#cpc gangbangs

[dustedmagazine]

Dust Volume 10, Number 10

The Ex

October closes with a macabre flourish — blackened gardens, elaborate yard displays of skeletons, Halloween, the day of the dead, a terrifying American election.  We music lovers react in various ways, some turning to darker, more ominous musical textures, others seeking solace and distraction, still others ignoring the backdrop completely and listening to what they would listen to anyway.  And so, we gather another wide-ranging dust, spanning sounds inspired by a Bolivian earthquake, pogo-friendly snappy jangle, a crust supergroup, a celebration of the Ex’s 45 years in music, and much more.  This month’s contributors include Jennifer Kelly, Bryon Hayes, Bill Meyer, Jonathan Shaw, Christian Carey, Ray Garraty, Tim Clarke and Ian Mathers. 

Alma Laprida — Pitch Dark and Trembling (Outside Time)

Alma Laprida is an experimental artist and musician from Argentina, here playing a medieval stringed instrument—the tromba marina—through a 21st century array of effects pedals and an 18-inch subwoofer. The instrument, with its yards-long strings and vibrating bridge, is, by itself, capable of unusual sounds. Its natural timbre hovers between a cello and a trumpet. But fed through Laprida’s electronic rig, the sound turns harsh and ominous, blistering and dissolving into tones so low you feel rather than hear them. This album comes from a live performance at Bard College in 2023, taking as its subject Laprida’s experiences during an earthquake in Bolivia. In the long, “Trembling,” low, sustained vibrations make the air tremble, while trebly, metallic sounds skitter and rattle, like pots and pans clattering in the shock. A clock ticks in the foreground, steady on top of roiling, shifting undercurrents. “Vibra,” the other lengthy track, looses then subdues the tromba’s brassy sound, letting the echoes linger for long, not-quite-empty minutes. A corrosive blare interrupts, a foghorn in a world of mists and uncertainty, then clear string tones and its scratching echoes. Pitch Dark and Trembling distills an ambient unease into sound.

Jennifer Kelly

Artificial Go — Hopscotch Fever (Feel It / Future Shock)

This Cincinnati quartet produce a short, sharp brand of post-punk that induces spontaneous pogoing. Hopscotch Fever is Artificial Go’s debut, but it could easily be mistaken for an unearthed gem from late-1970s England with its snappy rhythms and chiming, angular guitars. Vocalist Angie Wilcutt (Corker) adopts an English accent as she sings charmingly, her lyrics unfolding in an energy-filled stream of consciousness that keeps pace with the bouncy backbeat of songs like “Payphone,” “Aphrodisiac,” and the band’s calling card “Artificial Go.” Cole Gilfilen (Corker, The Drin), Micah Wu, and Claudio Thornburgh round out the band’s lineup. Like a game of hopscotch, their churning jangle is a lot of fun but comes to a halt far too quickly. Hopscotch Fever is full of earworms. Its effervescent spirit lingers in our brains long after the music stops.  

Bryon Hayes

Black Toska—The Orphan (Self-Release)

The Madrileño goth punks in Black Toska return with six more haunted, synth-swathed, night visions, revisiting a sound Dusted described in early 2023 as “like John Spencer without all the arch theatricality or Rocket 808 in less of a growl and more of a croon.” If anything The Orphan is even more ominous than Dandelion was, with corrosive guitar sound tripping a hole in “Little Dead Bird” and a fever-dream unease percolating through “The Only Thing We Need.” The best cut is the title track, intimating baroque dangers its flowers-of-evil flare of wah wah and mannered vocal melody. “Who can steal a baby?” asks Victor Garcia, his elegant, jaded voice hemmed in by wild surges of electrified dissonance, as you’re left to consider that bad things—and compelling music—flourish in the shadows.

