#Gonerfest

[anemoiaxescapism]

The Mummies @ Gonerfest 2022

[slovenlyrecordings]

GONER FEST was good fun, first time we've managed to go in years! Thanks to Eric & Zac for bringing out so many of our bands: ANGEL FACE, LOSIN STREAKS, OKMONIKS, and PY PY (of course now also a Goner band, grab their killer new LP, and if you dig it and haven't heard the one we released 10 years ago via Black Gladiator, you're in for a treat!). Memphis is a great town, we'll be back!

[marilyn-jeanne]

[thejoyofviolentmovement]

New Video: Aussie Punks CIVIC Share a Furious Ripper

New Video: Aussie Punks CIVIC Share a Furious Ripper @charmschoolm @atorecords

Hailed by Stereogum as “an unholy lo-fi pile-up of garage rock, punk and 90s-style noise rock,” Melbourne-based punks CIVIC — Jim McCullough (vocals) – Lewis Hodgson (guitar) – Roland Hlavka (bass) – Jackson Harry (guitar) – Matt Blach (drums) — have developed a reputation for reimagining the reckless intensity of proto-punk for an era of unending and unceasing uncertainty. Earlier this year,…

[daggerzine]

Tube Alloys- "Evil Angels" single (La Vida Es Un Mus Discos)

This LA 5-piece wowed me at Gonerfest this past weekend and hey, they just happen to have a new single out tomorrow. Only one song has been released so far, the mighty grinding "Evil Angels," which has some righteous menacing guitar. The vocals fit right in with the whole shebang and the rhythm section is punishing in the best way possible.

Released tomorrow so we'll be able to hear "Lizard Kingdom" (a little bit of pleasant anxiety over that one!).

I'm glad Tube Alloys found each other and are roaming our earth as we speak. Bring on tomorrow!

www.tubealloys.bandcamp.com

[goodbysunball]

1/4 Dead In 2023

It's a really bad time to try and cut back on buying music; here's four reasons why, and I've still got another eight or so waiting in the wings. Suck on these chicken wings like Steve Buscemi in Ghost World and I'll bring you another basket when you think you're through.

Cheater Slicks, Ill-Fated Cusses (In the Red)

The world's greatest active rock 'n roll band is back with their first studio LP in 11 years. Cheater Slicks could have very easily hung it up by now, especially following the tragic death of drummer Dana Hatch's son, but some mysterious impulse keeps the brothers Shannon and Dana Hatch (joined here by James Arthur on bass) churning after all these years. There are no other bands that can play garage rock with the abandon that Cheater Slicks seem to nail album after album, and their return to In the Red is possibly their best yet. The comfortable intro to "The Nude Intruder" soon picks up speed and careens headfirst into some solos that are the best I've heard since maybe Mordecai's College Rock. From there the band proceeds to lean heavily into guitar worship, sounding as paranoid and grimy as ever, barely-controlled outbursts of scuzz drenching "Fear" and "Flummoxed by the Snafu." Where previous albums seemed to opt for a sort of ballad to close each side, the band decides to try out "Lichen" to end side one, a feedback-laden stumble through the wake of "The Gift" but even more seasick and desperate. The band's hardly left behind the ballads from albums past; "Garden of Memories" and "Far Away Distantly" are gruff and affecting like the best of the Slicks' quieter moments. My favorite track here is "Coming Back to Me," which oscillates from Hatch's pounding drums and foam-mouthed shouts to zen-like group vocals repeating the title, and erupts in a ferocious guitar solo. It's songs like "Coming Back to Me" that show why Cheater Slicks have single-handedly rejuvenated garage rock and stand alone at the top of the heap. In a time where I've been leaning toward more abstract and indecipherable sounds, it feels really good to be leveled by a no frills rock 'n roll album, something familiar but wholly fresh, without pretension and effortlessly memorable. Cheater Slicks, now and forever. Highest recommendation; get yourself a copy post-haste, and maybe go see 'em blow the younger acts off the stage in a rare live appearance at Gonerfest this year.

