Band: PEEPING DREXELS Who: Post-punk misfits from South London who announced their past UK gigs with this message: “Come through to the show of your liking to witness the degradation of our already poor physical and mental health in musical form.” Say no more.
This amazeballs extended play came out back in April, but before last Saturday night, I had never heard of this London gang of outcasts. But seeing them turning up the heat in the historicParadiso Club in Amsterdam as part of the yearly (actually 2 editions per year) London Calling Festival, a showcase for up and coming bands (mostly from the UK), was pretty fucktastic and made them the talk of the night.
Why? If you start with some early Talking Heads‘ mania, followed by crashing Apocalypse drones, then you switch to some casual piano touches and 60s echoing guitars, and you end in a depressive lullaby way and you do all of this in one song with a flabbergasting resonance you’ll understand why the whole venue went apeshit and left their sweat on
the beer-drained floor for the whole wall-of-barbwire-sledgehammer-beats and post-punk orgasms filled gig.
Need a reference? Last Saturday Peeping Drexels made me feel what I felt so many times when seeing their mates Fat White Family slash and trash stages. You know, that feeling of pumped-up confidence to go out in the street and kick some fascists’ asses. Hell bloody hell yeah!
Enough talking. Do your miserable post-lockdown state of
mind a favour and buy yourself some more BAD TIME.
Talking about being productive. The two charismatic rock queens Lindsey Troy and Julie Edwards from the city of angels, Los Angeles
released two EPs and their 3rd LP titled Marriage (with some of
the EP songs on it) this year.
Extended Play American Cockroach is the one I listened to the most
with its two steamrollers (I Like Crime / American Cockroach) and two
slower beauties (Give Me A Sign / Better Off With Nothing).
I discovered these London misfits last October in Amsterdam playing there
as part of an indoor festival at the legendary Paradiso club. What I felt was
what felt so many times when seeing their mates Fat White Family slash and
You know, that feeling of pumped-up confidence to go out in
the street and kick some fascists’ asses. Hell bloody hell yeah!
Who: Politically outspoken rock outfit from London.
Opener Ghoul Driver sets the tremendously torrid tone of this jaw-dropping
extended play. An ominous outburst that threatens to explode any second. Say Goodbye both surprises and impresses with its longing Mexican tango
Fulminating stroke Butterly Room is an acrimonious reflection on the state
of chaotic Brexit England and closer The Man Who Ate Capitalism progresses
at a funeral pace, lamenting and dolesome. Throughout, ill-omened vocals
TMCF is a British pop/rock duo unafraid to blend ambience
with indie hooks to create a psychedelic experience. Formed
in a time of hopelessness.
Expect an instrumental synth/guitar opener (The Space In Between), a shadowy
prog-roller-coaster with twists and turns, and a magnetic bass riff (Thaumaturgy),
darkwavish pop-scapes (From Green To Grey / Collapse), a sparkling dreamtune (The Lions Den ) and a euphonic, vocal symphony with mellow piano touches
(Soon The World Goes Black). Top!
I discovered this brilliant post-punk turbo last month at an indoor festival in Amsterdam. The whole crowd went bananas. These motherrockers slash and trash with a burning vehemence and a flabbergasting fervency. Miami Lounge is the crackerjack opener of this year’s released 5-track EP Bad Time.
Now it’s your turn to discover this awesome London squad.
Earlier this month this dynamite hit team blew all punters away with their jaw-dropping gig in my hometown Ghent (Belgium). They razzled and dazzled with ebullient exertion, blistering British bluster, and a fuck Brexit fierceness. The roof went off.
Ded Würst, their newest single, is nothing less
than a nasty and filthy sledgehammer. Das super!
From Michigan here come 2 Pc Noisey Slacker Psychedelic Sludge Punks.
They joined Canada-based indie label Off White House Records
this year with a big bang.
Their newest outburst is a riffin’ rollercoaster that makes the hair in
your neck stand up with its metallic resonance and relentless bass
frenzy. Add nightmarish vocals and I’m sure Santa Claus will run
away in fear.
Glam and glitter riot tattoo grrl Blue attracts all attention,
sonically as well as visually. She swirls and scintillates on this
new kick while cursing idiots who hate the LGBTQ+ community,
who hate tattoos, and who hate anybody who doesn’t live by
their ultra-conservative rules.
To hell with all these idiots.
Meanwhile, enjoy this jangly earworm that sticks as
first-class glue and reaches an aural orgasm every
time the chorus pops up.
The motorik and magnetic rhythm of this electronic exploit makes your head
turn 360°. The catching combination of near whispering vocals, scintillating David
Gilmour guitar vibrance and cybernated elegance create an overall ear-ecstatic
vibe culminating in a dynamic finale.
