Sneaks, “Inside Edition”

What a great time to be alive! Incredible diversity of  sounds, and deep reworkings of previous styles, birthing new reactive forms. Sneaks released an outstanding debut, first on DC label Sister Polygon, then redistributed through famous Merge Records, and by French Paris boutique label, Danger Records.

Beat-machine minimal post-punk, with soft-spoken rap poetics. Political, obliquely. Anti-pop to be sure, but careful to preserve jubilation. The question is…Does it work as a single? Probably not, but it evokes fascination and anticipation for full-length. Avant-garde beware!

Doug Musorock Radio

Recent releases and classic reissues in rock/punk/garage/psych and sometimes weird noise. Middleground between Sangue Electrico and dynamite haemorrhage. Musorock also wrote the most accurate Nots review ever:

Yelped vocals, sharp turns on guitar, pummeling no-nonsense drumming and warehouse recording dynamics give both of these singles (an earlier four-song EP and a two-track follow-up) a rough, newly-awaken “Bride of Frankenstein” sort of feel to them, hissing and filled with distrust for any way but its own.

“Filled with distrust for any way but its own…..” Words to live by.

Top 16 of 2016

1. Bonehead – “You” EP

Detroit solo project of Alexandra Lee. “You” is lo-fi garage pop perfection w a bouncy bassline and jazz stickin’. “Gone Girl” flips the script and sounds like a 60’s take on a 90’s tune via The Gories (electric KBD blues). The flip side is a pure lo-fi electroclash jam recalling my college days before I left academia for the real world. Real, rugged, ballad pop, with spunk.

2. Counter Intuits – “Sunglasses After Death”

I didn’t know who Ron House of Thomas Jefferson Slave Appartments was before listening to Counter Intuits. In the 90’s he was considered a kind of 70’s punk. This would make him a 90’s punk today in 2016. And that’s what this album sounds like!!!! Pure 90’s underground pop-punk. Totally humourful and at times mournful, with a dense wall of sound. “Sunglasses After Death” is both homage and satire. “Monosyllabilly” swoops in voodoo depths via Tav Falco. “Actors Running Sound” is existential power pop for someone who doesn’t like power pop. Great songwriting, balance and emotion, Ron House has put in more than 10 000 hours in his career, more than 10 000 years ago, which technically certifies him as genius.

3. Nots – “Cosmetic”

The year of Nots! European touring, reviews from the UK, Germany, Italy, Australia. Praise for their evolved psych-punk sound. Nots added political gravitas to their message, like a cinema-verite of our times. “Inherently Low” made fools out of dance clubs. “Rat King” called for presidential impeachment. “Blank Reflection” warped reality for its duration. But the coup de grâce came on the title-track, “Cosmetic”, which has two time signatures. I’ll say it again: the most important and pertinent American rock band.

4. Giorgio Murderer – “Holographic Vietnam War”

The best performance at Gonerfest 13, undoubtedly was Giorgio Murderer’s ultra-secret after-party (at 3 in the morning) at local dive bar, Murphy’s in Memphis. Only the most hardcore rock and roll fans were in attendance ready to see the genius beatsmith behind Buck Biloxi, Black Abba, LSDOGS, and Weapon Man. Giorgio Murderer wasted no time, running through hits like a pop star in between banter about chewing gum jingles, and the intoxicated state of most of the audience. Giorgio Murderer assaulted the crowd with the one-two electronic thump rock n roll rhythms of his futuristic warnings of impending doom like some kind of angry alt-right woke robot singer. Favorite track: “Get Murdered By A Robot”

5. Urochromes – “I Don’t Want To Be Like Me”

Drum machine hardcore pop-punk. Urochromes finally got a drummer after almost a year of performing with an iPod in tow. I had the opportunity to see them 3 times, and their lead singer is a true performer in the sense of a rock and roll unhinged performance. Much cooler than the usually standoffish hardcore performers. Urochromes are funny, and full of hooks (‘All I See Is Ugly People‘, ‘Trapped On A Planet‘, ‘I Don’t Want To Be Like Me’). Records released by Lumpy and Northampton artist weirdo label, Feeding Tube Records!

6. The Submissives – “Do You Really Love Me?”

The only reason I leave the house nowadays is to see The Submissives play live. Experimental warped pop, country ballads on psychedelic drugs, and to quote underground noise rock Boston artist Gordon Gritty, “Guitars that sound like they are dying, and God…those stoned vocals”. This year, The Submissives released two consecutive albums, performed regularly, and got distribution through Fixture Records.

7. The World – “Loser”

Bouncy Oakland funk, post-punk, cool 80’s no-wave. Andy Human of the Reptoids, Alexa of Pang, and Amber, of that recurring dream I keep having! Aloof post-punk, lo-fi à la B-52’s, with weird noisy angular sections. Rinse and repeat! I saw them in Toronto and got to talk to Andy afterwards. Amazing cool laid back relax standup dude.

8. CCTV – “Piece of Paper and Audiocassette Tape “

The robotic-funk of CCTV (incl. members of Coneheads) captivated the entire globe this year! Devo-like rhythms, lo-fi renditions of synth-funk jams but w more guitars than synth.

9. Vital Idles – “My Sentiments”

No-Wave Pop with the best vocal performance of the year!!!!! I suspected Vital Idles was special after hearing their jangly pop rendition of a hardcore classic (Negative Approach’s “Ready To Fight”). The b-side is luscious pop, which gives me the impression that Vital Idles are to be kept under close surveillance for innovating genres and extending influence.

