The English agit-rock trio The Bordellos were first introduced back in 2014.
Word arrives that they may be packing up their bags for a while – though before they disappear – perhaps for ever – from the most recent four track EP The Bordellos underground tape vol 7 (available on bandcamp) the second track They Shoot horses don’t they minds the listener of their long reach to us all. One can only hope they rediscover interest in their own creativity as they sit as a beacon of light in the fog of the malaise of the 21st Century and should they dim – it will be a sadness of passing.
In the possibility that this is a eulogy – I extend my thanks to The Bordellos and gratitude for their legacy.
Emerging Indie Bands on Facebook is where you will discover music reviews attempting resuscitation even where the creative musicians have forgotten why they started out in the first place.
The Australian agit-rockers Blindmunkee recently revealed a new track.
With scathing comment on the world around, Prey combines tightly packed rock-riffs with their signature half-rapped lyric, which in this instance is also set to a hip-hop tempo, giving the song a furious temper, which is best heard with speakers wide open as the soundwaves rattle the window frames.
Surfacing from Bath in England – Patrick Fenton (Vocals / Guitar), Luke Russe (Drums), Jimmy Goodyer (Guitar) and Michael Owen (Bass) form the agit-rock band El Topo.
Flooding from the speakers like a breached damn El Topo deliver a frenetic pace of two guitars which grapple with each other. Much like watching greyhounds racing around the track each element of the band takes position to deliver greatest impetus off the bend, giving the compositions an engaging organic flow as one moment the guitars lead the way, next the bass, then the drum and surprisingly even the vocal is that which others are chasing to catch up.
Given the hive of activity it would be easy to assume El Topo must all collapse into a collision, but far from it as from within the threshing machine emerges compositions of instrumental context and lyrical acidity.
These are evidently a quartet with considerable song-writing and delivery capability who are able to express their intense frustrations with a societal construct that bears no relation to the needs of 99% who seem to happily remain subservient to the 1% whilst retaining a message that is readily understood by the audience without strain and a delivery that has you heading for the mosh pit with joyful abandon.
Formed last year El Topo is a studio band with eight tracks behind them, to get to know, I only hope they manage to find time to reach out to a live audience too.
The Bohos is the agit-rock quartet of Ben Angel, Luke Cradock, Louis Lanfear and Will Jefferies from Bath in England.
Acerbic lyric of societal disconnect is submerged within music that ranges across many styles. One minute funkadelic, the next rock ‘n’ roll and then – something else, however the content remains constant.
Their powerful political commentary is even more pugilistic for the very fact that they are able to elucidate, through their variety performance, the potential cohesiveness of the 99% if they only stopped fracturing and taking chunks out of each other at the behest of the 1%. That isn’t to say the The Bohos are as irritable as I, far from it, they deliver the music from which the audience finds themselves in party mode as they, primarily, are about making people feel better for having supped of their brew.
The quartet have carved out a niche of creativity in which they can satisfy both those who like music with political commentary with a punch along with those who prefer a less confrontational approach and both camps will find ideas they can claim as banners to hold high, whilst dancing together at the party that is The Bohos.
Their most recent track Leaders Don’t Love You surfaced less than three hours ago.
Daniel Pujol, Zach Prosser, Brett Rosenberg and Benji Coale from Columbia in the USA form the agit-rock band Pujol.
Whilst the music is steeped in rock ‘n’ roll Pujol deliver a message of commentary in a world where, an office building atrium larger than a housing estate is a signal of success, casting scant regard for the largesse of quantitative easing for corporations but derision of the individuals who comprise society.
Pujol are able to deliver material that tempts the audience to the dance-floor as the good time sounds of even temper grab hold of the feet whilst simultaneously the lyric grumbles of a world in which ownership of glittery-tat is a mark of worth to the world.
The quartet are a delightful dichotomy who are able to conjoin vacuity with perspicacity and not alienate anyone in the process which is perhaps the greatest ironical statement made by a band for many a year, or perhaps the most sharp-eyed mendacious commentary.
Pujol do not cast aspersions on however their audience wishes to partake, trusting their message will surface, though evidently somewhat circumspect of the ability of many to engage without it being of meme, which in itself is yet another disparaging repost by the band and as you know – I have much time for musicians who journey with cynicism.