by Kate Hoos | Jul 20, 2021
Lung (photo by Rachelle Caplan via Facebook)
Lung is a Cincinnati based cello and drum duo who I have known going on five years now. I was absolutely jaw on the floor blown away the first time I saw them (playing with the great Trophy Wife in the summer of 2016); that awe has not faded since and they have become one of my absolute favorite bands. They continue to raise the bar again and again with every release- a rare feat as every artist hits their slumps or can miss the mark with any given song or album- but that seems to have completely missed this band.
Not only is their music captivating and starkly original, they are one of the hardest working bands I have ever met. Before the pandemic, they were touring relentlessly and on top of that, always went out of their way to help other bands. They helped out with booking touring bands coming through town even if they weren’t in town themselves, and were also an integral part of Ladyfest Cincinnati (they have also been awesome to my bands any time I’ve asked for shows out their way). They released a spectacular split LP in April with SKRT on Romanus Records which featured beautiful artwork and came in several colorful variants. Then barely taking a breath, almost immediately followed it up with the single “Sun God,” quickly followed by “Air.” Both singles are on the upcoming album Come Clean Right Now.
They describe themselves as a “powerhouse cello and drum duo” and that is definitely very true, but there is so much more to it than that. For those who are unfamiliar with this band, let’s also get it out of the way that this is not chamber music, of course there is nothing wrong with chamber music (and is probably also a first thought for many when they hear the word “cello”), but this is ROCK– very clear hard rock and punk influence runs throughout all of their releases- and one can almost hear a hardcore or a metal band shredding out many of their riffs.
Cellist and classically trained vocalist Kate Wakefield expertly handles double duty, providing the dynamics on both ends of the spectrum. The high end is covered with vocals that glide effortlessly over top of the chugging and commanding cello- which is run through distortion pedals into dual bass amps- while drummer Daisy Caplan deftly anchors the entire thing. Caplan holds things together with driving beats punctuated with hard hitting flams and a style that isn’t overly fill heavy- though he definitely knows exactly where to punch a fill in when needed- to compliment the other aspects of the given composition. The wrong drummer could absolutely trample and ruin these songs rather than add to them, so he is the perfect second half of this musical equation.
Their sound can be described with words like bombastic, dark, intense- but also subtle and introspective at times- there is just so much nuance. While they have experimented in the studio before, particularly with layering Wakefield’s operatic vocals, with these new singles they are taking even more advantage of the studio environment in a way that has enhanced the music and made it sound positively gigantic in comparison with their earlier albums. The vocals are still gorgeously layered, multiple tracks harmonized with each other, and the cello and drums sound even bigger than ever before like they are poised and ready to fill a stadium.
On “Air,” a frantic cello riff opens the track with a complimenting rapid fire floor tom pattern keeping pace before the song very quickly e x p l o d e s into the chorus- an absolutely MASSIVE and visceral wall of sound that crashes into the listener like a wrecking ball. The lyrics are a fervent plea to a lover- who is revered, needed more than water or air or anything else- and the strong emotions Wakefield is conveying are palpable throughout.
The bridge of the song gave me serious 90s alt rock vibes with the cello heading high and the vocals sweeping and swirling in layers to match. The song then returns to the verse- the drums softening in the background- before the music drops out for two measures letting the vocals ring out alone and then all of a sudden the chorus comes smashing back in closing the song out. It is all very rapid fire and over in just under three minutes. I found myself having to catch my breath after the first listen, like what the hell just happened?! (in a very very good way) before hitting the repeat button multiple times. To say I need the entire album in my life as soon as possible is an understatement; I can’t wait until its out so I can dive right into the sure to be wonderful depths.
Lung at Ladyfest Cincinnati, Oct 2017 (photo by Kate Hoos)
Check out this article which gives more details on the process the band used to write and record the album during the pandemic in 2020.
Like many other bands in 2020/2021, Lung had to cancel dozens of tour dates (including a set at Punk Island) but will be returning to the road this fall for a lengthy tour with Mac Sabbath. Check the tour poster for when they’ll be in your city.
Watch the music video for “Air” below
Come Clean Right Now is out 8/20/21 on Sofaburn Records.
by Kate Hoos | Jul 17, 2021
The Cocker Spaniels have released a brand new single “Racism Priest” in advance of the new album, The Cocker Spaniels Are Still Alive and So Are You. Cocker Spaniels is the (essentially solo) project of Sean Padilla, a well known booking agent who describes himself as “a 40-year-old Black dad who likes Prince and Guided by Voices a lot, so I try to make music that splits the difference.” Padilla sings and performs almost everything himself on the single as well as on the upcoming album (his kids accompany on a few songs).