Equipment Pointed Ankh, From Inside the House (Bruit Direct Disques)

The latest and greatest from this loose Louisville, KY collective, bringing some welcome cohesion to their brand of off-kilter omnivorous rock deconstruction. I've always found Equipment Pointed Ankh interesting, spiritually akin to fellow Kentuckians Sapat, but their albums can feel cluttered and overlong; on Without Human Permission, something like "Blue Folding Room" bowls me over, but then I've traversed so far by the end of side one that I'm disoriented and exhausted. Could have been a case of too many cooks/too many ideas, but whatever it was has been ironed out on From Inside the House, brought to us by the fine tastemakers at Bruit Direct Disques. "Rubber Slacks" snaps into gear at the front, but the song devolves into a noisy coda, feedback and droning synths fighting to wrest control of the song from the rhythmic backbone. What felt like genre-hopping exercises on previous records has coalesced into a no less confusing but exhilarating whole; off-kilter tunefulness emerges from rudimentary drumbeats, drone and jazz coexist with minimalist beats and modern classical. What emerges from the speakers isn't really as heady as that sounds, though: From Inside the House fits easily as background music and rewards close listening alike through it's rich, full production. The highlight for me is the drumless, airy seven-minute title track, which coupled with Jenny Rose's spoken lyrics brings to mind Cosey Fanni Tutti's "Time to Tell." It's a surprisingly arresting, moving track from a collective that seems mostly hellbent on upending genre distinctions with a permanent smirk. "I'm looking for something else," Rose says, and across seven tracks and 35 minutes, it sounds like EPA's found it on From Inside the House, a surprising early favorite record of 2023. Buy not only for the music, but the screenprinted jacket and Bill Nace artwork, too. Another left-of-center gem from Bruit Direct Disques.

Ustalost, Before the Glinting Spell Unvests (Gilead Media)

This was technically released at the tail-end of 2021, but I've only received my copy of the LP this month, and it's one well worth a year's patience. Ustalost is a side project from the Will Skarstad, one of the brothers behind Yellow Eyes, but there's not much to differentiate the two projects. It's nominally Will Skarstad's solo compositional outlet, though his brother, Sam, gets credits for the lyrics and production. The release, Ustalost's second, states that the project "has always been an exercise in indulgence," and that's probably as good of a descriptor as you're gonna get; it's black metal drizzled with the Skarstads' slowly twinkling guitar lines, drenched in Gregorian chant, keyboards and synthesizers straight out of the first wave of funeral doom (Thergothon comes to mind). I never much cared for keyboards in metal, but they're worked in nicely here: something like the jittery line at the start of "White Marble Column Air" adds to disorienting effect rather than distracts. The bass and drums are up front in the mix, this anchor allowing the record to violently lob between sickly sweetness and pummeling madness, something the opener "Enough Glass Will Cast a Shadow" deftly displays. Before the Glinting Spell Unvests, like The Spoor of Vipers before it, feels as approachable and lush as black metal could be while maintaining the icy, sharp aggression of the best Scandinavian forebears. It's a credit to the songwriting of Will Skarstad to maintain that delicate balance without succumbing to cheesy fist-pumping choruses or invoking war as a crutch; the psychedelic psychosis and decadence are vivid enough to warp one's reality. Fantastic record, one that pushes the envelope in exciting new ways without concessions. Let's hope there's not another seven-year wait for the next one.

Witness K, s/t (ever/never)

Cured Pink, one of several projects from Andrew McLellan, was and probably remains one of the most difficult and misunderstood bands from the contemporary Australian underground. The project's new/no wave laced with sharp commentary and wry humor is admittedly a tough sell, but a deep dive into their catalog, especially their LPs, is a worthwhile endeavor. Seems that McLellan may have retired the Cured Pink name for now, shifting to the gravely serious Witness K, pairing up again with NYC's ever/never records to once more challenge even the most seasoned listeners. On the self-titled debut, the band displays stunning restraint, creating a dour atmosphere befitting Carla dal Forno or Tindersticks. Vocals are hushed and often spoken, and even leaning in closely doesn't really allow me to crack the meaning of it all. The lyrics, or "poetry" as the credits on the release state, are obscured beneath a lush bed of single chord guitars, flute, accordion and a smattering of keys, and feels like the soundtrack to a Kurosawa film or dimly lit noir story bathed in shadows. It's a record that seeps into and takes control of the room, arresting even in its silences, moving carefully and speaking thoughtfully. I'm reminded, in spirit at least, of the Gerogerigegege's left-turn >(decrescendo) or the American Jobs' overlooked Carne Levare, music wielding a quiet power. But Witness K never feels fragile despite sounding gossamer-thin at points; the bass-rich production keeps things sturdy and churning, as on album highlights "Scream Across the Low Fence" and "Thank You, Harold." Notes linger in the air, billowing smoke refracted in late-day sunlight, sunlight that can't be enjoyed because of yet another man-made environmental disaster. Whatever's happening, it's grim. Witness K have made a record acknowledging native land that seems like it could actually do something about it, not just paying lip service to a complicated issue. Stunning, brilliant record; Witness K feels like a modern classic already. Between this and last year's Kilynn Lunsford LP, ever/never's swinging for the fences. Time to break out the binoculars and pay attention while this seasoned vet serves up taters at the dish.

