folks, the music on this EP erupts from the grooves with such primal velocity, you can practically see a hologram of guitarist Pat Beers in full stage-leaping flight hovering over the turntable. (Check these photos at their website for confirmation.) The trio has been around since 2009, built around the nucleus of Pat and Lety Beers, plus bassist Brian Reilly, and has a couple of 7”ers to their credit, on Munster and Ugly Things, so you know that’s a TMOQ.  Ooga Booga seriously ups the ante, with nary a throwaway or B-side among the five tracks here.

From the outset they serve due notice: “Ooga Booga Boogalo” commences with a brace of klassic Kinks-style riffage and a Kick Out The Jams-esque arrangement (hence the aforementioned Rob Tyner namecheck). That’s followed by the riotous rumble of “Electric,” powered by sinewy, fuzzed out leads and Pat’s extemporaneous grunts and whoops. Flip the platter and get caught in the “Rat Trap,” another Nuggets-esque garage rockin’ gem of vintage Yardbirds aplomb. “Two Thousand Seventeen,” with its Keith Moon-worthy percussion and dark chordage, contemplates our contemporary era of reverse evolution to signpost the annum  in much the same way the Stooges marked the year of 1969.  The band wraps things up with “Venus Transit,” another slab of MC5 ramalama, all chaos and convulsion with a take-no-prisoners ethos.

Whew. Six successive spins of the rec, and I’m exhausted. Partially deaf as well. If this band tours anywhere near you, don’t miss it. But make sure you don your flame-proof pants before entering the club….

Consumer note: The EP is pressed on electric orange 10” vinyl, and each of the 1,000 copies pressed comes in a hand-numbered sleeve. It’s like getting Record Store Day early, so what are you waiting for, punters?

SOMERSET MEADOWS – We Will Rock 7″ EP
Self-released / https://somersetmeadows.bandcamp.com

The Upshot: The New Wave of the late ‘70s meets the alterna-nation of the early ‘90s.

Hey kids, nostalgic for the early/mid ‘90s? Me neither! The members of Portland’s Somerset Meadows clearly remember the era, but they’re smart enough not to emulate it despite having sonic overtones of Guided By Voices—which they preemptively state on their bio—as well as other indie/garage/lo-fi outfits such as the Grifters, Sebadoh, and the Mountain Goats. Like those avatars, SM have a knack for penning tuneful, hooky pop nuggets marked by careening guitars, riotous, Keith Moon-like drumming, and yowling vocals.

Lead track on this four-song EP (the follow-up to mini-album Time and Relative Dimensions in Sound) is “She Is Waiting,” a slice of revved-up British Invasion filtered through a Hold Steady lens, while the 1 ½-minute “Time to Shine” adds some surf-y riffage to the mix reminiscent of vintage Blondie. Hold that thought: this band wouldn’t have been out of place in new wave Manhattan, holding court in dives like CBGB and Max’s Kansas City and going for broke in front of a leather jacketed crowd night after night. All four songs here inhabit that rock ‘n’ roll fairytale universe, and luckily enough, for us the setting is 2017.

This limited-edition (250 copies), hand-numbered vinyl platter may or may not be sold out by now, but even if it is, you can preview it at the Somerset Meadows Bandcamp page and buy it digitally.

MINT TRIP – “Ghosts” 7″ (colored vinyl)
Blue Elan / www.blueelan.com

The Upshot: Sultry, sexy, danceable trip hop, pop and soul.

L.A. 2 guy/1 gal trio Mint Trip swirls and skitters in a mélange of pop, soul, and electronica that suggests a summit between classicists Saint Etienne and trip hoppers Portishead. For this vinyl 7” debut—comprising three songs from the five-track Books digital EP—the focus is squarely on sultry singer Amy Gionfriddo, originally from St. Leonard, MD, as graceful as a lioness, and blessed with the kind of supple pipes that could find a niche no matter the genre; indeed, the band’s “soul” component is decidedly jazz-infused. Amy is joined by L.A. native Brian Gross and Cary, NC, guitarist Max Molander. The three met at the University of Miami prior to landing in Los Angeles.

