Categories
Creators Monthly DISCOVER Indie/Indie Rock Reviews

Review: “Stella Splendens” by Bishopskin

Single artwork for “Stella Splenden”

London-based avant-garde group Bishopskin have released a new single, a reworked version of a 14th Century hymn titled “Stella Splendens.”

Released through Isolar Records, the single precedes the group’s debut album, Babble, which is set for release in October. 

The song is described as “blending 14th Century Latin hymns with the jubilant energies of Ukrainian folk” in a statement released by Blue Moon Press, which certainly sets it apart from many of the other songs being released in this day and age. Upon listening to the track for the first time, however, I noticed several other genres thrown into the pot. The opening guitar has a bit of a reggae feel to it, something in the vein of early Specials records. Soon after, the vocals come in. Two part harmonies ride the waves created by a strange time signature (it appears to be three measures of ¾ time, followed by a measure of 2/4 time).

Bishopskin courtesy of Backseat Mafia

The combination of percussive electric guitar and Latin lyrics coalesces surprisingly nicely. However, the track continues to build, with drums, bass, and a myriad of additional vocals harmonies joining in around the 30-second mark. Discordant strings and occasional yelps cut through the mix, keeping listeners on their toes. “Jubilant” is certainly an accurate word to describe the song, since all I wanted to do once the rest of the instruments kicked in was dance.

In the middle of the song, there is a violin solo. Nowadays, strings are so polished and airy that they might as well just be replaced by synthesizers. However, the strings here are raw, and one can truly hear the strokes of the bow against the strings. As someone who used to play viola in school, these sounds were wonderful to hear. The absence of vocals during this section also allows the listener to hear even more of the hidden sounds contained in this song. For example, at one point there is a lilting piano that sounds fresh out of a late-60’s Beatles song. The fact that so many instruments can be worked so subtly into a song such as this is truly remarkable.

The biggest curveball comes at the back end of the song, though: a full blown electric guitar solo. The distortion is on and the guitar screams over the stabbing strings and chaotic vocals. It is a perfect way to bring the song to a close, as this is in fact the end of the song. Hardly two and a half minutes, and this heady revelry comes to a grinding halt. I have to give props to the band for knowing how to leave the listener wanting more.

Bishopskin courtesy of Hard of Hearing Magazine

That last statement is the truth, too. I thoroughly enjoyed listening to this song. It was a different experience, but it had enough elements of music I liked that I felt at home during its short duration. The band also sounds like they were having a great time making the track as well, with the liveliness of the instrumentation and the yelps from the background singers giving the song an almost live feel, which is only increased by the unpolished feeling of the recording. There are occasionally discordant notes, things that sound just slightly out of tune, but this makes the song feel that much more real and in-the-moment.

Overall, “Stella Splendens” is a perfect marriage of inspiration, musical talent, and people having a good time, and I highly recommend it.

Categories
Indie/Indie Rock Pop/Indie Pop Punk/Rock Why We Love

Why We Love: Tee Vee Repairmann

Photo courtesy of Gimmie Zine

Australia. The backbone of several memes regarding its apparently nightmarish wildlife and the home of the late legend Steve Irwin, it has bred quite a lot of great bands throughout the decades. AC/DC, INXS, Men at Work, and Midnight Oil come to mind. Most recently, a trio called The Chats have been dominating the international punk scene with their humorous, punchy songs. However, The Chats are only the tip of the iceberg when it comes to what’s going down in the land down under.

In recent years, a fairly spectacular underground music scene has developed in Australia. Featuring bands such as Gee Tee, R.M.F.C., and Tee Vee Repairmann, the style has been called “Egg Punk” by some, and it typically features fast, distorted barre chords punctuated by loud guitar lines or mellow synths, impenetrable bass, and drums that are so compressed they almost sound mechanized. The vocals are often filtered to the point of being borderline incomprehensible. It’s fast, fun, and an exhilarating ride.

Photo courtesy of YouTube

The project we’ll focus on here is Tee Vee Repairmann, a one man project created by Ishka Edmeades. In 2021, he caught the ears of many listeners with his debut EP, Patterns. Featuring four tracks that blow by at a blistering pace, the EP is the perfect mix of grimy punk and bubblegum catchiness. Opening track “Bad Taste” contains metallic hihats, compressed guitars, and robotic vocals that still manage to convey human emotions despite the minimalistic lyrics. “Lights Out!” cranks the tempo up even more, with spindly guitar lines and shouted vocals coalescing into a memorable chorus. “Dirty Hands” slows things down just a bit, with the vocals becoming even more chaotic and indignant sounding. The guitars also take on a bigger role on this track, with the chorus featuring a caterwauling lead line that sounds like it’s being played through a blown out amp. These three tracks all sound fairly similar, which makes the title track, “Patterns,” even more surprising. This track features a skittering drum machine, synthesizers, and a more danceable vibe. However, Edmeades’ guitar playing and vocal delivery help tie the song in with the rest of the EP.

After his exciting emergence, he released an album called What’s On TV? earlier this year. The first track, “Out of Order,” indicates the differences between the previous EP and this album. The production is much more spacious, with the guitars and drums having more room to breathe. In truth, everything just feels bigger, though the punky tightness of the EP is still present in the songwriting. Edmeades’ vocals are buoyed by airy synths, which are also a new touch to his music. The next track, “Time 2 Kill,” is a bit more of a return to form, though the newfound space in the sound continues to benefit the song. This song is the shortest on the album, clocking in at 1:16, but it still feels like a complete listen. Parts of the song reminded me of Thin Lizzy mixed with The Ramones, with the track even ending with a screaming guitar refrain as it sprints to a stop. 

Throughout the twelve tracks, the album perfectly toes the line between the condensed punk of Patterns and the wider atmospheres of indie rock. Another way to describe the change would be to compare Patterns to Ramones and What’s On TV? to Rocket to Russia. The ethos is still there, but there’s a heightened sense of maturity and a greater realization of scope. “People (Everywhere I Go)” even mellows things out by adding swaths of reverb to the guitars and vocals, with Edmeades’ observational yet minimal lyrics working nicely with the change of pace. Overall, the album is a brilliant step forward for the project.

Tee Vee Repairmann is one of the most exciting things to come out of Australia and the underground punk scene there. The willingness to change while sticking to the influences of earlier work will hopefully prove to be a good sign for things to come.