At Nixbeat.com, Nick Kuzmack covers a wide range of topics —both pop culture and politically related— and provides links to his material published by other media outlets.
The Sorels hail from Winnipeg, Canada. They are Jo Jo Rodriguez (vox, bass) , Jennifer Alexander (guitar) and Jill Lynott (drums, vox). Together they have released their third EP via Reta Records and it is aptly titled Love Your Rock N’ Roll. It’s very much a love letter for the sentimentality of the eternal days of old celebrating rock n’ roll excellence. Within these grooves is a style mending aspects of 1960’s girl groups, glam punk but with the infectious nature of power pop. It rips and ought to be heard.
Each track has it’s own significance and charm. The title song “Love Your Rock N’ Roll” kicks this record off superbly. It blends up-tempo power pop with sprinklings of glam. When the needle hits this one, turn the dial until your sound system registers red hot. Played under the right inhibitions, this ditty will have you moving and grooving.
In contrast “The Jerk” captures the moody nostalgic sensations of early ‘60s girl groups. Admittingly, the Larks made the Jerk a craze in 1964. However, The Sorels lament a longing for the fabled dance and in their homage have brought it new life. “The Jerk” furthermore highlights this yearning by mention of other dances like the Twist, Mashed Potato or Wah Wah-Watusi. This is by invoking the musical spirits of The Shangri-La’s and The Ronettes.
The B-side of this EP continues with the gold. “Make Me Party” perfectly captures the catchiness of the glam rock essence found in 1972. That said, it certainly has a modern flair that’s in line with Giuda’s “Get It Over.” With this track it’s clear The Sorels don’t hold back, are force to be reckoned with. Play this one loud at the next glamracket for it’s a stomping banger.
“Another School Day” is a great track to wrap this EP up with. While it stands on its own, it ends things on a high note. The previous song demonstrated an excellence in glam, but “Another School Day” blends it with punk laden defiance decrying the monotonous nature of another day in school. Think of it along with Alice Cooper, Joan Jett and Nikki Corvette. “Another School Day” ques up in the same vein as the previous rebel without a cause notions, a trend seamlessly found amongst The Sorels other material. Too bad this is the last track, as I wish there was more.
Overall the Love Your Rock N’ Roll EP is hands down brilliant. If there was a record to get your hands on, it would be this one. The Sorels know the substance of rock n’ roll inside out and demonstrate it with exceptional quality. These four tracks certainly play on the familiar heartstrings begging for a revival of the golden age of rock n’ roll. Its not a new story nor is it irrelevant. The Sorels approach this idea with a depth of sincerity and in turn make it fun. It’s quite an enticing listen and as far as a themes for retroism goes, their song “the Jerk” is one to stand out.
Personally, my favorite track is “Make Me Party.” It’s a tune that would fit perfectly in another issue of the Glamstains comps. That said, this EP’s four tracks demand to be played on repeat. To miss out on this record would suggest a lapse in judgement and need for a possible lobotomy. Now, go pick this up, play it loud and annoy your neighbors with something good.
Jerry Fowler, Charles Olsen Quinn Walls, and Nick Kruse,
Bad Sex are Portland, Oregon’s answer to power pop. They are Quinn Walls,Nick Kruse, Jerry Fowler and Charles Olsen. Since forming in 2016, Bad Sex have relentlessly jumped to the occasion to make music. They have shared the stage with numerous acts including Giuda, The Dickies, The Queers and Koffin Cats. Their tight catchy melodies nod toward the high energy of 1970s punk rock with the swagger of glam derived rock n’ roll. It’s is a style reminiscent of Johnny Thunders and The Heartbreakers, Protex, or The Beat, all the while twisting to the contemporary flair found in The Exploding Hearts.
Most the world shut down in 2020. However, Bad Sex wasted little time by continuing to write and rehearse. They even made a music video for the track “Miranda.” This hard work paid off with the release of the Miranda/Devil Doll 7” on July 2, 2021. Bad Sex also performed the RKR MTN Rendezvous. This was an all dayer concert that was in conjunction with the RKR MTN Ripper Festival, in Denver, Colorado.