[dagwolf]

Two days down for Gonerfest. One and a half to go. Yesterday was a big day. Standout bands were Vintage Crop, 1-800-Mikey, Tee Vee Repairman, c.o.f.f.i.n., and Sweeping Promises. Also we went to an after show and saw The Shitty Stones, a great Rolling Stones cover band, and The Jack Oblivian Band. Mr Quintron played a short set as well. (The first day was great, too. Osees were brilliant.)

[nedcollette]

US Midwest Tour

NC duo w. Elisabeth Fuchsia, viola Full line ups here

Sep 18 – Louisville KY – Camp Social Club  Sep 19 – Chicago IL – Fallen Log Sep 20 – Rock Island IL – Rozz-Tox  Sep 21 – Omaha NE – Grapefruit Records  Sep 22 – Lawrence KS – Replay Lounge (matinee) Sep 24 – Nashville TN – Vinyl Tap  Sep 25 – Athens GA – Georgia Theater Rooftop Sep 26 – Atlanta GA – The Earl  Sep 29 – Memphis TN – Gonerfest

[feastofbeast]

Sweeping Promised: You Shatter

The second banger of a single has dropped from the highly anticipated Sweeping Promised sophomore record Good Living Is Coming For You. Pre-order on limited Black/white marbled vinyl from their bandcamp, drops June 30th

Yo what up, it's Caufield and Lira here.

Today, we're releasing another selection from GOOD LIVING IS COMING FOR YOU. It's called You Shatter, and we hope you enjoy listening to it as much as we enjoyed recording it (the conversation/riff-trading between the guitar and synth in the middle of the song is one of our favorite moments on the record).

GOOD LIVING IS COMING FOR YOU is out on June 30th -- a mere three weeks and three days from today! Our US tour kicks off August 1st, ending with GONERFEST 20.

And then...UK/EU tour!!! It's happening this time! Cancelling our UK/EU dates last year because of COVID was a major gut-punch, so you can't imagine how much we're looking forward to this.

Thanks for listening. Hope to see you out there on the road!

-L&C

[cheaterslicks]

Cheater Slicks live at ODU

Gonerfest 2020 filmed by Will Foster

[slovenlyrecordings]

The Goners are bringing ANGEL FACE over from Japan in September! Yes! Fink & company will hit Memphis for GonerFest Twenty-One: 26-29 September — dig this lineup and grab your tickets! We hope to see you there.

[blacktime]

It’s very rare for us to play one show in a given year, let alone two, but this one is special. Last year our pal Chris tragically passed away way too young from a brain tumour. A constant and ever buoyant figure on the London underground rocknroll scene, Chris was always sharp, funny, and infectiously enthusiastic about the music he loved, especially the sounds emanating from Memphis, TN and bands he’d witnessed during his annual pilgrimages to Gonerfest. He’s very much missed by everyone that knew him.

Come celebrate Chris’s life and see if we’ve forgotten all our songs again since Stix’s birthday bash. Also on the bill - N7′s finest suedeheads, Hygiene, check out their new long-playing record, Public Sector, it’s very good. Also stand-up and a covers band playing some of Chris’s ‘popular favorites’! All this and your fiver goes to a very good cause. In the words of Bruce Roehrs: see you fucks at the bar. 

[layawaybutch]

#petezaparty #coconutcoolouts #budgetrock #burgerrecords #atlantamessaround #gonerfest #totalpunk #wrestling #shootinterview #garagepunk #garagerock #friendrock #ddp #diamonddallaspage #wcw #nwo #wcwmondaynitro (at Raju Cooldrinks & Coconut Dealer) https://www.instagram.com/p/Bw3naCgHBu_/?utm_source=ig_tumblr_share&igshid=1j4kiy949h53z

[daggerzine]

Best Bets- The Hollow Husk Of Feeling (Meritorio)

Oh man… I had reviewed the "Monster" single a few months back from this Aussie band and was super psyched to hear the whole album. Well, here it is and it’s just as great as I'd hoped.

True, these guys aren’t rewriting the rock/pop book or anything, but what they’re doing is creating ebullient indie pop tunes with plenty of oddball-ness and hooks. They just do it really well.

"Monster" still sounds great, but also check out other bangers like “Sylvania Waters,”  “Hairshirt” (with its pumping organ),  the choppy “The Last Grand Prix,” and plenty more (l also love “Pensacola” and “Malaise Era”).

Hoping for a trip to the states next year and maybe an appearance at Gonerfest!

www.bestbets.bandcamp.com

www.meritoriorec.bandcamp.com