Jennifer Kelly

Paul Bryan — Western Electric (Paul Bryan Music)

The title might cue you to ponder your power situation, but the intent is more oblique. Bassist-programmer-producer Paul Bryan took Sonny Rollins’ Way Out West, an exercise in restriction that happened to open doors of conceptual opportunity for everyone who was feeling confined by the piano’s roll as the chord cop of bebop. But Bryan, whose cv. includes production and arrangement work with Jeff Parker, Josh Johnson, and Aimee Mann, is a plugged-in kind of guy, so his restriction involved writing the material on a little Yamaha keyboard and recording it with a trio comprising Jay Belleroe on drums and Josh Johnson on alto sax. Since you can’t completely separate a studio dude from his gear, there’s some processing and programmed drum, which results in the album having a soft jazz-funk feel that is uncluttered, but hardly minimal. Western Electric is the answer to a question that few might ask; what if you subtracted the guitar and the layered production from Jeff Parker’s New Breed?

Bill Meyer

CPC Gangbangs — Roadhouse (Slovenly)

CPC Gangbangs is back after a long hiatus and not a bit tamed. The Montreal garage punks with ties to Les Sexareenos and Spaceshit flared out in 2007 and reappeared (some of them) as Red Mass. But 17 years later and without explanation, they bash and slam and clatter again, serving up two covers and one original, all flayed and confrontational like it’s the rock-is-back aughts all over again. CPC Gangbangs jack up Louisiana swamp rock “Going Back to Philly” on agitated city-boy jitters. They blast through “Rock ‘n Roll Enemy #1” from the SF proto-punks Crime with furious intent. They haunt Bo Diddley’s grave site with a rackety beat in “Roadhouse.” It’s referential but never reverent, well-informed but never studious, good stuff.

Jennifer Kelly

Deadform — Entrenched in Hell (Tankcrimes)

Sort of stupid to reference the notion of “supergroup” in relation to a subgenre as witheringly anti-commercial as crust, but Deadform hits all the right notes, as it were: three dudes who have Oakland’s concrete ground into their bodies, and who have played crucial roles in bands as storied as Dystopia, Stormcrow and Laudanum. Dino Sommese (of Dystopia, and also Noothgrush and Ghoul) has the most recognizable name, for listeners beyond the Bay Area and outside of crust’s stinky, dirty milieu, and he pounds the skins and hollers with energy belying his 50-some-odd years. But all the players (including Brian Clouse and Judd Hawk) are all in. Entrenched in Hell doesn’t move beyond crust’s characteristic properties: lotsa nasty metal-tinged guitar parts, some sludgy yuck clotting up the bloodstream, the smell of filthy dreadlocks, and so on. It’s a heavy record, the second half of which hits especially hard. Check out “Peacekeeper” and especially “Fetid Breath.” Then pick yourself up off the dank floor of whatever squat you passed out in and play the tunes again.

Jonathan Shaw

Efterklang — Things We Have in Common (City Slang)

Danish post-rock band Efterklang has been releasing recordings for 20 years, as well as producing an opera in 2015 and making music through core members’ side projects. Things We Have in Common is the culmination of a trio of albums, beginning with Altid Sammen (2017) and continuing with Windflowers (2021). This time out, the group doesn’t eschew its characteristic experimentation, but several of the songs evince a gentle, art pop vibe, particularly “Plant” on which singer/cellist Mabe Fratti guests, “Getting Reminders,” with Beirut and “Animated Heart,” featuring the choir Sønderjysk Pigekor. Efterklang on its own is persuasive too. “Shelf Break” has an artful use of vocoder against oscillating synths and abundantly syncopated percussion. “Leave It All Behind” combines whispered vocals, keyboard arpeggiations, sustained sine tones and a drum thwack on alternating beats. Taken as part of the trio of recordings, Things We Have in Common is its hopeful conclusion.

Christian Carey

The Ex — Great! / The Evidence (Ex Records)

In 2024, the Ex are celebrating their 45th year by putting out their first new music in six years. It’s just two songs on a 45-rpm record (although they’re also throwing a celebratory shindig in Amsterdam and Mechelen late in November). Not many bands last 45 years, and of those that do, it’s pretty rare for them to put out work you’d want to hear as much as the songs that first drew you into their camp. The Ex are not a common band. The quartet of Terrie Hessels, Andy Moor, Arnold de Boer, and Katherina Bornefeld are still engaged with the moment; the words to these two song address current realities with a combination of elliptical expression and blunt veracity. They’re still engaged with each other, locking into these tough, intricate, but fat-free tunes with combustible chemistry intact. And they’re still tuned into the joy and outrage that’s infused their work across four and a half decades. That’s pretty rare.

