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.
Martin Newell, the man behind The Cleaners from Venus
Martin Newell is a fascinating character.
In 1980, Newell formed The Cleaners from Venus with Lawrence “Lol” Elliot, though since then, he has remained the only consistent member. Under this moniker, Newell has released a multitude of albums, and this isn’t even taking into consideration his wealth of material under his own name. Starting with Blow Away Your Troubles, Newell showed the world what to expect from The Cleaners from Venus: wonderful, jangly music that was staunchly lo-fi.
While Newell certainly has impressive melodic sensibilities, showcased particularly on the 1982 album (well, one of them, anyway) Midnight Cleaners, he also refused to let his songs get to the point of being “pop.” The closest The Cleaners from Venus came to this disgusting term was the song “Only a Shadow,” a tune with an earworm of a guitar melody and an anthemic chorus. However, everything is coated with a lo-fi hiss that behaves almost like the needles of a cactus. By this, I mean that it will scare off any surface level listener. However, for others, the almost demo quality of the recordings makes them more endearing.
Newell and Elliot, upon starting out, used hardly any equipment to record their music, sometimes even using homemade instruments. Eventually, a four track recorder was brought into the mix, which became Newell’s preferred method of recording. Rather than upgrade to a professional studio environment, he stuck to his D.I.Y. guns and continued letting the substance of the music speak instead of the style. And what an amount of substance there was!
The lyrics to each Cleaners from Venus song are woven together like the finest wicker basket. Whether they are painting gorgeously detailed pictures of life in England (“Wivenhoe Bells (II)”), highlighting working class angst (“Summer in a Small Town”), or outright damning the state of the world (“The Jangling Man”), each word is fascinating to listen to. Newell’s gift for writing is one that is truly overlooked, with each song packed with enough meaning to make the most stubborn folk music enthusiast blush. The sparsely recorded (and sparsely produced) instrumentation acts as the perfect canvas for these poetic yet direct verbal drawings.
During The Cleaners from Venus’ initial decade-long run, they largely avoided record labels and did not tour often. Newell has been quoted as saying that the music business and media “tend to ruin everything.” This only added to the mystique of the enigmatic band, and early cassettes of their work became highly prized collectors’ items. The sheer amount of support for the band’s works actually inspired Newell, who had largely decided to back away from music, to start recording under the Cleaners from Venus moniker again in 2010. Since then, he’s been prolific as ever, and he continues to record music even to this day, with his newest single “Lo-Fi London” coming out last month.
Outside of The Cleaners from Venus, Newell has lived an extraordinary life. He has been a successful poet and writer, even touring as a spoken word artist. In 1989, he teamed up with a fellow cleaner from Venus, Nelson Nice, to form The Brotherhood of Lizards, an acoustic duo that gained much attention for completing a tour by bicycle, riding their bikes to every show. Newell has also released six solo albums, with his first, 1993’s The Greatest Living Englishman, being his most successful release to date.
To this day, Newell embodies the idea of D.I.Y. done right. He does whatever he wants, and because of this, he has many dedicated fans. The Cleaners from Venus proved that, in the decade of excess and beyond, true heart and creativity will always stand the test of time. In a time where mainstream music has lost even more of its nutrients, Newell’s work past and present remains an organic field. All you have to do is take a bite.
Trailer for a documentary detailing the life and times of Martin Newell
The Beach Boys during the late 60’s-early 70’s. From left: Carl Wilson, Bruce Johnston, Mike Love, Brian Wilson, Al Jardine, Dennis Wilson
Pet Sounds is one of the greatest albums of all time. There’s no doubt about it.
Released by The Beach Boys in 1966, it peaked at number 10 on the charts, which was actually considered a disappointment seeing as how successful the band had been at the time. While modern critics have come to understand how groundbreaking this album is, at the time, critical reception was also more mixed than previous albums, with some recognizing the album’s intricate genius while others were confused by the dramatic change in sound and tone from the albums of yesteryear. After all, the last Beach Boys album before this point was the empty-headed fun of The Beach Boys Party!
Within a year, however, the tides turned: following Pet Sounds was the single “Good Vibrations,” a compositional masterwork that shot to #1 on the charts and restored The Beach Boys in the public eye, at least for a moment.