2022 appears to a promising year for Bad Sex. In March, they did a brief west coast tour which included Salt Lake City, Utah on March 13. After the tour, Bad Sex landed in the studio to record an EP set to release later in 2022. In July they will open for TSOL on July 28, and in September embark on 20-day tour, including playing the RKR MTN Ripper Festival. Finally in November, they will open for The Dead Boys, The Briefs and Suzi Moon.
On the way to Denver for RKR MTN Ripper Festival, Bad Sex will grace Salt Lake City at The International on September 7th. Salt Lake City locals Shecock and The Pseudos are set to open. To learn I caught up with Bad Sex and they were kind enough to fill me in on their plans for the remainder of 2022.
Quinn Walls and Jerry Fowler
NixBeat: Bad Sex formed in 2016. What prompted you to form Bad Sex?
Walls: Everyone I knew was in a band, I wanted to start one too.
Kruse: My band had a space and I figured I could figure out how to play drums so my best friend could be in a band.
Olsen: I saw them play with my band at a house show and thought the songs were good, and if all my friends were in a band, I want in.
Fowler: Quinn and Nick had a new band going, and needed a bassist. So, I learned how to play bass.
NixBeat: Described as a raunchy power pop and degenerate party punk, what influences do draw from for Bad Sex’s sound?
Walls: well that’s an older description, I’d say we’re much more 70’s power pop & rock ‘n’ roll nowadays. Or influences range greatly from person to person. I draw influence from The Exploding Hearts, Rubinoos, Elvis Costello, and The Ramones mostly.
Kruse: I love Ramones, Cheap Trick, The Who (especially the 60’s stuff). My favorite drummers are Tommy Ramone, Marky Ramone, Ritchie Ramone, and Elvis Ramone.
Fowler: I grew up listening to a lot of Alkaline Trio and Rancid. Like mall-punk type stuff. I honestly learned about power-pop upon joining Bad Sex. Dan Andriano from Alkaline is definitely my main influence as far a bass playing goes.
Olsen: Blink-182 is probably my favorite band ever ,along with AC/DC and KISS. The first album I ever bought was Ever Passing Momentby MxPx, and I still listen to that record today.
NixBeat: In January 2019, Bad Sex flew out to Atlanta, Georgia to record your debut album Waste Of Time with Joe Queer and Tuk Smith. What was that process like?
Bad Sex: The first big show we played was with The Dickies and The Queers. After the show, Joe Queer pulled us aside and asked if we wanted to come to Atlanta and record with him at Scabby Road Studio. Quinn had mentioned liking the band Biters, so Joe asked if we wanted Tuk Smith to come into the studio. Tuk had brought along producer Dan Dixon, who helped write harmonies and sing on the ‘Waste of Time’ record.
NixBeat: On September 17th and 18th 2019, Bad Sex opened for Giuda along with The Sadists (in PDX) and with Die Nasty (in Seattle). What was it like to open for Giuda during their North West portion of their tour?
Bad Sex: In two words: Absolutely thrilling. They are so nice, so talented and really fun. We hit it off, talked gear, talked music and played pinball.
Quinn Walls and Charles Olsen
NixBeat: On February 28, 2020 Bad Sex opened for The Hollywood Stars alongside The Crazy Squeeze and Nico Bones, with DJ Power Pop Jeff. How did you get involved with this show and what was it like to open for The Hollywood Stars?
Bad Sex: Our friend Nico Bones hit us up out of the blue, and we jumped at the opportunity. We’re more of a west coast band, than a Portland band, so we went for it. Then a month later everything shut down.
NixBeat: In March of 2020, Bad Sex (along with numerous groups around the world) were affected by onset of the Coronavirus. This included gig postponed and job loss. How did you get through the Pandemic?
Bad Sex: We wrote, recorded and made a video. A venue in town, The Goodfoot, let us rehearse in their basement. We kept meeting up several times a week and just didn’t stop.
NixBeat: On July 2, 2021 Bad Sex released the Miranda/Devil Doll 7” visa Crash Assailant Records. What were you drawing from for the track “Miranda?”
