Chris G. Simmons and Claire Lempke from Madison in the USA form the new-wave outfit Crawling With Cops.
Crawling With Cops
One can only imagine if Crawling With Cops were a quartet quite how loud they would be, as this is a duo who need to be heard with ears bleeding and walls shaking.
The duo switch voices through tracks giving the compositions immense vocal range and melody and the blistering guitar fires like an arrow though the speakers. It is the sub-woofers that struggle as the impatient drum-kit emits thumps from each skin and piece of metal whilst the sublime bass makes the listener want to melt into the sonics.
Yet to release their début LP Oojah Cum Pivvy which doesn’t surface until the 1st of June – Crawling With Cops are a band who should already be on your playlist. For those of us not in the USA the very good news is rather than getting out to tour the album, they will be heading back into the studio to record a follow-up, the reverse is true if you are however in the USA as this is sound that venues would be delighted to have on their stage to ensure they are able pack the night.
Time will tell how Crawling With Cops decide to ensure they are able to perform as well in live performance as Studio recording as with only two players it is an impossible idea and ‘guest musicians’ probably won’t have the heart and soul of the tracks sufficiently invested to replicate the joy the audience gains from the current sound.
From the ten track Oojah Cum Pivvy – Lick Suzie Suzie.
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Surfacing from New York in the USA the indie band of Sunshiner centred around Rich Michelson (Guitar / Vocals), Evan Fazziola (Guitar / Vocals), Dylan Carey (Drums) and on Bass either Andrew Rizzo – recording or Frank Casio – live.
There is an autumnal feel to the slightly chilly intertwining sounds of Sunshiner as they deliver a sound of circumspection of the space surrounding them, but rather than implode into an anxious moment of reflection they seek to clear away the leaves to reveal the last vestiges of summer.
One echoing guitar sits within another reverberating guitar to give the out-put a fluffy pillow on which the head can rest in comfort, whilst percussion and bass stir the sheets and blanket leaving the body less rested. It is this discombobulation of calmness and unease which gives the out-put a resonance that intrigues the casual listener and engages their developing fan base.
Having thrown out a few ideas over the past couple of years Sunshiner have taken a grip on the idea that they have something to add to the world of music and a début four track EP – entitled EP (available on bandcamp) was released on the 24th.
I am taking a forward punt here – but until Sunshiner engage a full-time bass player they still won’t take their material too seriously as the four / five stringer is an essential element of their sound.
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Surfacing from New York in the USA the trio of Ian, Josh and Mike form the new-wave band Monograms.
Combining elements of Blondie and shoegaze the listener is led into a treat of CBGBs reworking as Monograms elongate flat extenders far more than is politic and it is for this melodious drone that they capture the attention.
Only a band from Brooklyn or San Francisco could display such disdainful disinterest in their out-put that the listener falls into a tumble of delight as they deliver a sound which the audience carries high on their own shoulders. Early Blondie and the life cycle of The Nuns and Ramones were able to carry-off the nonchalance with such aplomb as underneath the laissez-faire delivery Monograms have a passion to reflect of how they feel treated by the world around their lives.
A couple of EPs behind them Downer and Fader – Monograms is a band the wider sphere needs to add to their playlist to remind them of the contempt with which the 1% treat the 99% as they reflect of the branding of the slavery of socio-capitalism by which the bailout of banking is deemed a ‘success story’ followed by decades of ever greater collateral damage of the irrelevant 99% of the worlds population to maintain the posture of what was a failure of a economic and social model in the ’70s and their forbears protested about that is coming home to roost in the ’10s.
Downer – EP – Monograms is available on iTunes.*
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Surfacing, ironically, from Providence in the USA is the new-romantics trio of Derek Knox (Guitar / Keys / Vocals), Anna Wingfield (Drums) and Nick Sadler (Bass) who form WAY OUT.
Unlike the prissy sounding name of their homestead – WAY OUT, as their name suggests, are a band to take with you on a night of debauchery as they stretch their loins for all to enjoy. Minding of British synth bands of the early ’80s with a dip of the quill towards the burlesque underground clubs of the same era in Berlin, Germany, the trio do more than sound like a retrospective reflection of that which preceded thirty odd years ago – rather a unit to take today to a party of intertwining oiled bodies.
With very little to hear despite a concept dating back to 2012, there is only a sadness that there is so little to share with you as it was only in early 2015 that the core of the kernel came together and like all good vines time is needed for growth.
The music resonates of the deepest repressed desires of the mind which they bring to light with profferings of a virtual-space sex-box as they implicitly triage the audience from those of vanilla taste to those to allow into the dungeon.
The dank canvass of vocal pastes a candle-lit entrance to the cellar of sado-masochism as the flickering guitar lashes the visitor with urging welts and the bass ties the limbs whilst the percussion – like a dominatrix – treatises of pleasures to come.
The only recorded material available is the WAY OUT eponymous four track EP from last year (available on bandcamp) from which I have selected No Release as a taster.
My one wish – there was more with which to be toyed.
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Based in Johnstown in the USA Christopher S. Bell, Rod Fisher, Gerald Mattis and Matt Miller form the angst-rock band Fine Wives.
Those who remain alert will be pondering the idea of Christopher S. Bell as a name known and you are quite correct from the previous article about C. Scott And The Beltones – the one and same. However no need to get out the log-tables with Fine Wives who lay their hearts on their sleeves and make it slightly easier for the listener to understand.
A lo-fi jig-saw puzzle spreads across the room in hazy discolouration, though, rather than leaving the listener to connect the pieces the players tease the edges towards each other, whilst leaving the listener to fill in the spaces.
The members do not seek to add volume, rather generate textures which fan inside one another, like bird flight feathers, allowing Fine Wives to provide music which signals dissent, without trying to lead the revolution, as they ponder of dysfunction and request the audience to reconsider their own blind-side and leaving it to them to respond, whilst like a Matron, scowling at the unrepentant.
From the LP Thin Lives (available on bandcamp) the opening of the six tracks Western Standards.
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