This sugary pop bliss feels good at first, better the second time,
and the best with all other spins. Great pop-ular music is about
lifting up the listener’s mood to a euphoric level for about
3/4 minutes. Easier said than done, but not here.
Still is a glorious harmonious touchy-feely gem that appeals from
the kick-off with Gardiner‘s tantalising voice and Kuras‘ vitalizing
guitar ravishment. Add a delirious chorus and you have yourself
a 24-Carat top thrill.
Nell Smith is a 13-year old fan of Oklahoma’s eccentric stargazers Flaming Lips
(one of my all-time fav bands). Frontman Wayne Coyne spotted her at one point
as she attended several gigs with her father. They got in touch and after Coyne
found out that she’s a singer he proposed her to work with the band on a Nick
Cave tribute album he already had in mind for some time.
They got all in the studio and the result is a 9-song Nick Cave
covers album baptized Where The Viaduct Looms with
the nightingale voice of Nell as the heroine in the middle.
You can stream the brand new record on Spotify
One of the standouts is her version of
the heart and soul ballad The Ship Song.
Steamy Philadelphia quartet SPiN have a brand new red-hot jackhammer out called THOUGHT I KNEW YOU. A break-up-blast, groovin’ and movin’ to a hellish beat.
Imagine metal-glam legends Kiss and Rock and Roll Hall of Fame stars Cheap Trick
having a kick-ass jam while watching 1960’s sexy and sultry horror filmPeeping Tom.
I Thought I Knew You pumps up your stream of adrenalin when the bang-your-head chorus kicks in. It’s an offer you can’t refuse. Hop ‘n’ pop around like a stoned monkey,
it’ll help you to fight your lockdown blues. C’mon get out of your lazy bed, look the Devil
in the eyes and start a fire.
This impassioned stunner kept growing on me the past few months. Why?
Because frontwoman Angeline Chavez‘s voice balances somewhere between
the ones of a young Tina Turner and a flaming Aretha Franklin, because the
guitar play is overwhelming and because Stay is a superb tune.
The glorious 2021 No 1 hit in my book.
The opener of this year’s excellent debut album Survivors. Wanna learn more
about this Texan 4-piece? Read the interview with Turn Up The Volume here.
Samara and Manimal already scored Turn Up The Volume’s
best debut LP of 2021 with Full Spectrum.
This raw rollercoaster single came afterward. A slow-burning torch with
hellish flare-ups of Rammstein‘s Götterdämmerung hysterics and manic Manimal
riffage combined with Samara‘s spoken-word ode to the legendary American
confessional poet/writer Sylvia Plath hypnotizes and magnetizes.
What can I say? Sad or happy song, Rich Girls make me always feel good
when they come on. Luisa Black‘s mesmerizing midnight vox is totally
glamorous and sensual and the band’s pop-noir melancholia is soul-stirring.
All New York City’s night bars without a Rich Girls track
on their Wurlitzer Jukebox should be closed. Immediately.
12. ‘Wherever It Takes Us’ by JAMES(Manchester, UK)
Remember them? Remember their massive hit ‘Sit Down’? James has never been really away since they hit the scene 40 years ago. And with this year’s All the Colours Of You album they prove why they still deserve attention. It’s an all ecstatic-pop killers, no silly fillers longplayer.
15. Not Alone But Not With You’ by ARXX (Brighton, UK)
A rollicking rocker from start to finish. These two frisky Brighton popsters know
how to make your head spin 360°. Fire your shrink, listen to this crackerjack two
times in the morning, twice in the evening, and on repeat in between and you’ll
feel euphoric. So much cheaper than therapy.
Charismatic front queen Bleu sparkles on this jangly jive that sticks as first-class glue and reaches an aural orgasm every time the chorus pops up. Her vox adrenalizes and vitalizes. Her vivaciousness is contagious. This pumped-up pop gem is contagious. You don’t need vaccination against this castle of a song.
Get up, stand up and fight for your right to dance yourself dizzy…
Faze Out is a slash and smash rant. An angry spit and sneer storm, a Sturm und Drang firestarter, 143 seconds of furious frustration is what you get. Retro organs clatter like if Doomsday is just around the corner, but Domestic sizzles like he’s a determined survivor who will not go down just like that.
‘Sucked into the vortex / it’s a Faze out /
you feel just like you’ll fade out …
This rumbling steamroller bulldozes its way in slow motion, forth and back, while
a haunting vocal brouhaha causes a creepy noise experience. Whatever the song’s protagonist’s ilk is, it doesn’t sound like you want to be friends.
Hit the start button here…
Have all a pumped-up end of 2021 and a turned-up-volume 2022, music junkies!