Olsen: “Miranda” is all about my first love. we were together for three years and broke up right around the time Bad Sex was taking things more seriously. I’m a big fan of Pete Shelley and love how a lot of his songs were autobiographical. Needless to say, I was pretty hurt at the time. “Miranda” was really the first time I was able to put my feelings into words ,and was in a band that played music that made sense to how I felt at that time.
NixBeat: What inspired the track “Devil Doll?”
Walls: “Devil Doll” was written at the end of a relationship, reflecting on how different feelings are at the beginning and end of relationships. Inspired mostly by The Nerves and Paul Collins Beat.
NixBeat: On September 10th, 2021 Bad Sex played the RKR MTN Rendezvous— which is apart of the RKR MTN Ripper Festival, in Denver, Colorado. How did you get involved with this festival and what was it like to perform again after the Covid hiatus?
Walls: I had talked to Micah from Fast Eddy about us wanting to play that fest and he put us on the bill right away.
Fowler: It was nice to be back playing music, especially in a new city with some of our favorite bands. The whole fest was just what we all needed after a year of fuckin’ nothing.
NixBeat: In March 2022, Bad Sex embarked on a tour that started off in Salt Lake City, Utah. There you played at Quarters DLC with Slick Velveteens with DJ Retrograde and I behind the decks. What was it like for you to play Salt Lake City?
Walls: SLC was so much more beautiful than I had imagined and the venue was so fun, reminded me of when I worked at an arcade.
Olsen: I had a blast. Jerry, Nick and I’s old band GUN used to come to SLC all the time, and play Beehive Social and Dis House. Shout out to Sam and Conrad. Getting to go to Raunch was also super cool and selling some singles there was a dream come true.
NixBeat: This tour also saw Bad Sex support Koffin Kats during several dates in Washington and Oregon. This isn’t the first time Bad Sex has played with Koffin Kats. However, what was it like to pay with them during this tour?
Fowler: It was a goddamn blast. They’re incredible musicians and just all-around nice guys.
Olsen: I feel like we’re cut from the same cloth. Getting to tour with a band like Koffin Kats ,who have done it for so long, taught us so much; I really can’t say enough nice things about those guys. You can expect to see us together more in the future.
NixBeat: During the weekend of September 9th through 11th, Bad Sex will be playing the RKR MTN RIPPER III festival in Denver, Colorado. Other acts include RMBLR, Ravagers, Fast Eddy and more. How did you get involved with this festival and what can readers expect from your performance?
Walls: When we played last year, Micah saw us and immediately wanted us to play the main stage the next year.
Fowler: you can expect a lot of new stuff. We’ve been utilizing our down time with really honing our craft and expanding our horizons.
NixBeat: On the way to Denver Bad Sex will be playing the International Bar in Salt Lake City on September 7th. This time with Shecock and The Pseudos opening. What can Salt Lake City look forward from Bad Sex gracing this city again?
Bad Sex: A damn good time with us, The Pseudos and Shecock.
NixBeat: What does the future hold for Bad Sex?
Olsen: New songs, new merch and more shows. July 28th we’re playing in Portland with T.S.O.L. and playing a couple shows with Dead Boys and The Briefs shortly after that.
Walls: We’ve got a 20-day tour in September that will be announced shortly and there’s another tour in January hitting parts of the country we haven’t played yet. We’ve got lots of stuff on the horizon. It’s hard to keep up!
Fowler: We just finished up the studio. We recorded an EP, and another song for a comp. Both should be out before the end of the year.
“Love I Can B W You”/ My Mother Plays Rock N’ Roll” 7”
Self-Released
Street: 11/03/2021
The Beatersband hail from Italy. They are Donatlla Guida ( lead vocals/guitar), Leonardo Serrini (bass) and Enrico Vanni (Drums). Since their formation in September 2018, they have been on a mission to celebrate the vocal music of ’50 and ’60s rock n’ roll music. To do this the seek to modernize it, while retaining it’s classic soulful essence. The result is their signature approach of infusing their songs with the infectious and sentimental sounds of punk infused rock n’ roll. With the release of their latest 7”, it is evident that they manage to do this quite well.
