MONSTERWATCH

MONSTERWATCH

MONSTERWATCH

(SEATTLE, USA // GREENWAY Records / KILLROOM Records )

MONSTERWATCH DELIVERS A RAW, HIGH-ENERGY BLAST OF DISTORTION AND ADRENALINE. KNOWN FOR THEIR FRENETIC LIVE SHOWS AND
UNFILTERED SOUND, THE BAND CHANNELS PURE CHAOS. FUSING BREAKNECK RIFFS WITH ANTHEMIC HOOKS.
PROVING AGAIN AND AGAIN WHY THEY’RE ONE OF THE MOST ELECTRIFYING FORCES IN MODERN PUNK.

 

 

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R.M.F.C.

R.M.F.C.

R.F.M.C.

(Sydney, Australia // Anti Fade Records)

ROCK MUSIC FIGHT CRINGE

What is modern music writing without the opening descriptor “long awaited”? To describe most records as being awaited is ridiculous. Nobody today has the patience to wait for a text or a tram or a traffic light… and yet… there is something here, I have a point to make…

Please resist cringe – I will not cringe, cringe is the mindkiller – I assure you, I never use words like “long awaited debut” in polite conversation and avoid those who do by general rule.

But.

ROCK MUSIC FINESSE CLASS

The imminent arrival of the R.M.F.C. long awaited debut means rules must be broken, tablets must be shattered, sacred pigs must be slaughtered…

In our age of media saturation and attention deficit, where every band has side project with a triple LP catalogue before they’ve played a show or had opportunity to tease or tantalise, there’s a lot of easy music being created… and forgotten… look back over the past decade and see how many hype bands you’ve forgotten, how many redundant “long awaited debut” ended up ashen within a month. Nobody is waiting for more easy music. We are waiting for the R.M.F.C. Club Hits LP. 

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

ROCK MUSIC FANATIC CONVULSIONS

To your average German the sound of Bach made them reverent with Lutheran frenzy, and for the average rock music fan the sound of R.M.F.C. makes them catatonic with guitar overdose.

To your exceptional German composer that came after Bach, the sounds of Bach inspired genius invention, and for the generation of exceptional rock music creators that come to Club Hits, a great deal of easy listening rock music has become redundant and this is a new standard: the craft of these songs is precise, the flow of this record is masterful.

Club Hits is one of those rare records that sounds absolutely of its time without evoking depression, despair and disgust – for we live in times of desperation that most rock music bands are adorning with insipid, tedious tunes that couldn’t make most people put their phone down let alone believe in R.M. – but with the benefit of 80 years of ROCK MUSIC to draw on, there’s a lot of mistakes that Buz learned from and hasn’t replicated here.

ROCK MUSIC FOOTBALL CLUB

I like music and I like football. I like physicality, sweat, blood, I like music with guitar and drum… I like to experience being in the presence of violent movement that is graceful and produces goals or songs…

Great live band this R.M.F.C. Kicking goals, making songs.

If not for the experience of watching them play these club hits live, I don’t think we would be “awaiting” this record. Which is to say, on record FC President Buz takes on all duties: songs written, songs recorded and songs mixed by the Commander In Chief Clatworthy.

If this was the extent of it, if we couldn’t SEE and FEEL the rock music in R.M.F.C., if it was RECORDED MUSIC FAN CLUB – I’m sure you understand me – Buz has managed to make a solo bedroom project into a rock music band of great quality, and hearing these songs develop and stick in your head for days and weeks and months after the show, festering and waiting to be unleashed on the world this coming November 3rd.

ROCK MUSIC FAN CLUB

For those who read these things without listening first, you might ask: what does this R.M.F.C. sound like?

Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band.

Indulge me.

If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking.

Wire unpacked punk immediately and spent three perfect albums mapping what comes next – their “long awaited debut” came after a pub rock punk phase… and entered into the world of angular guitars and arctic ice feel.

Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band.

Few bands manage to sound like all 3 records, but R.M.F.C. are rock music fan club…

ROCK MUSIC FREAK CLUB

One day when I listened to the Velvet Underground ‘What Goes On’, I thought: this is a perfect song. I could listen to this song for hours on end. I did this – I listened to live versions, multiple ten minute plus jams, alternate mixes, and then back to the album. Over and over again. The song continually delivered new revelations, I saw a golden path leading through a dark cloud of misery, surrounded by spite and resentment, a golden path leading toward something better… and in Club Hits, I hear that same obsessive nature, I could imagine you understand this too, I know I am not alone in listening to rock music like I am encountering the sacred sound of a new religion… you must be obsessed to make music like this, and you must also respond with true passion and devotion… our times need the Club Hits

ROCK MUSIC FINAL COMMENT

R.M.F.C. Club Hits LP on Anti Fade (AUS) / Urge Records (USA) will be released on November 3rd.

