TRACK | The Woolen Men – Head On The Ground

5/5 golden merles

The Woolen Men are Portland-based Oregonians who remind us that pop + punk need not be anything kitsch, that one can take some of the redeeming qualities of either and make a tremendous, infectious thing. Venerable and vacillating, the stakes are kept high, the form is relished, and it only seems intent on inflicting a moderate amount of damage.

The sirens of the synth gild everything, disintegrating it, opening the lane elegantly for when we’re cut back to bass and drum alone. And then the pronouncement: i hit a wall / but it wasn’t hard at all. It’s a convincing consultation or induction to the rumination, unadorned but substantive; blunt but never dull, a great and graceful cudgel.

Why do these two genres, pop and punk, so often combine to such supremely reprehensible results? Possibly, it’s the noxious hypocrisy of their purported intentions: one includes the implicit ideology of rebellion and the other has a cloyingly myopic fixation on the interpersonal or at-best abstraction. Not here, however. There’s a balance struck. An assembly of influences filtered through a prism of good intentions. It all comes across as earnest, a frank and alluring synthesis.

The vinyl is $10 from Woodsist.

TRACK | Wren Kitz – Hexed

5/5 golden merles

A deliberate and ravaging album of many intricacies and plenty of codas, Early Worm by Wren Kitz is a real fine set of musical numbers. Promptly following the raw and expansive “Georgie,” the gentlest entry point comes through “Hexed,” a song about crying moons and the digging of bones.

The track is considered and palpable psych-folk and rock. It describes a kind of anti-heroes journey or an escape from ones self in the service of traversing an emotional landscape. The problems are bound to proximity, figuratively or literally — I don’t know. But born of an immediacy that can be at least differed and approached later from another angle or as another person, weathering the hex or inverting the curse.

It is a glinting and extensive track and album, with much fine detailing and world building. It should be a little or a lot more celebrated. And further evidence of the good drawing to it the good, there’s cover artwork by Dylan Jones, who’s also done some for Woolen Men.

TRACK | The Lavender Flu – Demons In The Dusk

5/5 golden merles

Experimental psych and folk rock from Oregon, The Lavender Flu’s “Demons in the Dusk” finds the lugubrious periphery of rock to be a haunting and inviting sector. And they offer great returns residing and mining this quarter comfortably immediately before collapse.

The album as a whole is consistently wailing and receding, working within its own internal logic that promptly consumes the listener. But “Demons In The Dusk” is probably the foremost hook, the crown jewel of a barb that easiest draws you in. It rewards your patience with a strange, strangled style, then an uptick of treble and trembling in the end.

As we hurtle unapologetically toward a new dark age, estranged from the storied ends, adrift and listless, it suits us well. At least the paths run parallel. Craven and composed, it saunters to the threat of annihilation, an easy going end that specifically omits a mea culpa, “The Lies that you breathe / will follow you.”

4 sides for 30 wending tracks, the double vinyl is around.

TRACK | Needle Exchange – Shut Up, Shut Down

5/5 golden merles

Berlin-based punk with melodic surf and garage elements, “Shut Up, Shut Down” pounds about, nimbly refractive, mutinous. The residual discontent is ingrained in the sturdy melody, collecting like soot between the abbreviated rotary of the verses.

Having grown accustomed through regular exposure to either the empty vessel or diatribes devoid of style, for my tastes the balance of muck/bile to harmonious refinement is well weighted.

I have been assuming the title has a reference to Nowak’s 2004 book and poetry collection of the same name concerning corporate greed. If that’s wrong I’ll gladly correct and update it with some other half formed idea. Some used versions of the vinyl run are scattered about Europe.

TRACK | The Funs – Don’t Let Go

5/5 golden merles

The Funs make exceptional experimental garage rock. The project is composed of two of the 321 people residing in New Douglas, Illinois, reminding you that goodness, though it is rare in overall instances, can come from anywhere and everywhere and at any time.

The minimal instrumentation is humming and ignites in the kindling of lo-fi tones. Despite some tempo and structural invention, the fuel burns out quite evenly over the track’s 4 minute runtime. Throughout the drums land spacious and torrid alongside the lead vocal until it extinguishes upon one final plea.