Musically, the Beatersband play with a style that nods toward groups like The Russians and Pale Lips. It is an approach that can be particularly heard in “Love I Can B W You.” This track blends punk sensibilities by adding rock n’ roll with a definitive power pop flair. The magic is with Guida’s vocals. In this song they emerge as a soulful power house from behind the wall of sound instrumentals.
“My Mother Plays Rock N’ Roll” is a slightly mellower and nostalgic tune. The theme covers remembering times growing up listening to the vocalist’s mother playing the likes of Elvis Presley, Mick Jagger or The Ronnetes. Overall, it’s a fun listen that grows on your with a gradual charm. Like the A-side of this 7″, it’s Guida’s soulful range that stands out and defines this track. “My Mother Plays Rock N’ Roll”is fun and simple, but short and sweet. It edges nearer toward a groove that captures a more ’60s girls in the garage angle, but with an indie twist.
In terms of modernization of vintage rock n’ roll styles, The Beatersband can play covers like “Hang On Sloopy” and absolutely show off some retro glamour. That said, it’s with their original material that allows The Beatersband to shine on their own. Musically they blend rock n’ roll with power pop sensibilities that produce a distinct soulful flavor. After releasing this 7″, The Beatersband certainly proved have the ability to play tight, energetic tunes. I’m looking forward to what comes next. Now, go give this ditty a spin.
The Jackets @ Sommercasino Basel
10.01.2020 Patrick Principe
The Jackets are arguably among of the most dynamic garage punk groups to come out of Bern, Switzerland. They are Jackie Brutsche aka Jack Torera (guitar vocals), Samuel Schmidiger (bass, backing vocals), and Chris Rosales (drums, backing vocals). Whether on stage or heard through their records, The Jackets revitalize the vital heartbeat needed to keep rock n’ roll alive. This is by their seemingly natural ability to effortlessly blend wild, primitive garage-punk with fuzzed out freakbeat influenced by notions of psychedelia. It’s the kind of music that not only shocks and awes, but also inspires.
Since 2008, The Jackets have released four albums, a single and have toured relentlessly throughout Europe and the United States. Their last two albums Shadows of Sound (2015) and Queen Of The Pill (2019) along with the Be Myself/Queen Of The Pill 7″ (2017) have come out via the infamous Voodoo Rhythm Records. Their latest album, Queen Of The Pill even included a collaboration with King Khan (King Khan and The Shrines and King Khan & the BBQ Show).
In February 2020, prior to the Coronavirus pandemic, The Jackets did a brief West Coast Tour. This tour started in Portland, Oregon and ended in their first ever show in Mexico City for the Born To Be Cheap Fourth Anniversary Party. After catching The Jackets in Portland on February 19th , I later caught up with Chris Rosales. We chatted about The Jacket’s recent North American Tour, Queen Of The Pill, the European Garage Rock Renaissance and life in Switzerland during Coronavirus Lockdown.
NixBeat: The USA West Coast/Mexico Tour was partly booked with Ugly Things and Born To Be Cheap. How did you get involved with them?
Chris Rosales: I’ve known Mike Stax (Ugly Things) since I was a teenager. I was involved with the first Garage Revival in Los Angeles (Greg Shaw’s Cavern Club, etc.) in the ‘80s and Mike was an “ace face” and major player. I met Anja Stax when she lived in London in the ‘90s so they were both a natural as go-to people for our last three California tours. Anja Stax can book a tour in 10 minutes! It’s incredible! Mike and Anja are the best, I can’t say enough about those two they are amazing people. Matt and Daneep from Born to be Cheap got a hold of us last year and asked us if we wanted to come and play in CDMX! We jumped at the idea. We basically built the USA tour around the Mexico shows. We didn’t know Matt and Daneep before we got to Mexico. Two more amazing people! That’s what I love about this scene – meeting so many cool people and then they are your friends for life!!
NixBeat: This was the third North American Tour for the Jackets. How have you found the audiences reception to your gigs?
Chris Rosales: We are always blown away playing in the USA! I mean, this was the first time we did a tour exclusively on our own – not touring with another band. It was nice to see people know about us now and know our songs and come just for The Jackets. All the gigs were well attended and fun!