“Good Vibrations” was intended to be one of the songs off of an album called SMiLE, a collection of sounds that would go in even more bizarre and interesting directions than its predecessor. However, Brian Wilson’s struggles with mental illness and drug use, as well as anxiety over how the public would view the album, ultimately led to the album being shut down, at least for the time being. Some of the recordings for this album were quickly compiled into Smiley Smile, which confused many and did not perform well on the charts. This sudden halt in momentum was highly detrimental to both Brian’s mental health and the band’s status as stars, and for many, this is where the story of the Beach Boys ends. This could not be farther from the truth.
From 1967 to 1974, The Beach Boys proved themselves to be remarkable composers, lyricists, and musicians, even with the dwindling participation of Brian, though he still contributed songs and ideas from time to time. Starting with Wild Honey and ending with Holland, there were ideas and gems abound on each tracklist.
Wild Honey’s album cover
Wild Honey seems to be The Beach Boys dusting themselves off after Smiley Smile. The title track, standout single “Darlin’” (which shot to a refreshing #19 on the charts), and “How She Boogalooed It” proved that the boys could still have fun while advancing themselves as musicians. Other songs such as “Let the Wind Blow,” “I’d Love Just Once to See You,” and “Aren’t You Glad,” serve as foreshadowing to what was to come from the band in the future, with comprehensive melodies and thoughtful pacing. Carl Wilson also continues to prove himself as a vocal powerhouse on this album, his singing on “Darlin’” being particularly impressive.
Friends album cover
Friends, released in 1968, is one of the most overlooked albums in the band’s discography. The vocal stylings and song structures give off the sense that this album is the perfect pairing of pre-Pet Sounds pop sensibilities and post-Pet Sounds musical knowledge. “Anna Lee, The Healer,” “Passing By,” and the title track have an innocence to them that harkens back to days on the beach while refusing to stop moving forward. Dennis Wilson also begins to come out of his shell on this album, writing the songs “Little Bird” and “Be Still,” which are both beautiful songs and serve as indicators of where Dennis’s writing would go in the future. Overall, the album feels very appropriate for the time and features some of the strongest vocal concoctions from the band, particularly on the chorus of “Anna Lee, The Healer.”
20/20 album cover
20/20 sees the band emerge from the gentleness of Friends with a newfound grit and energy while still preserving their melodic roots. The first two tracks on the album, Mike Love’s perfect nostalgia bait “Do It Again” and a gloriously performed cover of The Ronettes “I Can Hear Music” kick the album off in style and even got some love from the record buying public. The tight, punchy pop of “Bluebirds Over the Mountain” is punctuated by loud, surprisingly distorted guitar licks throughout, while “All I Want To Do” features some of Mike Love’s most passionate lyrics yet, making the song a fun listen. However, the album isn’t all late 60’s coarseness: newly minted member Bruce Johnston has his moment in the spotlight with the piano instrumental “The Nearest Faraway Place,” and Dennis Wilson’s gently swaying “Be With Me” serves as a stunning power ballad. Other standouts include Al Jardine’s jaunty take on “Cotton Fields,” the soothing waltz “Time to Get Alone,” and the surprise SMiLE compositions “Our Prayer” and “Cabinessence,” which, while they don’t entirely fit the feel of the album, are still mind blowing musical experiments.
The photo from the Sunflower album cover
The 1970’s kicked off with Sunflower, one of the band’s greatest albums. The Dennis composition “Slip on Through” kicks things off with gusto, followed by the soulful “This Whole World” and “Add Some Music to Your Day,” the latter of which features incredibly rich vocal harmonies. “It’s About Time” still stands out to this day as one of the band’s most grandiose, powerful tunes; it would become a killer live track in years to come. Ballads such as Bruce Johnston’s “Tears in the Morning” and Dennis Wilson’s classic love song “Forever” showcase a new dimension of the band’s softer side. The sonic experimentation on this record must be noted as well, with the cavernous opening of “Dierdre,” the proto-dream pop of “All I Wanna Do,” and the intricate, multifaceted “Cool, Cool Water,” the latter originating during the SMiLe sessions, showcasing a band not just evolving with the times, but leading the pack.