Bill Meyer

Jill Fraser— Earthly Pleasures (Drag City)

Electronic composer Jill Fraser has been making music for commercials and films, as well as performing New Age pieces live, since the 1970s. Earthly Pleasures is her first album release in a while. It demonstrates her versatility with vintage gear such as the 1978 Serge Modular synth and newer resources such as Ableton Push 3. “When We Get to Heaven” is a ten-minute long track that uses these resources to make a diaphanously appealing arrangement. “Amen 1” and “Amen 2” are more aphoristic, the first with clouds of harmony and a sci-fi sounding ascent, the second with sparking bell timbres, oscillating percussion, sampled voices, and a fluid keyboard part. Earthly Pleasures closes with “I Stand Amazed,” with trebly, widely spaced synths. Fraser has suggested that the theme of this album is, “What happens to our music when we die?” History suggests that mileage varies, but while she is earthbound, one hopes Fraser has more recordings to share.

Christian Carey

Häxenzijrkell — Portal (Amor Fati)

German maestros of bummer black metal Häxenzijrkell are back with another slab of downtempo musical maelstroms, engineered to drag you into a terrible, soul crushing void. That description and the band’s sonic profile sound a lot like blackened doom, but somehow the music on Portal scans as straight-up black metal — at least to this reviewer’s ears. The best tracks are at the end of the record: “Assiah” and “Aeon” drone, churn and distend like the effects of some of that legendary brown acid, which we aren’t supposed to eat. There’s nothing especially lysergic (to invoke that too-trivially used term) about the textures or production of Portal. It’s more the nightmarishness of the tunes, the mechanical edges on the band’s sound, the taste of something metallic at the back of the tongue — all that stuff accumulates, alongside the deliberate, glacial progress of the songs. Soon that glistening, awful wall of ice looms over you. You can see your face on its glassy surface. You know it’s a bad idea to stare, but you can’t help yourself. It’s excruciating. It’s entrancing. You are through the Portal.

Jonathan Shaw

Boldy James & Harry Fraud — The Bricktionary (Boldy James / SRFSCHL)

The Bricktionary is the fourth Boldy James’ tape this year and apparently not the final one. The producer Harry Fraud has also been too busy lately, spreading himself too thin. The good news is that Boldy is good even on generic beats (probably half of his output has been on some unknown guys’ production). It’s the kind of street music which never forgets that it’s an art and not a report card. The best track here is “Shadowboxing.”

Ray Garraty

Danny Kamins — Retainer (Sound Holes)

“Solo Horn,” declares the J-card art, and it does not lie. This tape presents Texan Danny Kamins playing sopranino and baritone saxophones at home, alone. It would appear that he spent his lockdown time developing his circular breathing. On the small horn, his examinations of patterns that subtly vary and throw off flurries of orbiting overtones feels like an homage to Evan Parker’ solo soprano work. Parker got there first with such authority that he has made it hard for other people to do it and not simply sound like him. Kamins sounds great but doesn’t quite overcome the challenge of differentiation. The baritone is another matter. Kamins sculpts massive ribbons of tunneling, rippling sound to consistently compelling effect.

Bill Meyer

Seiji Murayama / Jean-Luc Guionnet — Balcony Inside (Ftarri)

Multi-instrumentalist, graphic artist, composer, improviser, film-maker, etc.; Jean-Luc Guionnet is a confirmed polymath. On Balcony Inside he and frequent collaborator Suijiro Murayama perform a duet for church organ (Guionnet) and snare drum, cymbal and voice (Muriyama). But it might be more accurate to say that they play with space. There’s the apparently capacious interior of the Taborkirche, which Guionnet represents with massive chords that beat against the walls. And there’s the space inside your head, which is likely to be rearranged by Muriyama’s horror-movie-victim cries and emphatic, elastically rhythmic beats. A seasonal suggestion: pipe this music loudly out of your house on Halloween, and keep a tally of how many are drawn by these massive sounds and how many avoid your house.

