Burger Records has shaped the face of today’s growing garage and punk scenes while not overcapitalizing the bands it represents or cheapening the image it has largely created. The label was founded in Orange County in 2007 by Sean Bohrman and Lee Rickard of Thee Makeout Party. The label has had an insane seven years as a huge contributor of the increased popularity of cassette tapes and the epicenter of the garage sound that uses these tapes. At this point, though, they seem to be more of a driving force for the bands they represent to keep doing what they want than a controlling, stifling authority. “We’re just trying to nurture them [the bands], cater to all of them, and bring them together in one collective cooperative world where we can live happily and funnily,” Rickard told Vice magazine. Read the rest of this entry »
The first time I saw Dope Body was when they opened for Future Islands at Lincoln Hall in 2012 and I’ve been enamored with the band ever since. I’ll forget about them for a while, then one of their songs will come up when my iPod is on shuffle, and I am immediately transported back to the pure anarchistic joy I experienced listening to Rage Against the Machine for the first time in my older brother’s purple Mitsubishi Galant. Turn your nose up at Rage Against the Machine all you want, but I pity any reader that doesn’t know this feeling. Read the rest of this entry »
King Tuff is touring to promote his new release “Black Moon Spell” on Sub Pop Records. This album is the ideal last fist-in-the-air for summer releases. It’s chock full of pump-up jams about LPs, sex, drugs, and embracing one’s own misfit status. This is the soundtrack to pre-gaming for a crazy night out in the kitchen with your best friends. Produced by Bobby Harlow, also known as the “Burger Guru,” a reference to the current Burger Records sound, and a huge player in the garage rock revival, “Black Moon Spell” is slightly lowbrow, but is such a fun listen and a solid release from beginning to end. Read the rest of this entry »
Photo: Victoria Davis
Ought’s debut LP, “More Than Any Other Day,” begins with a track called “Pleasant Heart” that’s led by an instrumental which inspires anything but its title. Its shaggy, stabby guitar and mathematically puzzling drumming take us to singer/guitarist Tim Beeler’s Kinsella-esque howling as the track unravels into a dissonant string-led soundscape.
But Ought manages to feel warm and familiar—endearing; cute, even—in their angst. A clarion of believable hope always emerges from its darkness. The band’s plainly existential lyrics and daring style have drawn easy comparisons to The Velvet Underground and Talking Heads, but it’s their charm which makes these similes most possible. Their character is big enough to mention them as carriers of a long, great, lively pop lineage.
It’s Ought’s humanity that stands tallest at the Empty Bottle on a Saturday night in September. As Beeler somehow balances the dual personalities of his voice and guitar, the crowd shuffles closer to the stage with air-hugs and smiles, like they’d just really like to have a beer with these fellows who anthemically shout about being “excited for the milk of human kindness.” Read the rest of this entry »
This Roanoke, Virginia trio provides a powerful combination of alternative, indie and jagged punky hooks—everything you could ever want to dance, drive or listen to. There is lush guitar foundations reminiscent sometimes of Radiohead, but the pulse of early Cure and the bounce of Pylon comes through in many of their songs. The Eternal Summers provide a great recipe of one chiming guitar, ironic, high-powered but not screaming, firm female vocals, and a tight pummeling backbeat duo that never lets things get out of control.
Their new album, “The Drop Beneath”—produced by Doug Gillard of Guided by Voices and Nada Surf—on Kanine records is excellent, but live, they let it all hang out and some of their earlier work, such as “Wonder” from “Correct Behavior,” are some of the best pop anthems of the last couple of years. They open for We Are Scientists and Surfer Blood at Lincoln Hall—but don’t be late or you might miss the best band on the bill. (Bart Lazar)
October 8 at Lincoln Hall, 2424 North Lincoln, (773)525-2508, 8pm, $20, 18+
Warpaint is the kind of band that indie-rock fans lose it over because they’ve got an original sound and solid songwriting but still fit within a very familiar musical aesthetic. In this case, it’s early eighties post-punk, in the vein of Siouxsie and the Banshees. The L.A. quartet’s 2014 self-titled release sees the band move into expanding their sound for their second album; in their recent singles “Disco/very” and “Keep it Healthy,” singer/guitarists Emily Kokal and Theresa Wayman chant like voices drone and twine together with a discoesque beat that’s reminiscent of CSS, then move into a dreamy, swirling guitar lullaby. Lately the band’s members have been in the press as much for their outspoken thoughts on feminism and rock as they are for their songs, but music is their primary message and the band is in their element when performing live. (Keidra Chaney)
October 5 at The Vic, 3145 North Sheffield, (773)472-0449. 8pm, $25, 18+
Consider this a Riot Fest after-after-after show. These surf-punk veterans are more than thirty years deep in a pretty legendary career, playing music that today’s FIDLARS and Metz base their entire sounds on. Formed three years after and less than fifty miles away from the also legendary Black Flag, Agent Orange is less of a “punch everyone around you” kind of punk and more of a “shred the gnar” vibe, though I’m sure there’s some punching involved. Agent Orange is a band that any punk or garage fan loves, even if they’ve never intentionally listened to them. Read the rest of this entry »
Sounding a bit like their name, the Raveonettes channel a variety of influences from fifties groups the Shangri-Las and the Everly Brothers to hazy feedback noise like the Jesus and Mary Chain. This is not surprising in that the band is produced and managed by Richard Gottehrer—a seventy-four-year-old writer/producer/impresario who, among other things wrote “My Boyfriend’s Back” and produced Blondie, The Go-Go’s and The Dum Dum Girls. Read the rest of this entry »
California garage-rocker Ty Segall has been recording music at a manic pace ever since his debut in 2008, almost as frantically as he runs his fingers up and down the neck of his guitar. His latest record, “Manipulator” (Drag City), is something like his eleventh album, depending on how you count them. He reportedly spent more time than usual making this one, and it shows. Read the rest of this entry »
Photo: Eric White
“Lose,” the latest LP from Cymbals Eat Guitars—a band name culled from a Lou Reed quote describing the Velvet Underground’s blaring sound—begins with a carnivalesque run of keyboard notes and a reference to Klonopin taken to deal with relationship angst.
Singer Joseph D’Agostino carries a classic emo croon into territory more textural and measured than the genre his lilt suggests. The juxtaposition between CEG’s teensy energy and their adult knack for a barn-burning, shape-shifting, category-blurring number is what makes them compelling. D’Agostino screams primal things from each nook of the pristine, thoughtfully produced landscapes his band creates. Read the rest of this entry »