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FREELOVE FENNER, who are you? This track, “Vicky’s Day” leads me to believe you’re an extremely reverant group of early 80s UK lo-fi, minimalist pop fiends who’ve put your studied learnings onto vinyl and digital. I’m all in. 

I checked ‘em out, and they’re a trio – fairly longstanding at that – from Montreal. There’s a nice history to dig into this weekend – let’s hope they’re all as pleasing as this one.

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As careful readers of the ‘Hemorhhage know, I’ve been making up for 15 years of lost time and diving in deep to the wild world of loopy late 90s UK girlpunk, pop and noise. The label Slampt – wholly unknown to me before this year – seemed to be a prime mover in a world of their own making, with jarring lo-fi pop and angular punk bands like Lung Leg, Sally Skull, The Yummy Fur, Golden Starlet and others passing through their ranks at various times. We love ’em. Not all of ’em, but we love a bunch of it when we’re in the mood, you know.

Thanks to a blog called PUKEKOS, who are perhaps the only mp3 blog whose files are still active (my old one Detailed Twang also still has a bunch of active stuff, BTW), I discovered the Crampsian shout-and-shriek sounds of BETTE DAVIS AND THE BALCONETTES recently. They too spent some time on Slampt. 

Their discography is wobbly and uneven, but a few cacophonous gems totally stand out, like this one, “Surf Surf Kill Kill”, the A-side of a 45 on Damaged Goods in 1998. It sounds like the Maximum Rock & Roll radio show theme song crossed w/ “Golf” by Art Phag, with a bored, drunk English girl spitting out a poetry slam on top. The sleeve also features the best anthropomorphic use of a bear since Monoshock’s “Primitive Zippo” 45, a single that I put out.

Outstanding stuff. Play loud for maximum ear bleed.

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I’ve been acquainted with and a moderate fan of the records from Tim Presley’s WHITE FENCE, who records and resides in Los Angeles, but it’s only this past few weeks that I’ve crossed over from White Fence “enthusiast” to “fan”. What did the trick for me was multiple listenings to his/their first record from 2010, the eponymous “White Fence” on Make-A-Mess Records. If you haven’t heard this one yet and have spent more time w/ the Ty Segall collaboration and/or “Is Growing Faith” – or the even newer ones – I implore you to get going on this one posthaste.

“White Fence” is a trippy, warbly amalgam of Syd Barrett, Bill Direen & The Bilders and variety of 1960s thematic compilations, all set to crackle and fade and weird tape loops that sputter & cough many songs to premature ends. If you’re familiar with these comps, imagine a combination of deep 60s influences from “Highs In The Mid-Sixties”, “Chocolate Soup for Diabetics” and “Soft Sounds for Gentle People”. This modern flower child isn’t all throwback, though – it gets rough and raucous at times, most notably on a killer track called “Baxter’s Corner” that is full-on barking noise/panic rock fully of this era.

Turns out Presley’s so talented he’s even toured as a member of The Fall. I’d just retire right there, but this guy’s amazingly multi-talented and a far cut above most modern indie pretenders. Totally ready to call White Fence one of my favorite “bands”, a couple of years after everyone else started to.

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Check out this absolutely demented 1961 rockabilly punk from France, right up there with Morty Shann & The Morticians, King Usniewicz, Hasil Adkins and Mad Mike & The Maniacs for raw, stupid, early 60s trash fun. They were called LES BLOUSONS NOIRS and released 2 four-song EPs that have thankfully been collected into one CD. Their English was atrocious and only adds to the genius of this thing.

The eight tracks blow by in about 20 minutes, and everyone of them will test the patience of everyone around you. You, of course, will be getting up offa that thing and onto the good foot.

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S-S Records did the universe a real service by taking an edition-of-200 1981 Belgian cassette tape, the “FM-BX Society Tape”, and converting it into vinyl last year. The tape was released by a Belgium-based radio station back then, and hidden on it were one of the great all-female, achingly raw, postpunk DIY bands of the day – UNIT 4 – although no one heard ‘em at the time. S-S made sure that we did, now, thirty years later.

The tape/LP has four UNIT 4 tracks on it, and they give Kleenex a decided run for some new ink to be spilled on great European punk & postpunk of the early 80s. Burning out and fading away after recording only four songs, and then having those songs “discovered” again by record nerds thirty years later, has a way of ensuring an unspoiled legacy. See what you think by listening to “Rules” here. All four of their songs are outstanding.