Bill Meyer

The Necks — Bleed (Northern Spy)

It’s impossible to guess where The Necks might head next, whether live or on record. Their new album, Bleed,is a single 42-minute track that unfolds patiently in an episodic fashion. There are no conventional rhythms from Tony Buck; instead, he punctuates the space with chimes, bowed cymbals and snare and tom rolls that suggest something ominous is about to happen. Sparse, sustained piano notes from Chris Abrahams are left to hang in the air — listen carefully and you can hear breathing in the room — or Abrahams switches to organ and projects pulsing clusters of notes into stereo space. In an unexpected turn, an electric guitar appears, with accompanying tube amp hum. Lloyd Swanton’s bass is largely absent, save for occasional isolated octave plucks, or some ominous bowing. When the piece coalesces in its final stretch with two piano chords, bass and guitar, the music is begging to continue in this vein for at least twice as long as it does but is cruelly cut short. That’s The Necks for you: always expansive, always surprising, always tapping into music’s eternal potential.

Tim Clarke

Rich the Factor — The North Face Whale, Vol. 3 (WE MFR)

We mostly listen to Rich the Facc’s music because of his gruff voice. The North Face Whale, Vol. 3 is another sample of his voice. The big mistake would be to try to pay attention to what he’s saying on these songs. It is some usual nonsense about how he’s “on money mission, not on dummy mission.” Even after dozens of replays no song off this tape stays in memory. But it’s fine. You have only one question: how is The North Face Whale, Vol. 3 any different from Vol. 1 and Vol. 2?

Ray Garraty

Colin Andrew Sheffield — Moments Lost (Sublime Retreat)

Sound source resonates with subject on this brief minimax (a 3” CD embedded in a 5” plastic disc) CD made by Colin Andrew Sheffield, an electronic musician who resides in Austin TX. Sheffield’s preferred method is plunderphonics; he mines his own media collection for sounds to be procured and (most of the time) processed into music of his own. Moments Lost is a soundtrack made from soundtracks. Sheffield has marshalled a mass of samples from movies, mostly string passages that imply moments of pause, reflection, transition and loss, and layered and sequenced them into a 20.33” sequence of sounds daub association and reverie like a painter might daub paint. Played at low volume, it could be your next go-to ambient recording. But if you spend time listening closely, perhaps while peering at the sleeve’s stills from a film that Sheffield played along with the music when he first presented it at the Molten Plains Festival in Denton in 2023, you might find your physique and consciousness sinking deep while you hit the play button over and over.

Bill Meyer

Chelsea Wolfe — She Reaches Out to She Reaches Out to She (Loma Vista)

Considering Chelsea Wolfe hasn’t put out a solo LP since 2019’s Birth of Violence, and that was basically a folk record, casual fans may well wonder what kind of upheavals led to this very different seventh album. On a personal level there have been plenty (sobriety, relationships changing, learning to live alone, etc) and that combined with additional pandemic time spent working on the demos led to Wolfe going in a more electronic direction and deliberately seeking an outside producer (Dave Sitek of TV on the Radio, many others) to transform the songs. The result is further in a darkwave/trip-hop direction than the already protean Wolfe has previously gone, and also one of her most consistently engaging records. Whether on the noisier, spikier bursts of “Whispers in the Echochamber” and “Eyes Light Nightshade” or the more delicate likes of “The Liminal” and “Place in the Sun,” there’s a beautifully sung and relentless Gothic vibe to the whole thing that’s extremely satisfying. Wolfe may well choose to move on again after this, but it’ll be a bit of a shame if she does.

Ian Mathers

[slovenlyrecordings]

An older album gets a new review from Voix de Garage!

