Well, you should if you are ignorant of the air, leanings and grandeur of Wonk Unit, London’s improbable heroes. Heroes of community, of politics and melody.
Champions of Wonkfest, the ever growing London festival that is key to the punk rock calendar. Yes, punk rock. Individual, ironic, poignant and occasionally wistful, Wonk Unit deliver “Mr Splashy” in your ears and it resonates in a contemporary way, legitimizing the mantra of “21st century punks”. My mate Sean brought home the latest Descendents effort on vinyl recently and spun a few tunes. My reaction?“This sounds like Wonk Unit”. Case closed.
Ever get the feeling you’ve been cheated? Honk If You Wonk. Johnny Takeaway”
” Hyäne are a powerful post punk band from Berlin who’ve recently released an impressive ep on Static Age Musik. In this instance it’s “post punk for geeks who wear boots and sport shitty haircuts as opposed to the goth and eyeliner crowd.” It was recorded and mixed by Tobias Lill…” – Taken from just some punk songs.
Mastering CopyCats “Internet Pirates Will Make Music Prevail”
Released July 1, 2017
“Copycats vienen de Granada para presentar su último trabajo, un EP titulado Internet Pirates Will Make Music Prevail, una propuesta de garage punk setentero con referencias reconocibles, pero traídas hasta nuestros días. Pablo, Jason y Diego reflejan esa rabia generacional en unas canciones que sudan rock por cada costado. Las guitarras siempre prevalece, la música sobrevive.
# Copycats, bienvenidos al podcast de ERA Magazine. Para todo aquel que no os conozca, contadnos quiénes son Copycats y qué aspecto musical destacaríais para que alguien se introduzca en vuestra propuesta.
# Empezamos con las canciones que venís a presentar. La primera es «Youngsters In Granada». Contadnos algo de ella.
# Johnny Thunders, Dead Boys, The Only Ones o Television son las referencias más comunes cuando se habla de vuestra música. Cómo os sentís vosotros cuándo se os compara con estos artistas. No sé si habéis escuchado a todas estas bandas, lo digo por vuestra juventud.
# Vuestra música se entiende más desde una rabia generacional? Es imprescindible analizarla desde esa óptica?
# La segunda canción que escucharemos es «Lorena», preséntadnosla.
# Otros de los aspectos que predominan en vuestra música son los sonidos punk, en los que la guitarra toma protagonismo, como construís vuestras canciones.
# Y cómo es el encaje con las letras, son antes, después, y de qué os gusta hablar.
# Llegamos a la tercera canción, «Talen’s Suicide». Háblanos de ella.
# Este verano hicisteis una gira por Europa. Qué tal os fue y qué tal la acogida entre el público? ¿Tenéis más actuaciones este invierno?
# La última canción, decidnos cuál es y por qué la habéis elegido («This Tour Is Killing»).
# Gracias, Copycats, por haber estado en el podcast de ERA Magazine. En las notas del programa dejaremos los enlaces pertinentes para que puedan seguir tu música. Mucha suerte.” – Taken from Era Magazine
“THE ENVOY is a concept album based on famed dystopian, gender revolutionary, anti-authoritarian author Ursula K. Le Guin’s books “The Dispossessed” and “Left Hand of Darkness”. Cover art by Miriam Klein Stahl (illustrator of “Rad American Women A-Z” and “Rad Women Worldwide”).
STREET EATERS are a truewave/punk band from Berkeley+Oakland, CA that has drawn a range of sonic comparisons to bands from Wipers to Masshysteri, Autoclave to Mission of Burma, Huggy Bear to KARP, Sonic Youth’s ‘Bad Moon Rising’ to the early recordings of Warsaw. After years of relentless international touring on the heels of their well-received album “Blood::Muscles::Bones” (released on Nervous Intent in the U.S./Contraszt! in Europe), Megan March and John No (joined as of Summer 2018 by guitarist Stevo) returned home to troubled times in their immediate bay area underground punk community/family and the world at large. True to form, the band sought to come to terms with this changed landscape by diving deeply into their own recording studio to create a new record with an expansive new vision with “The Envoy”. Directly inspired by Le Guin’s radical speculative fiction and analytical lens on the world around us and beyond it, Street Eaters tackle transformative and transgressive lyrical themes of oppression, resistance, and change explored in the books.”
