Post-punk

Juicebumps ‘Hello Pinky!’

Before the millennials came of age, nostalgia looked like film. The brief moments of colour in Scorsese’s black and white opus Raging Bull depict La Motta’s facade of cosy domesticity in intimate 16mm, the very grain of each frame in the celluloid reel prodding the wistful sentimentality of prior generations. For kids of the 90s, warm reminiscence is a rather noisy media buzz of worn VHS’s, queasy DV digital grit and crowded Geocities World Wide Web clamour. Could the video horrorshow of The Memory Hole have ever gained traction outside the distorted humour and inexplicable acerbity of the 2010s?

Irreverent and idiosyncratic penchants for the crude aesthetics of tawdry infomercials and ‘edutainment’ dross ooze all over San Francisco spank rockers Juicebumps. Audio clips of slasher turkey Silent Night, Deadly Night Part 2, dated internet demonstrations and the like saturate debut album Hello Pinky!, a record that feels perpetually tuning itself between differing stations. Recruiting Spencer Owings for synth duties, Juicebumps advance from the jerky garage rock of prior EP Jelly and delve deeper into their eccentric art-punk playfulness.

The sticky yolk of eggpunk secretes all over their self-described ‘spookwave’ yet avoids the genres characteristic lo-fi style in favour of a bright and confident production, each riff and beat striding with satisfying clarity. This skewed radiance is deftly exemplified on the catchy as hell ‘Hairy World’, a feverish indie number with echoes of Devo, frontman Parker Richard exploring the pungent world for a ‘hairy friend’ while jumping between frantic gusto and angular, nasal whine. Second track but first proper song ‘Wet Leather’ infuses their brash virtuosity with a steady dose of motorik beat that paces alongside offbeat keys and explosive guitar attacks and smattered with garbled audiotape effects, parading their dexterous handling of keen musicianship and avant-garde proclivities.

The expanded palette of sounds yielded by producer Spencer Hartling’s studio expertise shine on the warped synthpop of ‘c0mput3r_p30pl3’, a disorienting stew of fizzy drum machines and atonal guitar scoring the themes of societies hopeless tie to technology expertly, the line “people work, computers think” bristling with particular pertinence. Subtle rockabilly twangs on the contorted ‘Wet Boi’, while the arrangement and tempo of ‘Trash Crimes’ point to ELO at their pomp. Album closer ‘Asphalt Kiss’ is all groove, a nimble swagger of strutting bass wading through a marsh of muggy synths and preset sounding percussion, the gurgling electronics finally enveloping as you sink completely in its analogue murk.

Imbued with the best of their San Fran art-punk predecessors, Juicebumps delivers an urgent debut that takes intriguing mixtures of disparate styles and unexpected detours in composition, demanding constant attention throughout its 36 minutes. Hello Pinky! firmly places the band as one of the most exciting acts in California right now.

Glaciers Noods Radio #17

The chilly punch of Glaciers hit Noods Radio once again, another hour of minimal synth and frosty vibes. Cracking cover of ‘Rhythm Is a Dancer’ too! Check it!

Viral Nights w/ VHS¥DEATH Threads Radio

Was a pleasure to guest on VHS¥DEATH‘s debut show Viral Nights for London’s Threads Radio, a show for all things post-punk, goth and cold-wave! Taking thematic guidance from the ‘isolation’ angle, I’ve contributed a cheeky 45 mins of instrospective rumination to round off the mix, enjoy!

Check out VHS¥DEATH’s band Returning Videotapes too!

Special Interest ‘The Passion Of’

“I don’t believe in safe spaces” singer and artist Alli Logout scoffs in an interview with OMG.Blog. The danger that hung in the air of post-punk acts like Throbbing Gristle or Suicide was only reflective of a sick world consumed with violence and the thin, veneer of civilisation society deludes itself with. Throw in nationalist fervour and virulent entitlement from an enraged white demographic who would sooner see concentration camps than equal social standing for all citizens, then ‘safety’ increasingly becomes the preserve of the privileged few. When toxic prejudice sneers confidently in paramilitary garb and an AR-15, navigating the dystopian Trumpscape as a minority of any kind is inherently wrought with threat. If Logout doesn’t feel safe in the hostile cesspool of 2020, why should you?