PyPy "Pagan Day" LP, CD, Digital

"I realize while writing this column that I should not have slept during the lessons on alchemy, so I will be able to explain to you why the mixtures that we find inside the music of this group make that I find her wonderful. This one rather than another. Indie Psych Punk + danceable Post Punk + plague voice + big, clear and powerful (and… precise) sound. 7 titles for 32 mn, rather diversified with changing atmospheres. A lot of work on the voices: the female vocals being essential, but not unique throughout the songs. PyPy is the side project of some members of the prolific Montreal scene, we find mixed in there CPC Gangbangs / Red Mass and Duchess Says. But this album really sounds like a band! It's exciting, powerful, dancing (well to a certain extent). Surely the most Indie thing came out on Black Gladiator/Slovenly Rds, with the cleanest sound but with enough balls in it to treat you well! It is listened to again and again. And it's the foot!"

[spann-stann]

Setting Blurb: The Reserves

It was easy to ship enemy urbanites and POWs out of CorpEmp territory and into the Cordons Sanitaire. But not everyone actively opposed CorpEmp. For every five communities that welcomed the warlords, there was one that was...apathetic. But not hostile. That was the thing. They just didn't want to join, and wanted to be left alone. CorpEmps founding warlords, not wanting a demographic influx of "people pissed at being made CorpEmp subjects" collectively shrugged their shoulders, and said as one "leave 'em be I guess".

Surveyors (armed in case the locals felt like doing more than shooting stern looks) would drive up to these communities, plop down a fence or whatever means of demarcation that was available, and bam! A Reserve was created. The Reserves (CorpEmp's word them) refers to the many, many, many little rural populations centers that are not part of CorpEmp. Unlike the Cordons Sanitaire, which had heavily policed borders, a Reserve only needed a little guard post (and gift shop for tourists) to watch the country road between it and the closest CorpEmp community. Trade and immigration, in and out of the Reserves, is unrestricted (again, these people were never activity opposed to CorpEmp). The closest CorpEmp and the Reserves ever get to diplomatic crises is cross-border brawls at the nearest pub.

Because of CorpEmp's lax security with the Reserves' borders, there are times were malign actors take advantage for their own gain. Some CPC gangbanger looking to make his bones will try setting up a "honest enterprise" within a Reserve. Days later, some Imperial constable will end up finding their body dangling from a telephone pole by the border.

Reserves are very insular (in case you couldn't already tell), contact with the outside world usually depends on if a particular reserve has internet, and how far the nearest non-Reserve is. Cooperation between Reserves is rare, emphasizing their desire to be self-reliant and not involved with the outside world. Cooperation with the Big Three is even rarer, for the exact same emphases. Although littered across CorpEmp territory, Reserves also form on the border between CorpEmp and U.M. territory.

The following is an incomplete list of Reserves in the 29th century:

Amish Countries: The Amish (the term now includes all strains of Mennonite) have continued their policy of remaining separate from the outside world. A few fellowships have taken this to the level of buying old orbital habitats (even building a few of their own).

Anti-Imperial Tribals: Not every member of the New Tribal Movement in pre-WW3 America was as warlike as the Hispano-Gaels. Some tribes decided to ignore the goings-on in Texas, and wall themselves up. A few still exist on the North American continent.

Bunker Dwellers: In some parts of the world, just before WW3 raged, some affluent individuals renovated old bunkers and missile silos to house themselves, families, and friends. A lot of them decided to remain underground after riding out the war and making contact with the many warlords fighting over the remains. Some complexes have become quite expansive by the 2800s, a few became underground arcologies.

Frontiersman: Some people don't like living in the core of human-settled space, and prefer to live on the fringes. Many communities were established in the Outer Solar System after the Big Three staked their many claims in the Inner, and now that all the good real estate inside the Oort is being developed a few expeditions into the Extrasolar territories (and beyond) were planned.

Hiders: There's not a lot to say about these Reserves. As the name (given to them) suggests, these guys just want to be left alone. In order to do so, they cut themselves off completely from the outside world. Hiders have been making moves to the Solar System's Oort Cloud (expect turf wars with the W.C.O.F.).

Leavealones: The bog standard Reserve. Quaint little village, standard of living a century-ish behind CorpEmp's. Usually a dirt country road connecting it to a CorpEmp community.

Nomads: The descendants of traveling folk, Nomads move up and down the many roads of the world. Some rely on horse-drawn carriages, others make do with the latest and greatest RVs. A few affluent Nomad groups own their own private roads. An even fewer number of the most affluent own their own boats to travel from continent to continent.

