Tag: post-punk

Best Post-Punk Albums Ever, Vol. II – Television’s ‘Marquee Moon’

Posted on by IRC Staff

Television’s Marquee Moon is a landmark album in the world of punk and alternative rock, released in 1977. With its intricate guitar interplay, poetic lyrics, and a sense of artistic ambition, this album stands as a testament to the band’s innovative approach to rock music. Let’s dive into a detailed song-by-song review of this iconic record.

“See No Evil” sets the tone for Marquee Moon with its driving rhythm, angular guitar lines, and Tom Verlaine’s distinctive vocal delivery.

The track’s infectious energy grabs your attention from the start, showcasing Television’s ability to seamlessly blend punk urgency with art-rock sophistication.

“Venus” captivates with its hypnotic guitar work and atmospheric soundscapes. The interplay between Tom Verlaine and Richard Lloyd’s intricate guitar melodies is nothing short of brilliant, creating an otherworldly sonic experience that draws the listener deeper into the album’s universe.

“Friction” is a sonic onslaught, propelled by Billy Ficca’s relentless drumming and Fred Smith’s pulsating basslines. The song’s raw intensity perfectly complements Verlaine’s enigmatic lyrics, creating a captivating tension that keeps you engaged throughout.

The title track, “Marquee Moon,” is the magnum opus of the album, clocking in at over ten minutes. This epic song showcases Television’s musical prowess and songwriting brilliance.

The intertwining guitar solos between Verlaine and Lloyd are a masterclass in guitar craftsmanship, constantly evolving and captivating the listener. The song’s dynamic shifts, poetic lyrics, and infectious hooks make it an absolute standout.

“Elevation” brings a change of pace with its more restrained and melodic approach. Verlaine’s emotive vocals and the intricate guitar arpeggios create a sense of introspection and yearning, showcasing Television’s versatility as musicians.

“Guiding Light” delivers a hauntingly beautiful atmosphere with its delicate guitar textures and Verlaine’s introspective lyrics. The song’s introspective nature allows for a moment of introspection amidst the album’s energetic sonic landscape.

“Prove It” bursts back with energy, driven by Ficca’s propulsive drumming and Verlaine’s urgent vocals. The song’s infectious rhythm and catchy hooks make it an irresistible track that showcases Television’s ability to blend aggression and melody seamlessly.

Closing the album, “Torn Curtain” brings a sense of resolution and reflection. The song’s gentle yet mesmerizing guitar melodies and Verlaine’s introspective lyrics create a poignant conclusion to the sonic journey of “Marquee Moon.”

Television’s Marquee Moon remains a seminal album that defies genre conventions and continues to inspire generations of musicians. With its intricate guitar interplay, poetic lyricism, and ambitious song structures, this album stands as a testament to the band’s musical prowess and artistic vision.

Marquee Moon is a sonic masterpiece that rewards repeated listens and solidifies Television’s status as one of the most influential bands in rock history.

Best Post-Punk Albums Ever, Vol. I – The Fall’s ‘This Nation’s Saving Grace’

Posted on by IRC Staff


A Sonic Exploration of Chaos and Commentary: The Fall’s “This Nation’s Saving Grace” Album Review

Released in 1985, “This Nation’s Saving Grace” is the eighth studio album by the iconic British post-punk band The Fall. With its distinct blend of raw energy, experimentalism, and biting social commentary, this album has earned its place as a seminal work in the band’s extensive discography.

“This Nation’s Saving Grace” showcases The Fall at the peak of their artistic prowess, delivering a collection of tracks that remain relevant and captivating even decades later.

Tracklist and Highlights:
1. “Mansion”
2. “Bombast”
3. “Barmy”
4. “What You Need”
5. “Spoilt Victorian Child”
6. “L.A.”
7. “Gut of the Quantifier”
8. “My New House”
9. “Paintwork”
10. “I Am Damo Suzuki”

From the opening track “Mansion,” The Fall plunges listeners into a chaotic soundscape, where driving guitars, relentless drumming, and Mark E. Smith’s distinctive vocal delivery collide. The album’s sonic palette traverses a variety of musical styles, incorporating elements of punk, post-punk, and even psychedelia. “Bombast” is a standout track with its infectious guitar riff and Smith’s sardonic lyrical prowess on full display.

Lyrically, “This Nation’s Saving Grace” showcases Smith’s sharp wit and social commentary. Tracks like “Spoilt Victorian Child” and “Gut of the Quantifier” delve into the disillusionment and hypocrisy of societal norms, while “L.A.” satirizes the allure of Hollywood and celebrity culture. Smith’s abstract and enigmatic lyrics leave room for interpretation, inviting listeners to ponder the deeper meanings beneath the surface.

The album’s production, helmed by John Leckie, captures the raw energy of The Fall’s live performances while maintaining a sense of controlled chaos. The band’s tight musicianship shines through, particularly on tracks like “What You Need” and “Paintwork,” where intricate guitar work and propulsive rhythms create an irresistible sonic force.