All eyes are on New Orleans right now, the historic cultural melting-pot witnessing a unique and new wave of murky synth acts such as Static Static, Pscience, and Tuffy. Rising from the Mississippi backwaters and spearheading the city’s electro-underground is Special Interest, a synthpunk glam quartet spiked with no-wave nihilism and industrial venom. Named after the s̶e̶e̶d̶y̶ fun corners of old VHS stores where one would find cult movies, horror and porno, their namesake spirit of transgression and provocation fuel frontwoman Logout’s volatile performance style and the bands abrasive anarcho assault. Dropping second album The Passion Of, Special Interest invites us to make sense of the confusing miasma of rapacious capital and a world in flames.

The corrosive potency first unleashed on prior LP Spiraling still burns with acidic ferocity. The thematic centrepiece of the record ‘Homogenized Milk’ brutally attacks the necrotic agents of gentrification with a pummeling beat-down of discordant squall and fuzzy drum machines succinctly illustrating the gaping, slavering maw of market greed. Maria Elena’s guitar cuts thrillingly through the cavernous cynicism of ‘With Love’, instilling an urgency that propels the end sentiment of one’s pursuit of happiness at all costs. Cheap hedonism to stave off the grinding, gnawing boredom is both celebrated and commiserated on the adrenaline jolt of ‘Disco III’, a sordid and defiant embrace of debauchery and unapologetic pleasure yet touches the void which “sodomy and LSD” perhaps tries to fill.

There’s a beguiling groove beneath their caustic onslaught. The club swagger of ‘All Tomorrow’s Carry’ belies the acerbic observations of malignant urban planning, Ruth Mascelli conjuring the spirit of Iggy Pop’s ‘Nightclubbing’ with her steady, processed beat and eerie keys, while Logout shows just how raw and soulful her vocals can be on the electrifying ‘A Depravity Such As This…’. The albums secret weapon is its penultimate track ‘Street Pulse Beat’, a radiant moment of euphoric respite which hypnotically soars above the post-punk smog with stirring synth choirs and delicate, chiming timbres scoring the dark heartbeat of a city filled with lost souls seeking sexual or chemical escape.

Special Interest has synthesised the acidic bite of abrasive noise-rock with the bombast of glam to produce a synthpunk beast entirely their own. The Passion Of is a thrilling sophomore effort which forges new sonic territory for the band and explores the claustrophobic terror of the modern age with savage precision.

Spit ‘n’ Static! 1020 Radio #15

‘Jonele, Jonele, Jonele, Jneloe I’m beiggng of you psaele d’not tkae my man. ſouǝlǝ’ ſouǝlǝ’ ſouǝlǝ’ ſuǝloǝ Ԁsɐǝlǝ p,uoʇ ʇʞɐǝ ɥᴉɯ ɾsnʇ qǝnɐɔsǝ ʎon ɔɐu. uɹǝǝƃ plǝɹɐɯǝ ɟo sʎǝǝ puɐ uʞᴉs ʎʌoɹᴉ ɥᴉʇM ɹɐᴉɥ unqnɹɐ ɟo soɔʞl ƃuɐɯᴉlɟ ɥᴉʇM ǝɹɯdɐoɔ pǝʎouq sᴉ ʎǝɐnʇq ɹon⅄’

Don’t you realise the fiery inferno that awaits??!!!! Spit ‘n’ Static! isn’t just a synthpunk signal hijack from unknown sources, it’s also your alien saviour! Catch up with the garbled, sermon of righteousness brought to you by TBN and 1020 Radio and get whacked with a giant temperance spoon and rid your soul of beastial urges and immoral thoughts! 🥄 🧠 ✝️ 📡 👽 👌

Sinful filth by Fuzzy Ghost

BIG THANKS TO BOREDOM V. CREEPERSON!!!!

Albert Severin ‘Athletics’

Berlin’s grip on the cutting-edge of post-punk and electronic music never seems to ebb, from Bowie’s Kraftwerk inspired Hansa records, the alienated clangour of the Neue Deutsche Welle, to the hedonistic techno Mecca of The Berghain, the city’s innovative energy continuing to inspire. With no sign of the old Prussian capital resting on its laurels, Detriti Records has spent the last decade releasing numerous synth and coldwave tapes, establishing itself as one of the leading champions of “beautiful, interesting and sexy music”, to quote label founder Davide Lace.

The latest addition to the Detriti roster is Danish EBM act Albert Severin. A solo project from former MOTH member and Melting Walkmen frontman Patrick Ringsborg (and possibly named after a distinguished French soldier of WW1), the new beat Copenhagener has released a string of tapes exploring a penchant for acid techno. New tape Athletics sees Ringsborg pursue a tougher, more industrial direction, including three songs from debut tape Severin’ Heads re-recorded with harsher potency.