“Ghosts” is elegance personified, powered by a purposeful bass bumps and synth pulses, and of course that ethereal voice. Flip the platter over for “By The Sea” and “Virga,” the former a hypnotic, ethereal pop ballad; the latter, a luminous, gospellish slice of chilled-out soul. Point of fact, you can hear these tracks and additional two at the band’s Soundcloud page (“Canvas” is particularly compelling), so you have no excuse for not immersing yourself in Mint Trip’s sweet, hummable, danceable music.

Bonus points for the gorgeous turquoise vinyl, too. A download card is included that will net you all five songs.

PETER HOLSAPPLE – “Don’t Mention the War” 45

Hawthorne Curve  / http://halfpearblog.blogspot.com/

The Upshot: Against richly melodic backdrops, the dB’s member offers up character studies of poetic intent. Oh, and by the way: Support the home team, folks.

Despite being one of North Carolina’s most prolific and respected songwriters, Winston-Salem ex-pat (and current Durham resident) Peter Holsapple actually hasn’t released that much under his own name. There was early 45 “Big Black Truck,” a primal slab of psychobilly punk garage, released in 1978 at the tail end of his stint with the H-Bombs and serving as a segue into his lengthy tenure with the dB’s; a limited edition Australian-only cassette titled Live Melbourne 1989, which documented a solo radio station session; 1997’s gorgeous Out Of My Way CD; and let us not overlook his 1991 collaboration with dB’s songwriting foil, Chris Stamey, nicely titled Angels, and the an accompanying handful of Stamey-Holsapple singles.

Longtime Holsapple watchers, of course, know simply to scour record credits if they want to unearth a wealth of Holsapple material, from the dB’s albums and EPs (include, in this tally, the Chris Stamey & Friends Christmas Time album) and his work with the Continental Drifters, to the very early Rittenhouse Square album and the (possibly apocryphal) Great Lost H-Bombs Double EP 10”—not to mention a number of online-only tracks he’s slipped into the digital realm on occasion.

All of which is to say, a new Peter Holsapple record makes for a special event, one which we fans don’t take lightly. The fact that the new item is a mere two-songer potentially allows each track the kind of proper consideration that might’ve been elusive if placed in the context of a full album. The A-side, “Don’t Mention the War,” finds Holsapple joined by Mark Simonson from the Old Ceremony on drums and acoustic guitar and James Wallace (Phil Cook’s band) on piano and drums, plus tuba textures courtesy Mark Daumen. Holsapple handles guitars and organ while spinning a 6 ½ minute tale in which the narrator observes and comments upon a beloved uncle’s return home and subsequent battle with PTSD (“he sweats and he shouts and he turns white as a sheet… he opens his eyes, he’s still seeing the dead… he hasn’t picked up a guitar in nearly three years, I can scarcely recognize the same man”). Midway through the song the drum pattern turns overtly martial, underscoring the implicit tension in what’s otherwise a richly melodic, midtempo slice of pure pop; the tune’s subtly contrasting sonic elements help lend gravitas to the unsettling lyrical character study.

Meanwhile, “Cinderella Style” has a gentle, nocturnal vibe primarily wrought by Holsapple’s acoustic guitar, bass, and organ, with Simonson adding delicate touches of vibraphone and Skylar Gudasz contributing flute flourishes. “Love can mend a dress,” he sings, going on to describe the creation of a physical garment of calico, gabardine, satin, silk, and velveteen while hinting at the metaphorical implications of the act. The tune is relatively brief, deliberately restrained, and perfectly poetic in its imagery.

Holsapple recently told me that he opted for doing a single because he wasn’t quite sure he should thrust a full album’s worth of new material into the market, given music consumers’ relatively short attention spans and tendency to favor tracks over albums nowadays. Fair enough. I think he’s underselling himself, however. All that music mentioned at the top of this review (not to mention his contributions to other artists’ work, such as R.E.M. and Hootie & the Blowfish) comes stamped with the Tarheel TMOQ, so I have no doubt whatsoever that we fellow North Carolinians would be first in line for a Kickstarter-type campaign and any resulting record store product. People vote with their wallets, after all.

