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Oh boy, now we're cooking. Now we're in the court of Sugar Tradition. Only a city like their hometown of Detroit could foster such a refined appreciation of rock'n'roll, r&b, and garage punk - and Sugar Tradition clearly have IT. The trio, consisting of Antonio Keka (guitar/vocals), Kevin Irwin (drums), and Arlo Betley (bass) are a complete force of nature live - contemporaries of the Stools, Toeheads, and 208. They're also fresh off a tour supporting none other than the Detroit Cobras.\r\nSugar Tradition have managed to capture that raw, driving Motor City sound in damn near perfect form on 'More Sugar', their vinyl debut on Feel It Records. "Rockin' Baby" kicks things into gear, anchored by a driving piano line that plays off a pounding rhythm section, allowing Keka's guitar and vocals to rule the high end of the mix. There's some tasteful harmonica and tambourine peppered throughout, but it's the raw, fuzzed-out sonics heard best on "Don't Leave Me" that may just steal the show. Oh yeah, did we mention the roaring rendition of Chuck Berry's "Come On"? It's all recorded live, too. A stupendous fourteen minutes at 45 RPM. Sugar Tradition are one of the brightest sets of young heads on the face of planet rock'n'roll right now, and 'More Sugar' proves that to a tee.\r\n(STREET DATE - 10/13/2023)

More Sugar

Marcel Wave write eulogies for tragic actresses, ancient riverbeds and concrete obscenity. Their inaugural sonic instalment Something Looming is part trades club symphony, part itchy serenade, and part wistful lament. As their heady concoction of 'Meades meets Pat-E-Smith meets Kirklees Borough Council' gets prepped to be formally baptised on a dank stage near you, Upset the Rhythm and Feel It Records have dutifully stepped in to deliver it's songbook to the masses on both sides of the pond.

Formed when Lindsay Corstorphine and Christopher Murphy of Sauna Youth and brethren Oliver and Patrick Fisher of Cold Pumas were summoned by northern ink-slinger Maike Hale-Jones, Marcel Wave's debut offering is a walk through a smoke-filled pub with yellowing wallpaper and all eyes on you. It's a chronicle of the death of the docklands, the decline of industry, of the high street, of civic pride, of civilisations, of hopes and dreams. As Hale-Jones delivers the bad news in her low, West Yorkshire brogue, Corstorphine adds the bells and whistles via the frantic pulsations of a wheezing Hohner organ in tandem with Fisher O's rasping guitar. MW are completed by the throbbing basslines of Murphy and Fisher P's fervent rhythms.

The title itself sets the tone for the listener. There's a sense of foreboding in Hale-Jones' lyrics which sit at the quintet's core-elegiac, sardonic and piquant in equal measure. A mixture of narrative epilogues and inward paeans, her words weave tales across a broad thematic church. Crooked tales of urban renewal and the voices left behind are probed in 'Barrow Boys' and 'Stop/Continue' and are at the fore in 'Where There's Muck There's Brass' with it's refrain lamenting 'Concrete and slate shine in the rain, cities destroyed, nothing to gain'. In these lyrics, tower blocks loom over terraced houses with the same shadows that the Hollywood sign casts over Peg Entwistle before she takes her tragic leap. 'Peg' and 'Elsie' are both meditations on two different actresses with different fates crushed by the cut-throat trappings of showbusiness: 'The mad hopes break, fragile as glass. She traded it all, for the cutting room floor.' A snaking, existential dread also runs through the album, stated more obliquely in the otherwise poppier interludes of the title track 'Something Looming' and album opener 'Bent Out of Shape', and present too on the comparatively ramshackle 'Discount Centre', where Hale-Jones reports 'On a mini bus on the outskirts of Enfield, I'm losing all of my spark'. On the album closing weeper 'Linoleum Floor', it is laid barer still-a keyboard-led reflection on the deflating nights out of our early-twenties.

Marcel Wave invites the listener to dance to society's decline, and then to later weep into it's lukewarm pint.