Surf’s Up album cover
1971’s Surf’s Up features an even more eclectic mix of material. The album kicks off with the catchy yet urgent “Don’t Go Near The Water,” an environmental message that still holds up today, sadly. Following this song is “Long Promised Road,” which serves as a reminder of how amazing Carl’s voice is. Other standouts on the album include the sunkissed Bruce Johnston classic “Disney Girls (1957),” the thoughtful and atmospheric “Feel Flows,” and the incredibly bleak, Brian Wilson-penned “‘Til I Die.” Capping off the album is one of the more famous SMiLE cuts, the title track. Featuring multiple segments that coalesce under a dusky, murky instrumental and obscure lyrics, the song is yet another example of Brian Wilson’s compositional abilities.
In the following year, the band released two albums, both featuring new members Blondie Chaplin and Ricky Fataar, formerly of the band The Flame. These albums, Carl and the Passions – So Tough and Holland, showcase a band that is confidently wading into the future. At this point, The Beach Boys had begun to see renewed critical acclaim and a steadily increasing presence at their live shows, though record sales were still lacking. They were embracing a new image, and with that, they kicked down the door in 1972 with some of their strongest work yet.
Carl and the Passions back cover, featuring new members Ricky Fataar (fourth from left) and Blondie Chaplin (second from right)
Carl and the Passions opens with “You Need a Mess of Help to Stand Alone,” a funky number that shows off a groovier side of The Beach Boys. It features intricate vocal harmonies, tight guitar solos, and stabbing piano hits that roll it along at a quick pace with Ricky’s drumming. Blondie gets his first shot at the spotlight with the strutting “Here She Comes,” on which he proves himself to be a strong vocalist. “Marcella,” is a quintessential 70’s Beach Boys track, with its sultry piano, lush guitars, rich production, and stacked vocals that flow every which way during the chorus of the song. “Make it Good,” is another spacious, beautiful Dennis Wilson ballad, with his vulnerable vocal backed by a Hollywood-esque wall of orchestration and vocal harmonies that could bring a tear to even the most hardened listener’s eye. “All This is That” feels like a late 60’s cut, with its meditative themes, blissful harmonies, and mellow vibes. Ending the album is “Cuddle Up,” another Dennis ballad that closes the curtain with a deeply emotional bow.
Holland album cover
Later that year came Holland, truly a spectacular album. These nine songs feel like the culmination of years of growing and maturing as artists. “Sail On, Sailor” is a powerful and entertaining opener fronted by Blondie, and its swelling 6/8 time instrumentation gives it an appropriate seafaring feel. The surprisingly sludgy and austere “Steamboat” follows, with Carl’s plaintive vocal acting as a beacon within the murky low tones of the instrumentation. The next three songs, “Big Sur,” “The Beaks of Eagles,” and “California” all comprise a suite known as The California Saga. The fact that The Beach Boys even attempted a song suite is commendable, but the songs included are even more so. “Big Sur” is a charming waltz powered by harmonica and pedal steel guitar. Dreamy lyrics describe elements of California that are often overlooked, such as its forests. “The Beaks of Eagles” is a stunningly creative piece, featuring spoken word sections accompanied by flute flourishes, piano, and ghostly harmonies. In contrast, there are also sections of the song that roll merrily along, as if to break the tension. Finally, “California” is a euphoric, grown up version of the 60’s sound, with Mike Love harkening back to multiple iconic Californian sites such as the Big Sur Congregation and the farmhouse in the sycamores. It’s a lot of fun and is probably the most authentically “Beach Boys” the band had been in years.
The second side of the album starts off with “The Trader,” a stalwart piece of music with its head held high before things quiet down after a sudden key change from D major to C major halfway through. “Leaving This Town” stands as Blondie and Ricky’s highlight during their time with the band, with haunting piano chords, heart wrenching lyrics, and a synthesizer solo of all things burning the song into the mind of the listener. “Only With You” stands out as one of Dennis’s most beautiful compositions. Velvety piano mixes with faint, heavenly strings in a way that has hardly ever happened, with the watery production actually helping the song’s graceful nature. Finally, “Funky Pretty” ends the album with some quality lyrics from Mike Love and an applause-worthy instrumental from the band. Also of note is the companion EP to this album, Brian Wilson’s fairytale Mt. Vernon and Fairway, the intriguing instrumental and descriptive narration making it a strange listen that proves that Brian still had something to say.