Peregrini: "Dwellers around", this Reserve takes the form of an enclave within an urban environ. Usually a walled-off, gated city block.

Prims: Sure, Reserves can be considered luddite by the other (technological) factions, but Prims take it to extremes. Eschewing technology altogether, Prims desire to return to state they only refer to as "monke". Uncontacted peoples, under the jurisdiction of the Green Consensus, are often erroneously placed in this category.

San Marino: Somehow, this small republic inside the Italian Peninsula not only survived the Third World War, but also the Warlords' Wars and creation of CorpEmp. When asked why it was never integrated into the West Latin Macrocommunity, locals just shrug their shoulders and say (in their own language) "I dunno".

Schismatics: Despite being a pro-religious empire, not many religious communities are pro-CorpEmp. Fundamentalist Mormons, Jehovah's Witnesses, Sedevacantists, Orthodox Old Believers, and that's just from the Christian family of faiths. Islamic, Hindu, Buddhist, Shinto, Animist, Scientologist (and other UFO-cults), and other religious schismatics dot the Earth (and the rest of the Solar System).

Spelunkers: These guys are a variant of Bunker Dwellers. What's different from Bunker Dwellers is that Spelunkers (as the name suggests) went to live inside complex cave systems. A bit like Hiders, in that they really want to be left alone.

Steaders: Steaders decided, once the technology was good enough, to strike out on their own on the open seas. Steader Reserves can vary in size, from single family platforms to a whole neighborhood floating on the ocean's surface. Or on the ocean floor.

Survivalists: Hiders, but packing heat. Wait. More heat than Hiders. These guys are playing the long game, waiting out in wherever they hunker down until another cataclysmic conflict destroys the Big Three. Then, them and their vision for humanity will become dominant. Given the recent discovery of multiple objects blueshifitng to the Solar System, they're beginning to be quite popular.

[musickickztoo]

CONTRA2024-15

12102024 (ALL NEW)

TRACKLIST:

CPC Gangbangs - Going Back To Philly EggS - Head In Flames Waxahatchee - Much Ado About Nothing Kim Gordon - Bangin' On The Freeway Kim Deal - A Good Time Pushed Doctor Velvet - I'm Crying Thee Strawberry Mynde - Reflections Amyl and the Sniffers - Big Dreams Møtrik - Elektrøn Cosey Mueller - Möchtegern Itchy and the Nits - Nudie Beach Peter Perrett - Disinfectant Mdou Moctar - Imajighen (Injustice Version) Khana Bierbood - Fi Rak Senae-ha Etran De L'Aïr - Igrawahi Gut Health - Uh Oh Jon Spencer - Get Away The Smile - Colours Fly

The 15th playlist of the year!! (Another one for you to ignore)

LISTEN: https://www.mixcloud.com/Contraflow/contra2024-15-12102024/

[reconprate]

PyPy

PyPy “I am a Simulation” Sacred Times (10-18-2024) This is a song from the Montreal band’s (pronounced “pie pie”) second album, it’s first since 2014’s debut LP, Pagan Day.  The group consists of vocalist/multi-instrumentalist Annie-Claude Deschenes (Duchess Says), guitarist/vocalist Roy Vucino (Red Mass, CPC Gangbangs, Birds of Paradise), bassist Philippe Clement’s (Duchess Says), and drummer…

[paulisded]

The Ledge #637: New Releases

By now, most of you know the routine. The first episode of every month features nothing but new releases, and this month is no different. Wait, there is one major difference. Due to a scheduling conflict, there will not be a show next week so for the first time this year there is not a two part new release series. 

So this month there is one super action-packed episode, full of the usual garage, punk, indie, post-punk, Americana, and whatever other category is out there. There are the usual veterans mixed with brand new acts. There are "friends" of the show, such as Jeremy Porter & The Tucos, who have a fabulous new album called Dynamite Alley. Of course, there's also a set devoted to our buddies at Rum Bar Records, but there's another blistering set devoted to new tunes from Slovenly Recordings!  

CLICK HERE TO DOWNLOAD THE SHOW! 