(STREET DATE - 6/14/2024)

Something Looming

*BACK IN STOCK!!! Received a 7.4 rating from Pitchfork. Way out there. From up in the attic, in the village of Cincinnati - the third album from the Drin has arrived to commence 2023. Cold rhythms reverberate through the layers of tape spliced together by Dylan McCartney and his impressive cadre of musical companions. The Drin spawned from a debut cassette edition of 50 on the Future Shock label, since teaming up with both Drunken Sailor and Mangel to issue two LPs. Their loose, careening live unit features members of Corker, Crime of Passing, the Serfs and Fruit LoOops.
'Today My Friend You Drunk the Venom' is the Drin's finest hour as a creative entity. McCartney's incredible command of rhythm lies at the forefront of the mix, complimented by a group that is able to seamlessly transport between post-punk, acid guitar jangle, and krautish experimentalism. There's even a stellar dub track on here. As much as contemporary artists tend to flaunt their affinity for the past - it's entirely worthless to apply such trappings to the Drin. Their genre-expansive abilities and deep knack for rhythm and layering are something entirely new and futuristic. Ohio has never sounded so close to outer space.

Today My Friend You Drunk the Venom

*NOW AVAILABLE ON CD!!! Expanding on the magnetic, minimalist post-punk frontier first chartered on their 2020 Goner debut, Optic Sink return with their second album, Glass Blocks. Hot on the heels of their recent EP on Spacecase Records, the Memphis trio of Natalie Hoffmann, Ben Bauermeister, and Keith Cooper ventured out to Lawrence, Kansas to record at the home studio of Caufield Schnug (Sweeping Promises).\r\nThe resulting seven originals and a rendition of LiLiPUT's A Silver Key Can Open An Iron Lock, Somewhere define Optic Sink and their remarkable style with a clarity and power seldom realized in a studio setting. Hoffmann and Bauermeister command the high end of the mix with a gamut of perfectly dialed synth and percussive tones while Cooper's bass serves as rhythmic anchor. There's far more to dive into, whether it's the cold, driving beat of "Modelesque" or the minimal, percussive brilliance heard on "Glass Blocks". Perhaps the best part of the formula is the sheer amount of natural energy that gleams through the mix. Like a warm refraction of musical chemistry and originality, Optic Sink have struck gold with Glass Blocks.

Glass Blocks

"The Artist works in a museum
And that museum is rocknroll
In a world of meme punk rockabilly grandads
It's the classicists that really have something to say.
Straight lines, hooks, and a clear path to your heart.
They might not be dbeat heart throbs
But no one else can give you that
feeling that you can hold on to a moment
Like you are driving too fast down route 60
And it's never going to end.
In 20 years when you skulk the dark alleyways of wherever punk's red fern grows, they won't be talking about Dwight Twilley, the Looks, or the Nerves, they will be looking for a little Class." 
-Tobi Vail and Hayes Waring

If You've Got Nothing

*From a city quickly gaining steam as a minor post-punk mecca, Corker emerge from the Cincinnati underground with their debut full length, Falser Truths. Corker are the proverbial fly in the ointment-soaking up every glorious facet of the past while swirling new thoughts and sounds into one highly engaging debut.\r\n\r\nCorker were first introduced to popular consciousness with 2021's A Bell That Seems To Mourn on Cincinnati's own Future Shock Recordings, headed by Dakota Carlyle (Crime Of Passing, The Drin, The Serfs). Following several tours of the Midwest and surrounds, Corker began recording Falser Truths in 2022-the same year Feel It Records transplanted their operations to Cincinnati. What seems like an almost-inevitable partnership began with Feel It issuing the 'Lice' single just as 2023 arrived. Paired with eight additional tracks recorded and mixed just over the Kentucky line at The Lodge with John Hoffman, Falser Truths is not only intelligent, but bold, charismatic, and free.\r\n\r\nThere's little restriction to Corker's formula-whether they're lifting latent fingerprints of the post-punk past, rendering landscapes of Industrial wasteland, or bending rhythm and tone with Krautish ambition-the end result is resoundingly original. Genre purists be damned! Corker stand apart from their contemporaries on Falser Truths-an album realized by a fresh set of eyes and ears, driven far beyond the earthly bounds of now.

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