Carl Wilson during the Holland sessions
After 1974, with the release of the hugely successful best hits compilation Endless Summer, the dream was over, and the music that followed largely revolved around trying to repeat past successes, chase pop trends, and cover oldies. However, the music produced in 1967-74 proves not only that The Beach Boys were far from adrift after Pet Sounds, but that each member could shine in his own right. Even the worst cuts from this era demonstrate that the band was fighting into the future, discovering new and interesting ways to express themselves. Although not nearly enough people know about these classic albums, for those who have listened to them, they will always stand the test of time as musical classics.
Tennessee rapper Brittnee Moore (aka bbymutha) adds another jewel to the crown with her latest EP – left4dead. With 3 songs and under 15 minutes long, it is a compelling journey through the visionary power that fuels bbymutha. Her ethos? As clear as ever: bold, sex-positive, and stress-free. The “part 1” EP is one of the few bite-sized tapes that Moore has been putting out since she announced last summer that she intends to retire. We’re glad she decided not to, for now, although her ambivalence to fame is keeping us on our toes.
The former Miss Cherry Cocaine struck gold when she returned to making music full time 5 years ago. Moore has been successfully mining her surroundings for inspiration since; from ain’t-shit dudes and sleazy women to her hometown Chattanooga and toxic relationships – her music never fails to make it clear that she’d “rather be a villain than a victim”. One that constantly pushes creative boundaries, either through slick lyricism, contagiously high self-esteem, or her nonchalant fashion, bbymutha blossomed into a cult icon. Despite her alias alluding to her identity as a mother of two sets of twins, she denies this (as much as anything else) as the core of her mojo.
left4dead delivers some alien-like harmony with instrumentals that catalyse Moore’s lyrical finesse. Rock Floyd, credited on most of her releases, or Paris Aden, who shapes a new sound of Houston by hijacking genre conventions, are on production duties and help achieve a particular kinesis the Chattanooga rapper has with music. A mighty production by Fly Anakin – who recently stepped out of the shadow and headlined his first international tour – the sheesh battle is a true testimony to the twisted brain that is bbymutha. Once again, Moore’s prowess is beyond doubt as she wreaks havoc to these beats with a perfectly paced flow, and she knows it – “I’m the alchemist, I got the potions”.
Pons. From left: Jack Parker (drums), Sebastian Carnot (drums), Sam Cameron (vocals/guitar). Photo courtesy of IDIOTEQ
I’ll start off this article with two words: two drummers. I’ll add another two for good measure: no bassist. That’s right, Pons is a three-piece band featuring a guitar, vocals, drums, and more drums. They’re truly a sight and sound to behold.
Pons formed in North Carolina in 2018 shortly after the two founding members graduated high school. The two members in question are Sam Cameron, who sings and plays guitar, and Jack Parker on drums. Shortly after, the duo released their debut EP, titled They Look Like People. The EP features five loud, noisy, raw tracks that only hint at the power Pons was yet to harness.
The start of Pons: Jack and Sam circa 2018. Photo courtesy of Pons’ Instagram
At first, progress was slow for Pons due to Jack attending college at the University of Vermont, where he became part of the short-lived but very popular emo band Boys Cruise. However, behind the scenes, the duo was still keeping the flame of Pons alive. After releasing a few more songs and embarking on a mini-tour in early 2019, the floodgates opened. That summer, Pons released Dread, their second EP. With this EP, they went on their longest tour yet, traveling from North Carolina all the way to Canada and back. This ambitious outing showcased the incredible work ethic that powered the band, and it was only the beginning.