And while I’m loathe to invoke any electoral notions considering what we’ve all gone through recently… could I nominate Peter Holsapple for Minister of Music? Poobah of Power Pop? Raconteur of Rock? Hmmm…. why the hell not?

THE YOUNG SINCLAIRS – You Know Where to Find Me 7” EP

Planting Seeds / www.plantingseedsrecords.com

The Upshot: Jangle pop as timeless and classy as it comes

Though this 4-songer came out a few years ago, I’m only just now discovering the Virginia Beach/Roanoke area band. And it’s well worth backtracking to hear the record—it may be long gone by now, but you can year it at their Bandcamp page—particularly since this is the kind of timeless and classy jangle pop we aficionados live for.

All four songs are stellar, in particular the title song, which could be a Shake Some Action-era Flamin’ Groovies outtake. “Ear to the Ground” is another must-hear, a slice of British Invasion thump with a sleek, tremolo-powered guitar riff to die for.

The aforementioned Bandcamp page would suggest that the Young Sinclairs are incredibly prolific, and they’ve been particularly fond of the 7” format. Fellow collectors, your course is clear…

HEATHER WOODS BRODERICK & BENJAMIN SWETT – Home Winds (Book + 7” 45)

Planthouse Gallery / www.planthouse.net

The Upshot: An environmental elegy, and an extended meditation session—relaxing and soothing to the soul, but with its own elements of intense focus, and revelation. 

While it’s a given that more than a few culture vultures have hopped onto the #vinylresurgence bandwagon (Taylor Swift, anyone?), eschewing relevance for trendiness, and the accompanying misguided “cool” factor, some entries have come along that not only defy that assumption, they transcend it so beautifully that you almost assume they were beamed down from another dimension or era.

Such is the case with the printed/recorded artifact at hand. Home Winds is, on the one hand, a 7” vinyl single by songwriter Heather Woods Broderick, offering up a haunting environmental elegy, a shimmery, pulsing song for the trees. “Do I truly recall your face from when it was young,” sings Broderick, in a hushed, partly quivering voice, recalling at times Sandy Denny, adding gospel touches on the chorus, and musing upon a permanent image of a tree, as if it were a beloved family member, possibly no longer with us. “Or from a photo I’ve seen, on the wall on which it was hung,” she adds, acknowledging that memories are tricky, and how they can somehow be replaced, due to the passing of time, by a photograph that survives and reinforces itself via repeated viewings. (The B-side, “Shoreline,” is similarly low-key, its lilt no less engaging and ethereal.)

She’s joined, visually, by photographer Benjamin Swett, who set out to document Gladstone, New Jersey’s Home Winds Farm, a parcel that has been protected via the New Jersey Farmland Protection Program, for its owners, who also operate Planthouse Gallery. Swett’s mandate here is to create permanent portraits of the many trees—many of them huge or otherwise so broad and expansive that they can dominate an entire two-page spread in a book such as this—dotting the farm. Pink-blossomed spring arbors alternate with snow-spackled wintry residents, as well as the sturdy green boys of summer, and the yellow, orange, and crimson citizens of autumn. The result is a permanent record of nature as it cycles through its annual beauty.

Contributing to the project is journalist Elleree Erdos, who provides historical context as well as an insightful analysis of the nuances that Swett’s images bring to the fore. Ultimately, Home Winds is like an extended meditation session—relaxing and soothing to the soul, but with its own elements of intense focus and revelation.

That the participants opted to present the music not on CD or a mere link to a digital file, but a 45rpm record housed in a lovely full-color, thick cardboard picture sleeve—yes, adorned with Swett’s trees—additionally speaks to the care taken in the presentation of Home Winds. It’s a subtle, personal touch that counts for a lot in certain quarters (such as mine).