Written, recorded and mixed by Buz in Burrill Lake and Sydney between January 2022 & April 2023. Mastered by Mikey Young.

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BELLA AND THE BIZARRE

BELLA AND THE BIZARRE

BELLA AND THE BIZARRE

(Berlin, Germany // In The Red Records)

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a tender soulful flow.

A wild fusion of garage punk, sixties rock n roll and a touch of RnB soul, with its own gentle smokiness.

Combining a broad spectrum of influences – from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance!

Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

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PYPY

PYPY

PyPy

(Montréal, Canada // Goner Records/Black Gladiator Records)

It’s been nearly a decade since Montreal’s PYPY (pronounced like ‘π π’…with a long ‘i’ or a rather than long ‘e’, thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger « She’s Gone » carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent’s 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial « next level. »

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes’ (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement’s (Duchess Says) brings a nastier bottom end that locks onto Simon Besré’s drumming with a death grip for the entire affair. And guitarist/ co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that’s like hornets caught in yr hair.

« Lonely Striped Sock » grooves along like « Earthbeat »-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the « ear-vestment » in dividends throughout. « Ear-vestment »? Yikes. Then it’s time for « She’s Back, » a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day’s best- known gem (the aforementioned « She’s Gone »). This one packs a hook that’ll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn’t matter…nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you’ll be doing that anyway. A lot. « Erase » is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn’t know we had…deceptively kicking off with a no-fi drum machine that is immediatelylost in the massive pop din that seemingly includes everything within reach. « Poodle Escape » is two minutes of perfect (and perfectly distorted) synth- punk and « I Am A Simulation » – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70’s (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. « 15 Sec » (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes’ gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album’s title track is a love letter to Hawkwind in the musical language already established here. « Vanishing Blinds » is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of « Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

RIYL: Christina Monet, ESG, Oh Sees, Bush Tetras, Lost Sounds, Mercier Descloux/Ze Records, early Comets on Fire, Au Pairs, Brainiac

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STRAIGHT ARROWS

STRAIGHT ARROWS

Straight Arrows

(Sydney, AUSTRALIA // Agitated Records)

Watching Australia’s Straight Arrows in concert stirs a visceral reaction. Throbbing, sweating, pulsating urgently across the stage, delivering melodious hits with an unrelenting, volatile energy before a final climactic burst, departing the podium and leaving a riled-up audience to contend with whatever lesser events the remainder of their night may hold.

On record, Straight Arrows offer perhaps a little more nuance. Sure, the urgency and buzzing 60s punk-inspired energy is well and truly present, but this mingles with moments of the other-worldly and the truly sublime, across an array of eclectically influenced tunes. Amongst the brilliant chaos lie a few calm, introspective moments before the band subjects the dear listener to another catchy, melodious blast, relentless hooks still trailing through one’s mind.

Just ask fans like Henry Rollins, Iggy Pop, or John Dwyer, the former two gladly hawking the group on their radio shows, whilst the latter gleefully dragging the band across Australia and the USA in support of his latest opus.

Along with Oh Sees, Straight Arrows have shared stages with many friends and heroes: The Buzzcocks, The Sonics, Ty Segall, Black Lips, Jay Reatard, Deerhunter, and the New York Dolls – when the best in the biz hit Australia, they know who to call! 

At home they’ve appeared at the Hoodoo Gurus’ curated festival Dig It Up! as well as under the dome at the world-renowned Sydney Opera House as part of their hometown’s Vivid Festival. 

Not wanting to leave anyone out, they’ve also proselytised the good word abroad, having toured the UK/EU and the USA widely on numerous occasions and been invited to play at Memphis’ legendary GonerFest.

After 11 45s, three albums plus a live LP – released across the USA, the UK and Europe on labels like Goodbye Boozy, Hozac, Spacecase, Agitated, Rice Is Nice, Budget Living and RIP Society – 2024 will see Straight Arrows thrust their fourth album across the globe, and what a feast it is! Entrées in the likes of the resoundingly rapid Fast Product, and the kaleidoscopic psychedelic blast of Walkin Thru My Mind have already delighted underground radio presenters, and audiences across the globe. Just wait until they hear the whole thing!

Straight Arrows’ album number four will be available worldwide on record in May 2024, out on Rice Is Nice (Australia), Agitated (UK & EU) and Lollipop Records (North America).

« Straight Arrows: the fuzziest, most catchiest, escapist, good-times vending, rapscallion trampoline shiners this side of the Murray River” – John Dwyer 

“A new Straight Arrows record is always something to look forward to. What a great band.” – Henry Rollins

 

 

 

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