1. White Rose Motor Oil - Werewolves of London

2. Jeremy Porter & The Tucos - I Didn't Want to Break Your Heart

3. wht.rbbt.obj - Unlucky 13

4. The Peawees - Plastic Bullets

5. Bambies - Love Bite

6. The Hard Quartet - Chrome Mess

7. Thurston Moore - Shadow

8. JD McPherson - Sunshine Getaway

9. Soul Asylum - High Road

10. Numb Surprise - Vacation

11. Hayley and the Crushers - Queen of Hearts

12. THINE RETAIL SIMPS - Barstool Blooze (Neil Young)

13. Vista Blue - In Between Days (The Cure)

14. Vista Blue - Nobody Told Me It Was Bandcamp Friday

15. Librarians With Hickeys - Hello Operator

16. The Mystery Lights - In The Streets

17. Enumclaw - Not Just Yet

18. Kurt Baker - Delusional

19. Girl With A Hawk - #Vote (Rock The Boat)

20. The Dogs - Secret Place

21. The Spackles - Spy in the House of Frankenstein

22. Tony Marsico and the Ugly Thingz - Burning Questions

23. The Courettes - SHAKE!

24. Tiger Bomb - Ready To Go

25. CITY MOUSE - Magnitude

26. Radar - Mess

27. Paint Fumes - Crime of Love

28. CPC Gangbangs - Rock'n'Roll Enemy No.1

29. Scared Of Chaka - Bated Breath

30. Frivits - Eat Fruits Piss Rocks

31. Pet Mosquito - Secret Services

32. Chubby and the Gang - There's A Devil In The Jukebox

33. Hard-Ons - I Like You A Lot

34. Alien Nosejob - Living on a Crust

35. The Beatpack - Wednesday's Calling

36. The Meringues - Nvr Rlly Hnst

[antikorpersession]

Antikörper #99 mit Mark Kowarsch 'Organic Footprints' Samstag 12. Oktober 2024 23-0:00 ByteFM Musik von Teenage Fanclub, Bikini Beach, Antilopen Gang, Black Ends, Dom Sensitive, Cock Sparrer, Kyra, Man-Eaters, CPC Gangbangs, Beef, Amyl And The Sniffers, Morgen Teuer Töten, Paint Fumes, Weezer, Street Sweeper, FRVITS, Klabusterbären und Laura Jane Grace & The Mississippi Medicals

''Get off the air! You pathetic male groupie, you don't impress me'' (Angry Samoans)

[radiophd]

cpc gangbangs -- the broken glass

[yourawolfboyy]

Nihilist Spasm Band, Made in Mexico, CPC Gangbang, Aids Wolf, Sala Rossa Apr 7 2006

[dustedmagazine]

PYPY — Sacred Times (Goner)

At various points in Sacred Times, PYPY jitters through a fusillade of funk shrapnel a la ESG, chugs a fuzzy freak beat like the Dirtbombs and tears a hole in the sky psychedelic-style. How you think about this veteran Montreal psych punk band depends, largely, on where you put the needle down, but if the form shifts, the intensity stays constant. This is one of the best punk albums of 2024, and not coincidentally, the hardest to pigeonhole.

This is PYPY’s second full-length album, following a decade-long hiatus in which members revisited other projects. Annie-Claude Deschênes, the singer and keyboardist, Phillippe Clement, the bass player and drummer Simon Besré, all did time in noise-freaked, body-shocked, caterwauling Duchess Says. Guitarist Roy Vucino lent his axe to Wire-y, Pop Group-ish Red Mass (and earlier played with CPC Gangbangs and Les Sexareenos, among others). Still, they meet here, a decade later, in seamless synchrony. Careening vocal flourishes, chaotic beats and incendiary riffs flare within locked-down, disciplined structures. Sacred Time is as tight as it is wild.  

Start with the single, “Lonely Striped Sock,” with its lurching bass line, its electroshocked guitar shrieks, its punk goddess deadpan rant. It’s a dead ringer for first wave, female-forward punk bands like ESG and Delta 5—in the best possible way—made fresh and funky by squeaky barrage of keyboard banging (this is literally my favorite sound on the whole record).