As fall came around, Pons continued to build on the momentum of the previous summer. Sam moved up to Vermont in order to continue working on new material and play shows in the area. They also expanded, introducing auxiliary percussionist Sebastian Carnot, also known as DIE the Monk, at a show in September. While based in Vermont, the trio built up a reputation for pulling out all the stops live. One of their most popular antics was ditching their instruments and shouting lyrics discordantly over a pre-recorded backing track, wading out into the audience and dancing maniacally as they did so. The addition of a second drummer also meant that their shows became even noisier.
After releasing their debut album Intellect in 2020, Pons once again made a drastic move: they relocated to New York. Despite the high saturation of strange and unusual bands in NYC, Pons immediately stood out due to their raw power and noise. They began playing shows all over the country, darting from one state to another on a whim. Oftentimes, they would pay visits to Vermont, where they were still heroes of the underground. This included playing a show at Higher Ground with Vundabar.
Fast forward to today, and Pons are often cited as people’s favorite band to see live. Their commitment to their sound, style, and persona has also helped them stand out in a world where weirdness is often watered down and turned into a commodity. Their fierce work ethic also makes them stand out as a beacon for other underground bands that are looking to make a name for themselves on the road. Even if Pons’ music isn’t your cup of tea, their determination and passion will have you keeping your eyes on them.
The band’s latest single, “Leave Me To My Work,” is out now on all streaming platforms.
I’ll never forget when I began listening to Scottish band Glasvegas. In seventh grade, I started branching out from the music I heard in the car or on the radio and almost accidentally started listening to them. My dad had received their 2008 self-titled debut album from my uncle, and because of that, I began listening to it. I immediately fell in love with the atmospheric, dense sonic world that Glasvegas created on the album. Songs such as “Geraldine,” “Go Square Go,” “Daddy’s Gone,” and “It’s My Own Cheating Heart That Makes Me Cry” tackled emotional themes while enveloping the listener in swirling guitars, rumbling bass, and simplistic yet effective drums. Although singer James Allen’s vocals were obscured by such a thick Scottish accent that I often had to look up the lyrics to understand what was being said, I still adored the album and still do to this day.
It turns out that I was not alone in my love for the album. After its release, it ended up going platinum, a big feat for an indie rock band. The band had actually formed years earlier in 2003, slowly working and building a fanbase over the years through constant touring, free demos, and a music video for the demo of “Daddy’s Gone.” This slow build in recognition meant that the album was a deserved smash hit, and Glasvegas enjoyed the benefits their self-titled album reaped.
In the years that followed, the band released two more albums: EUPHORIC /// HEARTBREAK \\\ in 2011, and Later…When The TV Turns to Static in 2013. Sadly, these albums did not perform as well critically or commercially as the debut album. Following the release of Static, the band’s output dried up with the exception of a small tour in 2014 to support the album. As the years went on and the band continued to remain silent, it seemed as though they had broken up. Allen’s struggles with drug use also painted the future of the band in a bleak light.
However, the band suddenly reemerged in 2018 to celebrate the 10 year anniversary of the debut album. They went on tour and re-released the album with a gold cover. They also released demos of the debut album to all streaming platforms. Then, three years later, the unexpected occurred: Glasvegas released their fourth album. Titled Godspeed, the album contains eleven tracks, two of which serve as interludes. Each of these tracks creates a world that not only harkens back to the debut album but also expands on it. The track “Stay Lit,” despite the title, is actually an acoustic guitar-driven track that has a morose, haunted feel to it. “In My Mirror,” one of the standout tracks on the album, pulses with a sense of urgency and contains some of Allen’s most impassioned vocals to date. “Dying to Live” runs in a similar vein, with Allen practically spitting out the lyrics in desperation over a tense instrumental. The tracks “Keep Me A Space” and “My Life Is A Glasshouse (A Thousand Stones Ago)” echo the first album with their sweeping textures and grand soundscapes.
It is nothing short of staggering that Glasvegas were able to make such a quality album after eight years. However, it is also not outside of the band to pull something like this off. After all, this is the same band that existed for five years before their debut album, slowly honing their sound and polishing their craft. Clearly, work ethic is a major part of Glasvegas’s ethos, which is something that must be admired. Many other bands would have folded under lesser circumstances, but with Godspeed, Glasvegas proves that they are made of tougher stuff.