NixBeat: While traveling to Mexico, were you concerned about The United States strict immigration policies at its Southern Border?
Chris Rosales: No, not really. We were concerned more about the Mexican side. We were told that bringing guitars over might bring unwanted questions so we went over with nothing but our luggage and the promoter drove our guitars over. It was also relatively quiet at the border when we crossed over to Tijuana.
NixBeat: Seth Bovey’s book Five Years Ahead Of My Time: Garage Rock From The 1950’s To The Present suggests that Europe and particularly Switzerland are experiencing a kind of garage rock/underground music renaissance. Do think this is true and if so, why is there such a strong revival going on at the moment?
Chris Rosales: We were also surprised to see our name in that book! As far as a Garage Renaissance in Europe, it’s been going on for a while now. I, we have been asked this question many times and I really can’t put my finger on why this kind of music is more popular in Europe than in the USA. But it is. And particularly with younger people. It’s not a huge scene like the Metal scene or something but hundreds (Thousand?) of people go to festivals like Funtastic Dracula Carnival, Purple Weekend, Cosmic Trip, etc. Instead of wondering why, I am just enjoying it. It’s good for the bands – it’s what makes new bands form.
NixBeat: The Jackets tour started out in Portland where DJ Major Sean (Sean Cavanaugh) spun records for your show. Do you think having a DJ spinning set at gigs is important and what kind of difference does it make for you experience while performing at a venue?
Chris Rosales: It’s always better having a DJ spinning at gigs! It gets everyone in the mood for the live music and builds a great atmosphere in the club! It’s also great seeing what cool records the DJs have as well! A gig without a cool DJ is really missing something.
NixBeat: What kind of differences do you notice from your shows and experiences in the United States in comparison to when performing in Europe?
Chris Rosales: Like I said before, there are more people and younger people in Europe. In the States a Garage gig is filled with people around 50 years old (wink wink). In Europe it’s much more mixed and there are way more people.
NixBeat: Queen of the Pill was released in June of 2019. How would you describe the difference in sound and style between your previous album Shadows of Sound and Queen of the Pill?
Chris Rosales:Queen of the Pill is a more thought out album, in my opinion. We worked on the songs more, we worked on the mix longer. We cared more about what we wanted to say. Not to knock Shadows of Sound at all but we made that album in six months. Queen of the Pill was really a two-year project and that 7” that we released the year before was really a test of ideas about the direction we wanted to go with the full LP.
NixBeat: The video for “Losers Lullaby” features the Jackets performing in drag in a parking garage. What’s the inspiration behind this song and video?
Chris Rosales: The songwriting and the video idea are two separate things. The song is filled with the ultimate “put-downs”. Things you want to say to someone you hate! The video became a play on male and female roles in bands – Sam and I turn into girls and Jackie turns into a guy. At one point Jackie is the male singer of a girl band. That kind of thing.
NixBeat: The Jackets recently released the music video for Queen of the Pill track “Dreamer.” The video focuses on the perspective of a Gorilla and that of Jackie exploring the city of Bern, Switzerland. What’s the story behind this video?
Chris Rosales: The video for “Losers Lullaby” was professionally shot and we wanted the next video from the LP to be more DIY. On a sunny early Spring day, I got into a gorilla suit and Jackie and I set out into the countryside around the city of Bern to start filming something. The idea was wide open but there was a lyric from the song – “I had a meeting with my mind face to face, my evil half and little me, what a disgrace”. That gave us a thread of an idea. Jackie is the gorilla and the gorilla is Jackie. It’s a dream. The video took a long time to come to something that we were happy with. I think we shot it a year before it was released.
NixBeat: The track “What About You” features collaboration with King Khan doing guest vocals. What’s the story behind this track?
Chris Rosales: Well he produced the album and his personality is so strong that we wanted to get him to do something on it if at all possible. He arranged that bridge part of the song so we go him to do the vocal part himself and it’s great. He also sings on “Steam Queen” as well as playing the gong on “Floating Alice” and hand-clapping, etc. He was keen to do as much as we would let him!
