Month: August 2019

Kamikaze Palm Tree ‘good boy’

The psych cauldron currently bubbling away in the West Coast with acts like Goon and Spellling has belched forth another offering. Enter good boy, the second album of noise outfit Kamikaze Palm Tree, a sophomore effort which plays out like a jumbled ‘n’ jangled old jack-in-a-box, skewed pop and upside-down melodies turn the crank before the occasional jolt of frenzied drone rock and Avant-weird experiments.

Duo Dylan Hadley and Cole Berliner know how to fuse disparate, seemingly mutually exclusive arrangements and styles into a disjointed yet fascinating mess. The mangled ‘Sharpie Smile’ is a crooked house of cartoonish glockenspiels fighting with laser synths, punk thrash and eerie serenity congealed into a disquieting frenzy. No Wave incongruity scrapes and thuds on ‘Wants More’, intercut with brittle guitar textures that lift Hadley’s commanding, Nico like vocals.

Like The Velvet Underground, a sweet song is never far from the dissonance. The title track ‘Good Boy’ shows the bands penchant for sunny psych-meanders, a seemingly innocent and child-like meander of gentle acoustic strums and toybox percussion, before the twee deteriorates into an unsettling slew of atonal guitar, like flies caught in it’s cloying. Their psych inclinations and affection for unorthodox arrangements creep on the hazy dream of ‘You Talk’, surf guitar and Radiophonic Workshop effects mix to a languid fog surrounding Hadley’s sluggish delivery, and reach even headier heights on the various ‘Bongo’ interludes peppered throughout (replacing the ‘Clown’ from previous record The Ocean is the Solution).

Irregular, inside-out, and thoroughly unpredictable, good boy is an intriguing contortionist of a record, bending into impossible shapes and twisting itself into strange and brilliant forms.

Goon ‘Heaven is Humming’

Is that a wry smirk on the goblin? Or a grimace to be met with caution? Sporting the Poway City area code and a halo, Goon frontman and sleeve artist Kenny Becker presents us with an impressionist being that perfectly captures the hazy, textured indie-rock contained within.

Three years in the making, Goons debut LP Heaven is Humming has had a tumultuous gestation, Becker embracing an engagement while battling a chronic sinus condition which dulls the senses. The sparks which fly off the antagonism between light and dark were present on prior EPs Dusk of Punk and Happy Omen, but as art imitates life (or the other way round), the tension that bristles underneath has been afforded a wider palette of moods and styles.

Who would have thought shoegaze slack and big monster riffs could get along so well? Goon know how to make an exquisite racket, dreamy vocals strut alongside Drew Eccleston’s hard rock crunch on the thrilling ‘Northern Saturn’, interjected with sunny jangle guitar. Punk energy burns on banger ‘Datura’, Source Tags & Codes style heavy with Pixies vocals explodes into a thrasher so exciting you nearly quit your job to form a band. Lethargy rears its head when it needs to, never deteriorating to a bland drone which can befall their slacker contemporaries, most notably on opener ‘F Jam’, a gloriously sludgy wade through crashing drums and wailing, pained vocals.

The album shines in it’s moments of pause. The beautiful introspection of ‘Snoqualmie’ (named after the City much of Twin Peaks was shot) appears like a mirage, expert acoustic fingerpicking with all its intimate blemishes and string scratches soar with aching strings and subtle surreal sonics. Things end with an anthemic air on closer ‘CCLL’, a stirring and nostalgic plume haunts the finale with gorgeous synths and tripped-out psychedelia, before drifting away like the waning of an LSD trip.

We needn’t fear the goblin of Poway. In just 11 tracks, Goon has delivered an exceptional debut record of electrifying melodic, shoegaze soaked with sun and the occasional menace. Heaven is Humming has the power to trigger memories you forgot you had, and illicit emotions long suppressed.

Elizium ‘ELIZIUM’

Subtly operating off the L.A. radar is lo-fi post-punk outfit Elizium, consisting of rather obliquely named duo WL and SM. With little social media presence and scant information of the band, Elizium quietly slipped their self-titled demo EP to little fanfare, although one could mistake its demo production with characteristic tape hiss. The quiet release of ELIZIUM and the semi-anonymous nature of the band belie just how fantastic the EP is.

The urgent snap of steady snares and grooving bass swirl against WL’s muffled vocals and synth lines on opener ‘Monotonie’, the motorik drive given greater acceleration with tight punk riffing. ‘Reflection’ is a wistful and slightly sombre wander through foggy keyboards and damp drum machines held together by rich synth-strings before the cavernous crunch of ‘Promises’ takes the EP into more menacing electro territory. EP closer ‘EZ’ ends on a note of dreamy shoegaze punctuated with the industrial chug of abrasive percussion, the whispers that percolate within vying for attention.

WL and SM have hinted at an intriguing and infectious future of psychedelic punk with ‘ELIZIUM’, a promise of an exciting path ahead of tripped-out grooves which bites as well as soars.

Spit ‘n’ Static! 1020 Radio #5

Are you wearing your lead codpiece? The Spit ‘n’ Static! signal radiated its alien corrosion once again at Bristol’s 1020 Radio, picking up all kinds of synthpunk interference and unknown gibberish. ‘Catch the wave’ same slime, same face next month! 👽 👌⠀

Static Zombies by George A. Romero and Art of the Glitch

Glaciers Noods Radio #7

The Glaciers peripheries have shifted a little (global warming p’haps?), and some exotic flavours have snuck its way into the seventh show. Tune in to Bristol’s Noods Radio again next month for more minimal synth and its many coldwave cousins ❄️ 🎹 👌