One of the album’s highlights is the epic closing track, “I Am Damo Suzuki.” Clocking in at over ten minutes, it showcases The Fall’s ability to create a mesmerizing and hypnotic atmosphere. The repetitive bassline, layered guitars, and Smith’s stream-of-consciousness lyrics pay homage to the iconic Can frontman, while also serving as a testament to The Fall’s distinct sound.

“This Nation’s Saving Grace” is a sonic journey that encapsulates the spirit and genius of The Fall. With its unapologetic energy, uncompromising lyrics, and eclectic musicality, the album stands as a testament to the band’s influence on the post-punk genre. It remains a captivating and thought-provoking work that rewards repeated listens, offering a unique and challenging experience that solidifies The Fall’s place as one of the most influential bands of their era.

If you want to hear more from The Fall – easily one of the UK’s best-ever bands – we recommend the following albums in order of the best to the excellent/very good.

“This Nation’s Saving Grace” (1985)
“Hex Enduction Hour” (1982)
“Slates” (1981)
“Grotesque (After the Gramme)” (1980)
“Live at the Witch Trials” (1979)
“Perverted by Language” (1983)
“The Wonderful and Frightening World of The Fall” (1984)
“Dragnet” (1979)
“The Fall – 50,000 Fall Fans Can’t Be Wrong” (2004)
“Bend Sinister” (1986)

These albums represent a diverse range of The Fall’s output and are often cited as highlights of their discography. Each album showcases the band’s unique sound, blending post-punk, art rock, and Mark E. Smith’s distinct vocals and lyrical style.

It’s important to note that The Fall released numerous albums throughout their career, and this list only scratches the surface of their extensive discography. Exploring their full catalog will offer a more comprehensive understanding of their evolution and influence.

ALBUM: DITZ – ‘The Great Regression’

Posted on by Max Hammer
It’s an album you’ve gotta hear and definitely one of the best debuts of 2022.

With bands like Yard Act, Fontaines D.C. and black midi fueling a new post-punk revival of sorts along comes Brighton, England post-punk band DITZ with a blazing debut, The Great Regression.

Let’s dip in to see what others are saying about the album:

PopMatters :

On their stellar debut,’The Great Regression’, Brighton five-piece DITZ come out hard and dark. They deliver an intense and sonically invigorating assault on the superficial politeness that masks systemic inequality while exploring the elements of personhood that cast some from the mainstream.
DITZ-band2

 Clash Music 
 
The music is stark and abrasive but there is a feeling of hope. Lurking underneath it all themes of gender and insecurity litter ‘The Great Regression’.

Uncut 
 
A record that is intensely visceral, loud and charged yet not needlessly overblown

 Pitchfork 
 
'The Great Regression' has fun pointing out the world’s contradictions, subverting its vulgarity, questioning its systems. At its peaks, it feels like an antidote for the ennui of ceaseless catastrophe.

Other reactions from around the web:

Bandcamp supporter Bardo Morales: “Love every second of it. Fresh ideas, direct execution, creepiness, grooviness. My new favourite emerging Post Punk band.””

Bandcamp supporter dicedfoot “Astounding debut album; a real feast for the ears. violent and beautiful.”

Emma Wilkes (DIY Mag): ‘The Great Regression’’s bravest moments reap the most rewards, and coincidentally, it’s where their identity feels strongest. ‘Ded Wurst’ is a greebo’s dancefloor dream, where jagged synths glitter between bursts of disgustingly deep guitar, while ‘Hehe’ delivers a mighty finishing move with a sludgy, weighty outro. There’s still a little greenness here and there – the Royal Blood-esque ‘Summer Of The Shark’ lacks a little individuality, for example – but in the position that DITZ have put themselves in, there are a lot of places for them to push the boat.

Record Label: Alcopop!

Best 50 Indie Rock Songs of March 2022

Posted on by IRC Staff

You’re probably like a lot of us – so much music, so little time to seek out, organize, stream, like, save, etc. many of the best tracks released during March.

Even while March 2022 has arrived and passed like a blur, there were bunches and bunches of sick tracks dropped.

This playlist contains a lot of new and ‘revival’ post-punk indie/alt. The explosion in popularity of bands like Yard Act and Fontaines D.C., to name just a few, has resulted in a glowing river of new (from the old) post-punk sounds – mostly from relatively new, and unknown (but why?) bands from the U.K. and Ireland (where post-punk originally spawned 40 years ago from the ashes of the rather brief wave of popularity in punk rock).

Plus, there are a bunch of fresh tracks from well-known, veteran indie/alt artists as well as the buzz bands of the moment.

Also, don’t miss our still-popular Top 10 Indie Songs playlists – dropped every month of the year.

For even more choice indie/alt songs from March, fire up Best 2022 Indie/Alt Rock, Vol. III

Best New Post-Punk Songs 2022, Vol. I

Posted on by August W. Zander

This playlist features some of our favorite post-punk tracks of 2022.