In its subtlety and delicate directness, particularly the way the concepts are married to their delivery, there is present a lot of empathy for the era. It is easier to dismiss or omit the devices that dominate our daily lives in anticipation of their antiquation or irrelevance. And with that, there is a temptation to also omit the accompanying alienation. It is harder and more honest to imbue them with great style that warrants attention and then proceed to process the implications. That honesty and directness is ultimately more enduring than getting lost in abstraction.

The Double LP can be got from the Manic Static webzone. Check out the new project, glow in the dark flowers. Digital is $12.

TRACK | Druggy Pizza – Radium Canyon

5/5 golden merles

More glint and relentless corrosion from our friends at Druggy Pizza, “Radium Canyon” spells doom for us all but in a good way. Garage and psych rock veiled in withering and decadent tones, I wager the rendering of which will please fans of good things and anger or confound most of those who aren’t.

The melody of the guitar lead roams freely around the bass’ substratum, prowling the chasmal expanse. The reverb is slathered across the channels and stings. A Fender quad is purring, graciously and expertly propelling the audible tones produced by the bending of metal at certain wavelengths.

The heat comes off it in radiant streaks, it bends the light around it. It’s a good approximation of a fruitful fever. It deserves to be wound into wax, if it wants. But for this digital 2020 set you can name your price.

TRACK | Jack Stauber – Dead Weight

5/5 golden merles

The strength of Dead Weight lays in it hemorrhaging melody and the lack of limitations embodied in the core of its chaotic good. An endless series of synths rotate in sequence of killer calibration, all the way to its frenetic, gargled conclusion.

A perpetual no-skip on the gauntlet rotation, Jack’s sense of detailing is remarkable across mediums (See: 2020’s musical-horror short Opal). Also for more tunes check his other musical projects/collaborations with Joose and Zaki.

He’s been away for a bit as far as I can tell after Opal/HiLo, so, in either case of hibernation or another project patiently building, I am greatly looking forward to whatever medium he favors in the coming years.

TRACK | Cut Worms – Like Going Down Sideways

5/5 golden merles

One of the strongest 2-song 7″ I’ve come across, a pair of my favorites from the buildup to Alien Sunset. “Like Going Down Sideways” is delicate and dreamy alt country. It is also an expert projection of layering a demo into a fully fledged lo-fi phenomenon.

There’s a lot of wonder to the piercing polarization of the complimentary layered vocal lanes, creeping in solemnly from the treetops of hell before the chorus raises. The track also features texturally many deliberate flourishes, like a couple of the briefest xylophone or glockenspiel cameos known to man; arriving to puncture amidst the plucking and contribute just a bit more of the percussive, glinting and gleaming.

The persistent room noise in this version is lovely. This one came out perfected and doesn’t need refining. You can still buy the split from Randy Records for all of $6.50 plus shipping.

TRACK | Druggy Pizza – Like Pigs In A Slot

5/5 golden merles

Featuring members of Dusty Mush, Cédric Bottacchi/Druggy Pizza’s “Like Pigs In A Slot” convenes the crunching and crushing of waves in a not dissimilar manner. Unrest and deliberate deconstruction, it’s surf rock on a sea of molten gloom and Midas detritus.

The blistering, proximal bass synth continues grinding in perpetuity, as the focus shifts from the background grind to the central figures portrait, breaking the established mold a few times in a matter of minutes. The whole EP/split’s worth spending some time with.

If you, like me, hold its contortions in high esteem, look also into the 2020 set and checkout the handful of vinyl from the Peace And Love Barbershop Muhammad Ali split.

TRACK | That Ghost – Moon And The Almighty

5/5 golden merles

Previously I’ve written on Ryan Thomas Schmale melancholic and gorgeous work under Myers Rooney, I Hope It Is Only a Room. “Moon And The Almighty” is an earlier, coarser garage rock track. It was provided to a defunct compilations project made by a defunct label that was funding largely defunct DIY venues.

A marching eulogy of a track, it burns and it is glowing. The vocals and instrumentation collude in a fine mist of metallic static. The unraveling is a spectacle, with vocalizations cruising along it’s descent, Death is coming / To take me soon. Transitioning, the passage moves to favoring yowling at the point of disintegration, embers still alight.

In contrast to the Myers Rooney To Bleed album, this conveys Schmale’s great range of evocation; there a drifting and gilding the expanse, here a measured writhing and smiting. A strong working songwriter that deserves a bit of your support if you are able.

There’s a new 2022 split with mr submissive also to check out.