Glasvegas’ new album Godspeed. Photo courtesy of XS Noise
Instagram has changed my life in many ways. On the bright side, it has given me many international opportunities, such as writing for this brilliant magazine. On the negative side, it has rendered my attention span so useless that chances are, I reached down and stared at my phone screen before I even finished typing this sentence (I actually didn’t. There is hope for me.). However, in the former category, I have been introduced to countless new songs and bands thanks to a mixture of advertisements and random posts on the site.
Recently, I was scrolling mindlessly through my phone when I stumbled across an artist by the name of Young Guv. I vaguely recalled having seen the name before, but I hadn’t investigated further because I figured he was just another rapper. However, I stopped on the post that had come up in front of my indifferent eyes and took a listen to the clip. Immediately, I emerged from my stupor as the chorus of the song, which was called “Only Wanna See U Tonight,” floated into my ears. The song had the trappings of late 70’s power-pop mixed with the sheen of mid-90’s alt-rock. Shining guitars popped out over crisp drums, melodic bass, peppy tambourine, and the almost saccharine vocals of the project’s mastermind, Ben Cook.
Stunned, I played the clip over and over again before it occurred to me that I ought to go and listen to the actual song. I listened to it a few times and enjoyed it greatly. It almost felt like a guilty pleasure; surely this was some cynical cash grab. The production was too clean, the vocal harmonies too ear-catching, the guitar tone too sunny. However, over the course of the past month, “Only Wanna See U Tonight” has repeatedly floated back into my head until I relent and listen to the song again.
I then took the big risk of exposing myself to the rest of Young Guv’s catalog. From the beginning, I was worried that Guv’s other songs wouldn’t stack up to the pop glory of “Only Wanna See U Tonight,” so I approached them with trepidation. I was proven joyfully wrong. “It’s Only Dancing” brings the energy of the earliest days of new wave, with guitars caked in the chorus and the drums providing an insistent and instantly groovy treadmill for the song to run on. The song brings to mind Joe Jackson, Rick Springfield, and Bruce Springsteen. If you told me that this song was from 1981, I would absolutely believe you. Even the production works on that level, which is a surprising feat in a world where a lot of pop stars try to ape the 80’s “sound” by throwing atmospheric synths on their music.
Other gems in Guv’s catalog include “Lo Lo Lonely,” which cranks the distortion to a point reminiscent of Teenage Fanclub and Weezer. Emphasizing the influence of the latter band, Cook’s vocals ooze through the song like Matt Sharp’s on The Rentals’ sophomore album Seven More Minutes. Moving in the complete opposite direction is “Caught Lookin’,” a song that sounds like what you’d get if you stuck Mac Demarco in a DeLorean. Gently plucked acoustic guitars meet swirling synths and grooving bass. The overall feel is funky and suave, which is punctuated by female backing singers and a subtle drum machine that hits at just the right moments. An airy saxophone firmly ends any debate.
Overall, Ben Cook and company have shown that they can write some real fine songs. They accomplish the difficult task of writing guitar pop that isn’t overproduced but doesn’t rely too much on nostalgia. Their next release, a double album consisting of Guv III and Guv IV, is expected on March 11th through Run For Cover Records.
Russian post punk is a genre that has slowly but surely permeated American musical taste. Some early examples include the dreamy Motorama and the grim but vibrant Human Tetris. I was introduced to the genre through the latter after stumbling across arguably their biggest hit, “Things I Don’t Need,” on YouTube during the summer of 2018. Immediately, I fell in love with the song. It had everything a fan of post punk wants: gloomy bass lines, spectral guitar riffs, cryptic vocals delivered in a baritone, and hyper talented drumming that even a machine would struggle to replicate. From that song on, I began delving deeper into the genre.
Suddenly, in the summer of 2020, the genre exploded onto the scene. Molchat Doma, a Belarusian trio, took TikTok by storm with their song “Sudno,” a title that translates to “Bedpan.” Due to this song’s rapid climb in notoriety, other similar sounding bands were sought out and gained popularity as well. However, one band that has not truly received their dues, in my opinion, is Buerak.