NixBeat: What are you drawing from for the song “Be Myself?”
Chris Rosales: You mean what is the song about? Well that’s a text collaboration between me, Jackie and King Khan so it’s all over the place. I guess it’s about defiance. I don’t wanna do this and I won’t do that and I don’t wanna be myself! That kind of thing. But it’s quite silly really if you read all the lyrics together. But it’s one of my favorite new Jackets songs for sure.
NixBeat: I have to ask this. My introduction to The Jackets was coming across the the music video for “Freak Out,” released in 2012. In the video The Jackets play a house party and it’s attendees to spasm out of control as if under as spell. The theme suggests a kind of “warning” against the dangers of rock n’ roll. What’s the inspiration behind “Freak Out?”
Chris Rosales: The “Freak Out” video from 2012 is a remake of various scenes from the 1936 film, “Reefer Madness” which was a morality tale attempting to teach young people about the dangers of marijuana. The original film from the thirties revolves around the melodramatic events that ensue when high-school students are lured by pushers to try marijuana—from a hit and run accident, to manslaughter, suicide, attempted rape, hallucinations, and descent into madness from marijuana addiction. We just changed marijuana to rock and roll! This video was our first. It was professionally shot by Decoy Collective, who also did our video “Keep Yourself Alive”.
NixBeat: Now that The Jackets are back in Switzerland, how are you all coping with the outbreak of the Coronavirus?
Chris Rosales: We got really lucky with the tour. It started on the 15th of February so there were no lockdowns, curfews and cancellations until we got back to Europe. Well we are all confined to our apartments. Jackie and I are off work because our employers have closed during the lockdown (As of this writing Switzerland is on lockdown). It’s only been a week of this so I can’t really imagine how insane everything is going to get in the next weeks and months.
NixBeat: How has the Corona Virus Pandemic affected life, and particularly the music scene in Switzerland?
Chris Rosales: There are no gigs. Lot’s of bands had their tours cancelled. This is really hard on Record Labels in particular! Voodoo Rhythm is going through a particularly hard time. If you all would like to help you can donate here.
The Toxenes= The Baby Shakes + The Cramps + The Horror Pops
The Toxenes are a rock ‘n roll trio from Minneapolis. They have previously released a single (2017) and a cassette album Electric Shock (2018). Double Creature Feature is their first LP on Vinyl. For those fans of rockabilly notions riding on garage, all infused with punk-rock messiness, this record is for you. Listening to this record is like binge watching a whole season of sounds. It’s got 18 grooves fully loaded with sugar and doused with rock ‘n roll vinegar.
At the age of 20, I was introduced to Guitar Wolf via their 2000 rock n’ roll zombie b-movie, Wild Zero. A year later, in 2011, I failed to catch them in Salt Lake City at the Urban Lounge. Luckily, I soon moved to the UK and saw them perform in Brighton, England, with The Ricky C Quartet in support. In that intimate venue, I was sold on Guitar Wolf. The show was an inspiring experience. These guys clearly lived and breathed everything that is rock n’ roll: It wasn’t an act or some shallow novelty— for these guys it was a lifestyle. They played dressed in their signature motorcycle jackets and lit the room up with an untamable fury. Since then, getting their records has been a priority, and watching Wild Zero, a yearly tradition.
For the soon to be initiated Guitar Wolf are the true—and perhaps among the last—embodiments of the hopeless romanticism that powers rock n’ roll. They blasted out of Nagasaki and onto the Japanese garage rock scene in 1987, around the same time as The 5,6,7,8’s and Teengenerate. They are a mix of the Ramones speed-like-intensity fused with the rockabilly nature of Link Wray, but with a defiantly Killed By Death punk attitude. Since forming, Guitar Wolf have released 14 studio albums, their most recent T-Rex from a Tiny Space Yojouhan in 2016. Throughout, their style has remained consistent. Their sound is nothing short of “Jet Rock n’ Roll’—a term they invented. It’s wild, raw and must be heard devastatingly loud.
