Bleach Party from Chicago in the USA is the garage rock quartet of Meghan MacDuff (Vocals / Guitar), Bart Pappas (Guitar), Richard Giraldi (Bass) and Kaylee Preston (Drums).
It is perhaps apposite that Bleach Party from The Windy City fuse garage and surf rock into a tsunami of sound that envelops the room in swirling guitars that snuffle around the room exploring the darker crevasses. There is a relentless wave of sound that sweeps up all before it in a maelstrom of fuzz in which the listener becomes a tangible element.
I rarely recommend turning down the bass, as you know, in this instance pare it back and you will be in a space full of sounds you just want to play over and over again with various adjustments. There are few bands on the circuit able to deliver music which works equally well with full treble as full bass and no matter where you set the equalisers you will find Bleach Party fill the ears with joy – all you need to do is turn up the volume and let the quartet take care of the rest.
It was a fan of the band who made contact – and my thanks to Selina for doing that – I look forward to hearing more. If you would like to see a band featured just drop a note to tim @ emergingindiebands.com.
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Slack is the indie-funk quintet of – Robert Guinvarch, Tyler Dawn, Nigel Hardy, Patrick Murphy and Austin Perkins from Monterey, California in the USA.
There is a beautiful contextual conflict that lays with Slack as the music has the listener swaying in tandem with another whilst a thorny lyric rails against the gentleness of the flows of sound and it this stark contrast that gives the quintet an out-put you just feel the need to explore further.
Slack is exactly the sort of band the concept of what was then indie bands blog was set up to showcase last decade. I am often sent missives to consider what is referred to as ‘street music’ which is normally a rehash of a suburban white-picket fence masquerading as childish hip-hop written by ‘wannabe gangsters’ who sound more like their MTV subscription is probably due. This is a quintet who bring the ‘Street’ back to the tarmacadam, not the thick pile fitted carpets.
With a steady stream of releases and live performance Slack is a band I would heartily recommend getting hold of their catalogue (which you can find on bandcamp) and if you are their way get out to see as they bring bitter-sweet humour to compositions that are finely executed.
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Albert Bagman from Baltimore, Maryland in the USA is a solo melancholic rock project.
Slowly drifting out of the speakers comes a puff of smoke that gradually permeates through the room as Albert Bagman surreptitiously brings together eight bar blues with grunge rock to pervade the soul.
As with all solo creators I can only marvel at the patience as each instrument is laid down one over the other allowing the audience an insight into the minds eye. The extrapolation of which leaves the head reeling from the declensions that arrive. What most drew me to the music of Albert Bagman is the way in which an idea that initially seeps out of the speakers is brought to life as the tracks develop, becoming ever more complex billows of oil-fuelled cloud.
About a year into the concept of Albert Bagman after time as part of a band it will be interesting to hear how the music develops, as early full instrumentation when being met with a request for live performance resulted in electronics appearing in the thought process.
I leave you with a machine backed number followed-by a full instrumental track. Some quandary Albert Bagman faces as both are of considerable interest.
As of yet, there is no website, or social media page – I can a link to bandcamp. I am led to believe a new label may surface called Hebegebee Records – keep your eyes out for more information on this as it evolves.
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Blue Snaggletooth from Ann Arbor, Michigan, in the USA is the heavy metal quartet of Chris Taylor (Guitar / Vocals), Casey O’Ryan (Guitar), Joe Kupiec (Bass) and Mike Popovich (Drums).
After the New Year Ninety Chart yesterday Blue Snaggletooth mark the first return to normal programming for 2015 and guess what – forget your hang-over – turn up the volume and bang your head in time as the quartet bring the first drops of perspiration to the walls for the new year.
When I listen to rock this dirty I am minded of a chap I went to school with back in the ’70s – who at every opportunity would don his torn jeans jacket emblazoned with pin buttons. As I was and remain a punk rocker who never managed at the time to get beyond three chords (to be fair I still struggle sometimes) but in Blue Snaggletooth I can understand precisely why he sank his soul into Heavy Metal. Four decades on I find myself in-tune with ‘Piggy’ Randall.
The gritty determinism and eviscerations tear into the body with a purposeful intent and the audience can’t help but be caught up in the combinations. Percussion rings around the room like a compère introducing the elements of Blue Snaggletooth, whilst performing its own magic. The guitars dramatise the music whilst a growling bass brings it all back to earth and the vocal demands the instrumentation raises its game and the resulting out-put leaves the audience with ringing ears, aching neck and a smiling face.
The only consternation that exists is the slow drip feed of material. It was in 2009 that the band formed – two years until the first LP – Dimension Thule – a further three years to the next Beyond Thule – one can only help that this formula is broken else it will be 2018 until we hear anything new.
Beyond Thule – Blue Snaggletooth is available on iTunes.*
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*Purchases made through the iTunes link will result in Emerging Indie Bands earning a commission.
Mister Tang from Portland, Oregon in the USA is the garage rock trio of Stone Laurila (Drums / Vocals), Jeff Schultz (Guitar / Vocals) and Cody Railey (Bass).
Cast aside formalities, Mister Tang create music that is straight from the hip. Not seeking to provide technicalities, the trio is able to provide the listener with an earthy realism that gives the sounds an immediate connection. During the couple of years of their existence they have naturally gained a confidence and more defined sound in which they excel, though haven’t lost the initial zest as distorted fuzz recoils around the room.
Mister Tang have honed their craft through live performance growing an expanding loyal fan-base and their music which transcends national boundaries deserves of even broader recognition. The tightness of the tracks gives the music a thumping concentration that buffers its way into the brain.
An early EP has been followed by two singles, the last back in April (all of which are available on bandcamp). I look forward to hearing more of Mister Tang and hope they are considering putting out a full-length for those of us not in the vicinity.
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