“On The Envoy, the followup to 2014’s Blood::Muscles::Bones, [Street Eaters] conjure entire worlds. March and No thread the underwater yawp of sea lions, the grind of collapsing glaciers, and whistling oscillations of planets through their already noisy soundscape. Feedback whips and howls, while a wildly overdriven bass leads the way deeper into the darkness.” Taken from Flood Magazine
“All songs are originals by Shifka Chiefs, However the band is heavily inspired and motivated by the music of Miami, Florida’s “The Eat”, one of rock n’ roll’s true underground legends, and israel’s Ariel Zilber, a pop genious and a lost soul in the micro-cosmose of rock n’ roll.”
“La communauté Lorientaise est active, après Sparkrow et Radical Failure, Sordid Ship a vu le jour il y a deux ans avec des membres des précédents groupes cités.
La recette est éprouvée mais fonctionne à merveille avec un punkrock énergique, rythmé et accrocheur le tout avec un son bien Lo-Fi. Les riffs sont simples mais c’est cette simplicité qui fait mouche. Ça joue à l’ancienne et les anciens apprécieront.
Cocaïne Offshore est donc un nouvel EP de 6 titres accompagné d’une petite intro qui est un enregistrement du bruit des vagues. Le thème de la mer est d’ailleurs le fil conducteur et l’identité du groupe c’en est sympa et original.
J’aime bien In Blood we surf ou encore Cut The Rope le tout sonnant quelque part entre Santa Cruz et Agnostic Front. Un bon mélange pour un groupe aussi sympa à écouter que talentueux.” Taken from Les Rêveries
“I’m suspect of any punk or DIY record that includes a one sheet/press kit but I give everything a fair shake. After all, how bad could a band that co-opts the Simpsons for their album art be? Well as it turns out: pretty bad. It’s “being the only one of your friends who doesn’t smoke weed but likes punk so they hang out and watch their stoner friends jam out to the same note/chords over and over again” bad. Judging from the photos on their album insert, these folks like to have a good time, don’t take themselves too seriously and are anti-fascist, which is great! But I’d hate to be that brutally honest friend of theirs who, when asked, would tell them that they just plain suck.” Juan Espinosa (Taken from Razorcake)
“I honestly have no clue why it has taken me this long to write up this Broccoli 7”. Broccoli is one of my favorite bands in the entire world and I was so very excited when they announced that they were getting back together for a tour of Japan in 2016. This 7″ was released for that tour and contains songs from 2 radio sessions. The word ‘Peel’ is missing from the artwork, though I’m reasonably confident that is the type of session that spawned these recordings. Hope I haven’t alerted some sort of Google search police now that I’ve strung the words, Peel, Broccoli and session together on the same page.
On the A side, we have two songs from a 1996 session (though the internet contends this was a 1995 session, so maybe I’m incorrrect about what sessions these are?) including “Blue” and “Neglect It.” (“Relent” and “Cherry Drop Club” were the other two songs recorded that day, for the curious). The B side contains two songs from a 1998 session, “Broken” and “Television” (“Constance” and “Fido” rounded out that original recording).
Now all of these songs are incredible and it’s especially interesting to hear live versions of them. In particular, this version of “Neglect It” (which happens to be my favorite Broccoli song), really shines from the energy of the band playing live, with the drums sounding particularly intense. That said, all of these songs sound great as you’d expect because they’re great songs. I do kind of wish they had done two separate 7″s, each containing the whole session for that year, but I will never not be excited about a new Broccoli record to add to the collection. Now if only they’d get together again to write some new songs…” (taken from Tim PopKid)