Buerak is a Russian duo that formed in 2014, releasing their first singles the same year. The two members are singer/bassist Artyom Cherepanov and guitarist Alexandr Makeyev. Hailing from Novosibirsk, Russia, Buerak has been dubbed part of the “new Russian wave.” They are also notably prolific: since their founding in 2014, the pair has released six full length albums, eight EPs, and twenty singles. They have also released nine music videos.
I first came across Buerak thanks to some friends in Belfast who posted one of their songs on Instagram. Intrigued, I deciphered the Russian characters in the title and found the song, called “Sports Glasses,” on YouTube. From the very start, the frantic drum machine, insistent bass, and spider-like guitar hold the listener in their wintery grip. After a moment, the song transitions, with the drums lessening a little but not losing the tempo.
Cherepanov’s peculiar and unique vocal delivery then takes center stage. The vocals are almost deadpan save for a few instances where he emphasizes words. Despite the urgent feeling of the song behind him, the way he sings gives the impression that he is reading rather than singing, which works oddly well. In a way, the vocals become an anchor keeping the hyperactive instruments from flying off the rails. However, at the end of the song, the vocals depart and the instruments close out the song with gusto. There is heavy use of crash cymbals on the drum machine, and the guitar becomes fuzzier, while the bass provides the powerful undertow.
The crazy drum machine patterns, razor-sharp guitar lines, and ever present bass are staples of almost every Buerak song, though many of their songs utilize other stylistic measures as well. For example, on their 2017 sophomore LP, “Modest Apartments,” more than one guitar is featured on some of the songs, creating a captivating tapestry of sound. On some other songs on the album, synthesizer comes in, taking their already 80’s-inspired sound to new heights.
Outside of the studio, Buerak is known for their energetic live shows. Despite the occasional mishap that comes with using a drum machine, the two musicians, Cherepanov in particular, get the audience frenzied and dancing to every song. Oftentimes, the crowd often sings the songs back at the band, showcasing just how popular they really are.
If you love Russian post punk, then I cannot recommend Buerak enough. Their music is similar enough to other bands in the scene to attract fans of the genre while being unique enough to stand out from the crowd. The energetic rhythms and wonderful production have always brought me back to the band ever since I first heard them back in 2020, and I have never been disappointed.
This month for your favourite bus read, I want to discuss dub music. It’s a deeply influential genre that never disappoints and still, little is known about it and its protagonists. Digging into its fascinating history is always a treat, not so much through written accounts but by witnessing a tradition that still prevails on the dancefloor, almost 60 years from its inception in Kingston, Jamaica. I recently went out to see Iration Steppas celebrate their 30th birthday at Trinity Centre in Bristol and it was as neat as I hoped it would be. It had been a while – I almost forgot how potent and uplifting dub can be; it’s like an assault to the senses with its thrill-building reverbs, psychotropic sirens, and guts-shaking bass. It sways you off your feet in the best way possible, especially when played by its top vanguards. Here’s a taster of my awesome time at Trinity, although this video doesn’t do justice to what happened that night.
Iration Steppas are one of the best in the game – you’ll understand what makes them so special if you see them live. It’s mesmerising how good they seem to feel when they’re at the controls, and they make you feel it, too: quintessential happiness. It all began years ago, back in the 70s when Mark Iration and his long-gone friend Sam Mason were just a couple of teenagers collecting records. They were fascinated by the likes of Jah Shaka and Jah Tubby’s and curious enough to try and make their mum’s amp sound louder – so they got into building their own sound system and experimenting with it.
Mark Iration (left) and Sam Mason (right)
It wasn’t until the 90s when Mark Iration met Dennis Rootical, that Iration Steppas as we know them today were born. Mark’s journey started small, this-used-to-be-a-wardrobe-and-a-bag-of-nails small, and turned into a monster of a system, tons of dubplates, and a decked-out studio with a board that’s got 100-something channels. Iration Steppas are some OG, full-of-character bunch of mixing artists, who made a real contribution to dub through their music. Their way of connecting with the crowd is spotless, and it serves dub a great honour. They always put up this fantastic show with their DYI, uniquely craggy rhythms and improvised lyrics each time the record needs turning over. And wait until you see them in a soundclash. Their greatness, I think, comes from some absolutely fantastic and annoyingly hard to come across tunes that are then mixed and presented in a very soulful, unforgettable way.