Please do whatever you can in your own way to support the bands you like the most. The post-punk revival is real.

There are many, many bands happening right now. It’s not just about Yard Act (dig ’em), folks. Discover the magic.

Bands featured in this playlist hail mostly from the U.K. and Ireland – where the post-punk revival scene is blooming.

The Mary Veils, Eades, Pale Blue Eyes; Public Body; For Breakfast; Bodega; Yowl; Crows; Iguana Death Cult and many others.

Dry Cleaning – New Long Leg

Posted on by IRC Staff

The core speciality of Dry Cleaning is its voice. The voice, belonging to frontwoman Florence Shaw, takes on the role of an alternative inner monologue, rambling streams of consciousness to form the sword, wielded by the warrior’s post-punk that belongs to Dry Cleaning’s instrumentalists.

These monologues, fashionably clothing debut album ‘New Long Leg’, are Courtney Barnett-esque, hoofing the filth and smoke of the UK’s rubbish-y modern life, deadpanning Blur. Without this layer of apparel, the album still wouldn’t shy with nakedness, as Shaw’s backup gang of players maintain a sharpness throughout.

The prose may take a surreal turn, holding a window toward social omnishambles and grey clouds pissing rain. Her voice is jaundiced by life’s banalities, to the point of care, to the point of surrender. Impressively, she succumbs; she is one with the cig-in-hand greasy spoon dweller; with the kvetching crossword puzzle; with the bowl of soggy cornflakes. It creates fables out of these buttles, similarly to how one may name their band ‘Dry Cleaning’; daylighting as a shrug, rather than a boom – there’s nothing as ‘ehh’ as the process of dry cleaning, but the band doesn’t give a shit.

Shaw flickers through her intrusive thoughts, asking “what are the things that you have to clear out? Baking powder, big jar of mayonnaise” on ‘Leafy’, asserting “you can’t just come into my garden in your football kit, and start asking questions about who lives here” on ‘A.L.C.’.

It’s an anti-whimsy that ricochets around the world on ‘Scratchcard Lanyard’, taking the form of an unusual checklist – “it’s a Tokyo bouncy ball, it’s an Oslo bouncy ball, it’s a Rio de Janeiro bouncy ball”. Also noted are bananas, Twix bars and oven chips.

‘Her Hippo’ immaculately jumps from the spectacle of human oddity – “an electrician stuck his finger in the plughole and shouted ‘Yaba’” – to BoJack Horseman-style “I’m a piece of shit” monologues – “I’m smiling constantly and people constantly step on me”.

She does a little more singing on the title track, seemingly while flirting – “you’re a spoon, pal, you are” – before continuing her musings – “would you choose a dentist with a messy back garden like that? I don’t think so” – as clouds of modernised twee wrap themselves around the instrumentation.

It’s difficult to pick a favourite, but mine is probably ‘Strong Feelings’ – you could say my feelings are strong. Losses and influxes of brain power stem from its political subtext, which in true Florence Shaw fashion, addresses the amount spent on mushrooms in a relationship, which itself is sandwiched by supreme opening line “just an emo dead stuff collector”, pentatonic guitar lines, the phrase “I just want to tell you I’ve got scabs on my head”, and the fascinating way that Shaw pronounces “hotdog” in the sentence “I’ve been thinking about eating that hotdog for hours” – less the recognisable food item, more a dog that is hot – “hot – dog”, not “hotdog”.

Unfortunately, she succumbs to the heaviness of her own performance style on ‘John Wick’. Segments like “if you’re an Aries…and I’m an Aries” flash blander colours than the bulkier witticisms that precede, despite masquerading as a ‘eureka’ moment, and no amount of different-keyed guitar interpolation or punditry of ‘The Antiques Roadshow’ achieves enough to rescue.

It reels in the lesser nature of the album’s closing portion. Both ‘More Big Birds’ and finale ‘Every Day Carry’ are one-note, if not bass-tastic. It feels strange to assess a near-eight-minute closing track in such a way, but it is one-note – same-old strums, and the vocals are too mild-mannered while linking themselves together much less than on the album’s chunkier helpings.

The wall of sound definitely tries to make up for the wrongdoing. Luckily, it takes centre stage a few times on ‘New Long Leg’, particularly on ‘Unsmart Lady’. The track lampoons the nine-to-five – menial day jobs have it in them to beat a person up as much as sudden spirals of rock instrumentation; on-beat basses, fantasy cymbal smashes, and poisonous guitar sounds. See the psychedelic approach the song takes on in its interlude; it treads on everything else.

‘Unsmart Lady’ channels what one may consider a pessimistic pulse, but Dry Cleaning are probably more realistic than anything. Unlike myself when listening to ‘New Long Leg’, their work is acerbic, sarcastic, rarely pleased, occasionally animating in an up-front manner.

It’s not even a matter of fault-finding; the narratives are simply amused by being, and that’s the charm of Dry Cleaning, and that’s the charm of ‘New Long Leg’; a gnashing debut.

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