10. The Staches – “I Don’t Bother”

The Staches are like a young The Limiñanas, who run the gamut between early Cramps thump, Swiss 80’s post-punk, and contemporary L.A. garage. I saw the lead singer perform in Memphis as part of Couteau Latex and wow she was amazing. She also writes awesome French lyrics, which I photographed here.

11. Honey Radar – “Blank Cartoon”

If hip-hop producer Madlib made experimental garage rock it would sound like Honey Radar. Ultimate texture collagist and uptempo grooves. I played this for a friend who doesn’t listen to garage rock and he immediately noticed the experiments in tone and depth. A rocking record that sounds really warm.

12. Useless Eaters – “Relaxing Death”

The lines blur between electronic and garage, and coldwave without the goth posturing. Seth Sutton’s robotic effects-laden vocal delivery evokes the pop stars of stadium concerts. America’s largeness is contained within. Like Kendrick Lamar, Useless Eaters critique-by-excavating overlapping sounds and genres into a pop art statement.

13. Sex Tide – “Pussy Kills”

Can’t help but think how political this song is, specially after this US election. All the fuzz, jet-propeller riffs, desperate howls, barren-land solos, must come out of sense of deep frustration and desire to destroy.

14. Suburban Homes – “iPhone Suicide”

15. Archie and The Bunkers – “Mystery Lover”

Someone in the crowd at Murphy’s in Memphis pointed out that Archie and The Bunkers were “Barely legal!” as they were performing during Gonerfest. One of the gifted brothers answered “Barely legal?  We are ILLEGAL!”. The hard-hitting rhythms of this teenage drum-synth-organ duo could only be the product of completely mad parents who raised their babies on The Stooges, The Damned, and The Cramps. In fact, Nick Knox is credited as an advisor on this record.

16. Uranium Club – “Small Fry”

“I’m a small fry, why should I try?” And this concludes the TOP 16 of 2016.

Memphis Recap – Gonerfest 2016

Trampoline Team perform in Memphis during Gonerfest 2016
Trampoline Team perform in Memphis during Gonerfest 2016, photo by Time Warp Week Ends on 35MM film

Anton Jackson over at VultureHound gives the best recap of Gonerfest so far. A series of highlights of the fuzzed out, eclectic, and desperate, American and Australian garage rock scene. Nots, Chook Race, Pity, Trampoline Team, Giorgio Murderer, and so many more it’s really hard to keep up.

Anton highlights the camaraderie that takes place in Memphis during those three days. I’d like to do the same. There is a genuine feeling of love and appreciation throughout the fest. One of the things Zac Ives says during the Opening Ceremonies is ‘Take care of each other!’ It’s true! How many times did I see a passed out Japanese festival-goer during the shows and leaned in to offer assistance only to be told to go away because they are sleeping! I guess the music is just so good it touches everybody in the same way.


Near the end, Anton mentions meeting someone from Montreal, Canada. That person is me! You see, I really exist. I’m not just a Nots internet promotional bot!

Nots – Cosmetic (2016)

Tell me about the album title. Why did you choose Cosmetic?

I read the word in a Nazim Hikmet poem from his book Human Landscapes. He used it to describe the façade of a political system, and the word just has a really great dual meaning. There’s the obvious implication of it — that it’s covering something up, or that it’s face value. I felt like a lot of the songs addressed themes that sort of lie within the idea of having one face on, but something completely different is underneath, or implying that what you see may not be the truth — that truth with a capital T is very relative.



Giorgio Murderer Kills It At Gonerfest 2016

Memphis was abound with energy during the not-so-secret afterparty on Saturday at Murphy’s (1589 Madison Ave). A crowd of the most hardcore fans, hanger-ons, and tag-alongers celebrated to the robotic futuristic punk sounds of the one they call Murder. Backed by members of Trampoline Team on keyboards, drums, and bass, Giorgio delivered the pummeling bounce to the excitement of euphoric fans who started crowd surfing in the cramped quarters of the bar/venue.

Other highlights include an energetic afternoon set by Kool 100’s, a blistering speedy flammable set by Fire Retarded (Hey Bobby!), a ski-masked robbery by Pity, and a celebratory incantation by the legendary Kid Congo Powers.

cumsttainFor my part, I met the two-man operation behind KLYAM Records out of Boston. I first thought they were Archie & The Bunkers, but getting past their pre-pubescent adolescent looks they are actually greasy sleazy freaks of the unknown kind! More stories and pictures to come as I develop my rolls of film, including some Super8 footage of Nots conducting the opening ceremonies.

Prince Waly & Myth Syzer – ‘Junior’

Damn, if you venture on the French side of rap, rare are the occasions where something is as powerful as its American counterpart. Lo and behold, Prince Waly, brings the NYC conversational 90’s flow to the forefront, full of internal rhymes, offbeat pauses, and deadpan wisdom, usually the servings of a young Nas, Rakim, or early Jay-Z.

Myth Syzer, usually on the electronic side of hip-hop production, tones down the blips and J Dilla bass booms, to deliver a beat that sounds like Premier meets Pete Rock in the summer of 1992. A scratched sample from slain Harlem rapper Big L crowns the chorus while Prince Waly spits cryptic reflections on street smarts, moral implications of crime, and hopeful yearning. Soul music for soulless times.

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