The very first second of the opening track ‘B.R.I.A.N.’ establishes the attitude promptly: Lean, muscular and groovy. A thick bassline stomps alongside punchy drum machines with brass presets straight out of classic Wax Trax! so infectious it’ll make any committed rivethead proud. Ballardian car crash fascination pervades the dramatic ‘Impact’ warped audio samples of crash PSA’s haunt the strong shimmering melody like a spiritual successor to Front 242’s ‘Don’t Crash’. The enlightened serenity of the tape cover radiates on ‘Sugarfang’, a beguiling tranquillity of ethereal keys behind the frenzied percussion before ‘Modem’ jumps headfirst into Ringsborg’s love of squelchy acid house without totally abandoning that special industrial grit. Final track ‘Albert’s Song About the inherent Flaws and Fatal Consequences of Late Stage Capitalism’ says it all, leaving you pondering the neoliberal nightmare we’re subjected to with one last crunch of programmed abrasion and a welcome introduction of Gothic piano.

Albert Severin has managed to distil a wide range of sub-genres into a cohesive kick of an EP while always maintaining its terse minimalism. Athletics is tough as fucking nails yet never loses its eye on making you dance.

Glaciers Noods Radio #16

Another blast of icy vibes and chilly tundras with an extra dose of post-punk drama at its heart hit Noods Radio yesterday! Wrap up warm and stay safe! 🎹 ❄️ 👌

Spit ‘n’ Static! 1020 Radio #14

‘Sexual freedoms turned into corporate schemes!! Viruses plaguing your thoughts, plaguing your souls!!!’⠀⠀⠀⠀

The acrid, stinging fuzz of Spit ‘n’ Static! corrupted the 1020 Radio studio today, the usual synthpunk splatter we all know and love knotted and twisted with a little alien sleeeeeeze for good measure! Careful…this one bites! 🦠📡👽👌⠀⠀⠀⠀

Electro-spectral entities by Paloma Kop

Horrid Red ‘Radiant Life’

Listening to anyone of Horrid Red’s releases across their decade long existence strikes you with a rarity in music: a clash of disparate styles that don’t mesh yet is to the band’s strength. This confliction of tangles and knots, of psychedelic washes, synth-pop, Neue Deutsche Welle clangour, and indie jangle scraping together with some friction is a unique and consistent trait of the Horrid Red mood.

An offshoot of the more raucous Teenage Panzerkorps, Edmund Xavier and German frontman Bunker Wolf (Glenn Donaldson and Karsten Scholl respectively) enlisted the help of Burial Hex‘s Clay Ruby and together have been creating a post-punk sound that’s rich, decadent, and deeply exotic. Their latest LP Radiant Life is another cerebral beast, 12 tracks that are both hardy yet introspective.

An electric balancing act of dreamy textures and weighty industrial heft permeates throughout the record. The urgent ‘Omitted Prophets’ is an infectious and rousing mix of acoustic strumming with twisting keys and strings that lift with its buoyant ear for pop hooks. This sense of drama arises frequently, especially on the first track ‘Brazen Altars’ with its deep piano melody and driving bass, and the delicate psych splashes on ‘Fountains of Clouds’ have a touch of Kiss Me, Kiss Me, Kiss Me romance.

The moments of brooding bite are just as exciting. The smouldering ‘Still Suffering’ has echoes of Nick Cave’s Tender Prey, cavernous chants and a beguiling mesh of Eastern Asian scales with bluesy twang all evoke a dusky, ethereal stir. Hazy wanders of reverb and muffled drum machines envelop and fog like Martin Dupont on the title track, exemplifying Xavier’s creative guitar technique, while the tight ‘Divine Names’ sees Wolf adopt a growling, demonic snarl in its chorus atop an otherwise sunny and upbeat pop number. It shouldn’t work, yet feels wholly necessary when listening for the first or 100th time.

The creative fire that fuels Horrid Red still burns white hot even after a decade. Radiant Life is another glorious addition to a heady body of work which manages to excavate meditative soothe within violent discord.

Spit ‘n’ Static! 1020 Radio #13

Bristol’s 1020 Radio got wrecked with the 13th dose of synthpunk sludge that is Spit ‘n’ Static! ‘Catch the wave’ same slime same face for another hour of garbled alien interruptions and slimy dead channel fuzz!! Don’t fight it, you gotta ride it out!!! 👽 👌