Iration Steppas opened new worlds with their Year 3000 production style; even the name itself hints to a particular craft where inspiration from mentors, old school lyrics, and sub-bass frequencies meet a unique sound that touches on house, acid, and jungle. 30 years in the scene and Mark and Dennis have the same awe-inspiring energy, the unfailingly authentic techno hue to their music, and remain one of the most loved sound systems worldwide.
If this sparked your interest I suggest you save the date for the premiere of INA VANGUARD STYLE, a documentary about Iration Steppas, courtesy of Dubquake Records.
And before I go, please go see them live. It’s the kind of thing you should do at least once in your lifetime. Here’s where to find them over the next few months:
LEEDS 12 & 13th November @ Freedom Mills with support from O.B.F. and Charlie P – tickets for the 12th and here for the 13th
BRISTOL 27th November @ The Fiddlers with Macka B and Aba Shanti-I – tickets
The Umbrellas, courtesy of their bandcamp page. From Left: Keith Frerichs, Matt Ferrera, Morgan Stanley, Nick Oka
I am an absolute sucker for Sarah Records bands. I first came across the label after seeing a picture of The Field Mice on Instagram. Thinking that they looked cool, and knowing that the band Seapony had covered one of their songs, I gave them a listen and was blown away. The jangly guitars, the punchy drum machines, the melodic bass, and the poetic lyrics quickly endeared me to the late 80’s-early 90’s indie band. Once I had dug through their catalogue, I began checking out the rest of Sarah Records’ roster, finding such amazing bands as Another Sunny Day, Brighter, and 14 Iced Bears. All these bands had vastly different yet oddly similar sounds, and I began searching for any sort of modern-day equivalent.
Despite my keen eye, The Umbrellas still hit me like a brick wall. Again finding them through a random encounter on Instagram, I noted the cool, understated indie-rock aesthetic of the name and decided to give them a listen. On top of this, I saw that they were part of Slumberland Records, another fantastic indie-rock label featuring, at least at some point, The Pains Of Being Pure At Heart and Crystal Stilts. Seeing that The Umbrellas had a new self-titled debut album out, I dove in headfirst.
Immediately from the first chords of opener “Lonely,” I was transported back to the magical moment that I had stumbled upon Sarah Records back in high school. The nostalgia was visceral and quickly had me hooked. Jangly guitars bounced around a persistent drumbeat, and Matt Ferrera’s notably Field Mice-esque singing style was spot on. The lyrics are beautifully simple, describing the insecurities stemming from a relationship gone wrong. Morgan Stanley also provides vocals on this song, her voice floating ethereally through the flickering guitar notes. Overall, “Lonely” is an incredible opener, and should they ever visit the East Coast, I would love to hear it live.
As the album continues, The Umbrellas show off other facets of their songwriting strengths. The song “It’s True” is a delicate, intimate acoustic ballad, with raw vocals traded by Ferrera and Stanley as melancholy chords chug beneath them. The two singers sing both separately and in harmony throughout the song, like two birds in a late summer sky. “She Buys Herself Flowers,” one of the singles off of the album, features R.E.M. style guitars throughout that occasionally show signs of The Byrds and even early surf music. Stanley’s frank vocals are on full display here, as are a set of remarkably clever and catchy lyrics. Later in the album, “Never Available” features sunny guitar arpeggios and 60’s psychedelic style percussion. Gentle keys also buoy the song and provide an extra layer of atmosphere to the song. The simple refrain of, “You’re never available,” is an instant earworm and ensures that the song sticks in the memory of the listener.
Considering that this is their first album, I am shocked at how masterful The Umbrellas’ songwriting sounds. It is impressive how well they conveyed their influences while also adding a modern touch to a classic sound. If the album was simply a shameless ripoff, I probably wouldn’t have liked it as much. After all, The Field Mice already existed. However, The Umbrellas utilize enough nostalgia to captivate listeners while providing enough nuance to stand apart from the crowd. I tip my hat to this great new band, and I cannot wait to hear what else they have to offer.
The Umbrellas’ self-titled debut album cover, courtesy of bandcamp