The band has a thing about poodles, apparently, dedicating not one but two very different songs to their curly headed canines. “Poodle Escape” rains sublime and radiant surf chords, while a carnivalesque keyboard melody goes soft in the heat. Deschênes whispers ominously in French way back in the mix as a squiggle of sci-fi synth flutters up to the fore. “Poodle Wig” slams and pogoes on a drum machine beat in a Francophile garage rock explosion worthy of Jacques Dutronc. Woof.

Vucino is quite a guitar player, and he lights his instrument pretty much on fire in psychedelic “15 Sec.” a lurid purple haze hanging over its sprawl and mayhem. He sings lead on the Devo-esque “I Am a Simulation” and while not quite as can’t-look-away compelling as Deschênes, his singing another color in PYPY’s considerable palette.

By now you’ve likely gathered that Sacred Times is volatile and wild, taking giant swings in any number of generations. That’s exciting, but even more so because with all that thrashing, they never lose the groove.  What a good time these Sacred Times can be.

Jennifer Kelly

[slovenlyrecordings]

PYPY en Europe cet été avec Julie Tippex booking!

'The super-group from Montreal composed of members of Duchess Says, The Sexareenos, CPC Gangbangs and Red Mass is to tour Europe in July. They have already been announced at Dour festival and we should be able to tell you more about their other appearances very soon.

[cyanidetooth]

Obnox! Trans Am! Girls Against Boys! Der Junge Hund! Jaap Blonk! Caspar Brötzmann Massaker! Kaleidoscope! Khmer Rouge! selections from the Shock City Rockers comp! AND a sick live session courtesy of DUCHESS SAYS (w/ special guest Roy Vucino of Red Mass/CPC Gangbangs)....

[wildwaxshows]

RED MASS (CAN) + NIGHT PUNCH (HH) live am 19.02. im HAFENKLANG - präsentiert von WILDWAX SHOWS!!!

RED MASS (CAN) First time ever in Germany!! redmass.bandcamp.com/ www.facebook.com/redmassband/ Red Mass, the ambitious Montreal art/psych/punk collective led by Roy Vucino (also of PYPY and CPC Gangbangs), have been going for a decade now, though they’ve spent the last few years in semi-hibernation. Newly energized, Roy and collaborator Hannah Lewis are back with a new Red Mass album, Kilrush Drive, which is out March 22 via No Coast / Label Étiquette. The record was made with producer Mingo L’indien (Les Georges Leningrad) with some help from Besnard Lakes’ Jace Lacek and Martin Bisi (who’s worked with everyone from Sonic Youth to Herbie Hancock), and Roy incorporates everything from dark postpunk to hip hop inspired beats and more into his vision.

NIGHT PUNCH (HH)

Night Punch play lo-fi synth punk and are a bunch of perverts.

https://nightpunch999.bandcamp.com/releases

https://www.facebook.com/Night-Punch-440359243190362/

[wendellbartonn]

Montreal's Red Mass prep new LP (listen to "God's House"), touring

Red Mass, the ambitious Montreal art/psych/punk collective led by Roy Vucino (also of PYPY and CPC Gangbangs), have been going for a decade now, though they've spent the last few years in semi-hibernation. Newly energized, Roy and collaborator Hannah Lewis are back with a new Red Mass album...

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Montreal's Red Mass prep new LP (listen to "God's House"), touring published first on https://soundwiz.weebly.com/

[antikorpersession]

Antikörper #99 mit Mark Kowarsch 'Organic Footprints' Samstag 12. Oktober 2024 23-0:00 ByteFM mit Musik von Teenage Fanclub, Bikini Beach, Antilopen Gang, Black Ends, Dom Sensitive, Cock Sparrer, Kyra, Man-Eaters, CPC Gangbangs, Beef, Amyl And The Sniffers, Morgen Teuer Töten, Paint Fumes, Weezer, Street Sweaper, FRVITS, Klabusterbären und Laura Jane Grace & The Mississippi Medicals

''Get off the air! You pathetic male groupie, you don't impress me'' (Angry Samoans)