Additional note: Go to Planthouse.net to view a video for Home Winds, created by Jeffrey Rowles. Below, watch the promo video for the book/45, followed by a live clip of Broderick from late last year. The exhibition dates at Planthouse Gallery will be April 28 through June 20, with the reception being held on April 28 from 6PM to 8PM.

 BONUS BEATS: A FEW OLDER REVIEWS

Deniz Tek – “Crossroads” b/w “Oh Well” 7″ (2014)

Career/ www.careerrecords.com

No, not that “Crossroads,” although l’il Robby Johnson would still approve; instead, it’s an original from the Radio Birdman geetarzan, and a smokin’ slab of straight up garage slop it be. But yes, that “Oh Well”—specifically, the hi-nrg raveup Pt. 1 of the Peter Green/Fleetwood Mac classic, and I’d reckon that it puts to shame pretty much every other version of you’ve heard over the years with the exception of the original. Pressed on lurid purple wax, and hats off to the Career label (co-helmed by Tek and his buddy Ron Sanchez, of Donovan’s Brain) for their subtle appropriation of the old Atlantic Records promo logo for their label art.

Freak Motif – “Killin’ Me” b/w “Killin’ Me (instrumental)” 7″ (2014)
KEPT / www.kept-records.com

The latest in Kept’s so-far-unblemished series of funk-centric wax finds eight-piece Canadian combo Freak Motif getting’ gritty with a slice of JB’s-inspired fonk, heavy on the trancelike groove while a blazing horn section takes everything to the bank. Or the bridge, if you insist. The instro version of “Killin’ Me” has swagger a-plenty, but when guest vocalist Lady C takes the mic on the A-side things get saucier and sexier by the bar. Hell yeah.

 

Peter Buck- Opium Drivel EP  7″ (2014)
Mississippi / www.mississippirecords.com

Following up his latest solo album (as well as last year’s Planet Of The Apes single, that-guy-who-useta-be-in-some-famous-band teams up, once again, with Scott McCaughey and several partners-in-crime for a 4-songer. Just the pounding Charlie Pickett & the Eggs cover alone (“If This Is Love…”) is worth the price of admission, but you also don’t wanna miss the fuzz-garagey “Portrait Of A Sorry Man” for the series of inside-joke lyrical bon mots (among them: “I’m sorry I invented indie rock… the whole thing started out so well, how was I to know?”). A pair of uncharacteristic acoustic aces on the flip, notably the strummy/jangly “Welcome to the Party,” join the aforementioned joker and king, giving Mr. Buck a pretty strong hand in this game.

 

Graham Day & the Forefathers – “Love Me Lies” b/w “30-60-90” 7″ (2013)
State/Sandgate Sound /  www.staterecs.com

This garage-shocking power trio comprises gents who’ve served time in The Prisoners, the Prime Movers, the Solarflares, the James Taylor Quartet and Billy Childish’s Buff Medways, so with that kind of collective resume you’d be right in presuming some jams will be kicked out. “Love Me Lies” revisits an old Prisoners tune in glorious metal hues lined with careening riffs and wah-wah squiggles. Even better is the organ/guitar powered hi-octane R&B instro flip hailing from the pen of one Willie Mitchell (who originally wrote it for the Get Carter soundtrack). (—Fred Mills)

 

Insurgence DC – “True to Life” b/w “Man in Black” 7″ (2013)
Crooked Beat /  www.crookedbeat.com

Based in the nation’s capitol and with Triangle (N.C.) roots, Insurgence plays old school punk with the kind of vim ‘n’ vigor long associated with the punk scenes of those two locales. Indeed, bassist Bill Daly’s lead vocal on the blazing “True to Life” has the type of rabble-rousing anthemism (“Get it out/ Stir it up/ Shout it out now!”) that we’re sorely missing these days (the Occupy movement could’ve used an adrenalin shot of Insurgence). Meanwhile, “Man in Black” marries a rebel-rock message to a twangy riff and a cowpunk thump; you’d be hard pressed not to put your pogo boots on and get to scootin’ when this tune cues up. Available on both black and super-limited yellow vinyl, wax fans.