2017 is Guitar Wolf’s 30th anniversary. They will be touring the States and landing in Salt Lake City on July 3 at Urban Lounge. Before we bear witness to their awesome fury, frontman Seiji talks rock n’ roll in Japan, their recent album, the “Shimane Ajet Festival” and Fabian Huebner’s new film, An Electric Fairytale, in which Seiji stars.
The Masonics Obermann Rides Again Dirty Water Records February 24, 2017
With Obermann Rides Again, it’s clear that The Masonics are experts in love, loss and yearning. This is a formula that has proven the test of time, and pop rock n’ roll song approved. Like others before, The Masonics invoke a style of rhythm and beat served with excellence.
Fashionism Subculture Suicide 7” Dirt Cult Records Released: June 23, 2016
Three singles in and Fashionism are still flawlessly knocking out catchy rock n’ roll anthems. Their style evokes a strong longing of nostalgia toward rock n’ rolls golden years while energizing their listener with highly addictive punk infused power pop. It’s a sound that twists the infectious nature of late 1970’s punky power pop with the hit making sensibilities of bubblegum glam rock.
The new single, Subculture Suicide 7” brilliantly continues on this trend by pumping out three songs of provocative high energy wrapped within a volatile twist. Fashionism jolts their listeners to remember when music was a dangerous thing that provoked passions and instilled a razor blade edged code to live by. The title track “Subculture Suicide” ” is easily for the forgotten subcultural romantics who have yet to succumb to the allures of a music inspired lifestyle threatened and rebranded as a cheap commodity. It’s a relevant track and will have any eager listener shaking all about.
“Stop Drop and Rock n’ Roll” stands out as the defiant track celebrating the gs relevantly upbeat and will have you shaking all about. It’s a track perfectlory of all things that shake, shimmy and jive. It’s a song that is riddled with an electric feel of a powerful poppy nature and is easily addicting to the ears. Played loud and often this will have you uncontrollably bopping about.
“Nun of That” is ridiculously and sensationally fun. Provided that you willfully to surrender to feelings of sinful joy inspired by radical chemical imbalance of a ritalin addled mind, then this 1 min and 34 second song is for you. Pogo away.
The Subculture Suicide 7″ is further demonstration of Fashionism’s awesome ability to deliver some stirring hook filled tunes. Each track comes across as lyrically inspiring and has a sound that one can move and groove to. Only thing missing in this discography is an LP. For now though, one will have to be happily content with dropping the needle on the Subculture Suicide 7”. So, don’t waste any more time and be sure to dig this.
—Nick Kuzmack
COEDS THRILL ME! New Granada Records Street: 09.02 Coeds = La Sera + Seratones
Coeds hail from Savannah, Georgia, and are a part of a line that celebrates the vibrancy of rock groups that have made the state a hot spot for all things rocking and rolling. Over the last 15 years, we have seen top Atlanta bands like The Booze, The Coathangers and Black Lips define a sound that reinstills a much-needed cool and rebellious spirit into a new generation of hip and spiteful youth. Then, there are Coeds. Initially, Coeds inspire an appeal for a positive rock n’ roll sound that should serve only to excite. Certainly, they have a sound that flaunts some angst here, but it is wrapped in overwhelmingly good vibes and an intoxicating indie feel.
THE MONSTERS THE JUNGLE NOISE RECORDINGS Voodoo Rhythm Records Street: 04.08 The Monsters = The Sonics + The Jackets
From the gritty streets of Bern, Switzerland, comes the raw and primitive recordings of The Monsters. Fronted by Beat Zeller, aka Reverend Beat Man—owner of Voodoo Rhythm Records—the band formed in 1986 and made a name for themselves as a wild garage rock–meets–rockabilly outfit. They toured Europe and presented themselves as a force to be reckoned with. The Jungle Noise Recordings was originally recorded in 1994 and was the first album that saw The Monsters use an electric bass rather than an upright. The album was recorded at home instead of a studio so that the record could better boast the raw elements of The Monsters’ sound. It was originally released as 10” record via the underground German label Jungle Noise. After The Jungle Noise Recordings came out, The Monsters conducted a lengthy tour that saw them established in the Europe’s rock n’ roll scene. Giving this compilation a thorough listen some 20ish years later, I can see why.