Lyrically “Racism Priest,” confronts the poison of white guilt head on- you know the thing that many seemingly well meaning white people do when they unload on their Black friends (or worse, strangers) to try to somehow wipe their conscience clean of past transgressions. While they may think they are doing something helpful, they don’t realize that what they are actually asking for is serious emotional labor which is exhausting for the person on the receiving end. Padilla doesn’t mince words, beginning the song with “I’m not a racism priest, I can’t absolve you of your sin, confessing to me won’t wash your soul as white as your skin” which is also repeated in each chorus.
He goes on to cite several examples of micro-aggressions while also acknowledging, sure it’s great you want to change now that you feel you no longer have a choice, “but don’t make the change contingent on me forgiving you.” The bridge of the song is devoted to the ways that, instead of trying to feel less guilty through burdening Black people or by making empty gestures, white people can go out and do the actual work for themselves to be better, question their lives, and “make Christmas awkward by calling out your mom’s beliefs.”
Padilla said this of the single: “This song was inspired by a White person with whom I attended middle school, who privately messaged my spouse on Instagram last year to apologize for having called Black people the N-word when she was younger (when she and I were classmates). I had no idea that the slur had ever been in her vocabulary but, then again, that may be why she apologized to my spouse, whom she only knows through the internet, instead of to me. It was an awkward situation that instantly killed our friendship.“
Musically, the song delightfully meets at the junction of lo-fi funk and shoegaze with supreme pop sensibilities. Starting out with shimmery, layered guitars and jangly tambourine, both instruments quickly drop out to let a slightly fuzzy funk bass line take over, meandering alongside warbly organ and steady subtle drums that drive the pulse of the track throughout. Harmonized vocals punctuate the bridge before the song heads into the crescendo- the drums pick up in earnest, the guitars come back, and Padilla croons some epic high notes right as a killer guitar solo kicks in to bring the track home.
“Racism Priest” is a perfect exhibit that a song need not be loud or fast with shouted vocals to make pointed social commentary, and an indie pop song can be just as sharp in assessing the problems occurring in the world as any punk rock record. And if this is the first taste of the new album, I am really very excited to hear what else is in store.
Sean Padilla of The Cocker Spaniels (photo by Nathaniel Arcadipane)
The Cocker Spaniels Are Still Alive and So Are You is out 8/13 on Evil Island Fortress; pre-orders for a limited edition cassette are available now on Bandcamp; “Racism Priest” is streaming on all major platforms.
by Kate Hoos | Jul 15, 2021
I am always down to rock out with my fellow queers and it doesn’t need to be Pride month at all for celebrations of queer artists and queer magic; we don’t need a marketing angle to know we are worthy of all the space to be ourselves and to radiate all the joy we can create every single day of the year. I was particularly excited for this post Pride punk night (which was more of a variety show really as every artist varied widely in sound) at Brooklyn queer bar/club 3 Dollar Bill because it featured two of my local favorites returning to the stage for their first performances since the start of the pandemic- gloomy surfy grunge punks Desert Sharks, and bluesy punks Fisty (who also happen to be very dear friends, as well as current and former bandmates of mine in other projects). I absolutely love a mixed bag on a lineup and getting to see artists that all bring something very different to the table.
Kicking off the night was a pop dance performer Merab who I unfortunately missed most of as I was settling in and getting my camera ready. That was quickly followed by multi media pop artist Vemilo who performed a piece called “Amalgamation” in which he sang to self produced backing tracks, danced, had multiple costume changes, and interacted with an on-screen character- also played by himself- to weave a narrative through the songs and storytelling. I couldn’t help but be reminded of Tracy & the Plastics, the project of multi media punk artist Wynne Greenwood, who 20 years ago performed in a similar fashion- though at the time executed in a more primitive way owing to the available technology of the early 2000s; Greenwood playing the character of Tracy and interacting with her “bandmates” Nikki and Cola on tube television sets via pre-made VHS tapes (with her also playing the other characters on screen). I was delighted to see Vemilo’s 2021 take on the concept and was thoroughly impressed that all of it was created and produced by one person with just an iPhone.
(Note– I will eventually share images I took on 35mm film of Tracy & the Plastics as I dig further into my archives)
Solo singer/songwriter Roni was up next and played a set of songs built around guitar loops and soulful vocals. They quipped about not often performing shows with punk artists but hoping they fit in anyway and it definitely did. Regardless of how hard the other bands were in comparison, it was right at home in the night and the songs were all executed skillfully despite all involving multiple loops built together.
Lily Mao and the Resonators immediately followed and picked up the volume further and took the night into firm rock territory with a super fun and bouncy set of crunchy energetic pop rock. The Resonators also features Talay on lead guitar who really has some serious shredding chops!
Nuclear Family Fantasy hit the stage next and kept the rock n roll moving right along. The songs fell into a moody alt rock vibe, which I am always down for, because after all it will always be 1994 inside my heart. I was extremely curious about what their drummer was doing as he was setting up, as in all of my years playing drums, I have never seen someone play in that configuration. It was super interesting and I think I definitely expected more of an off kilter post punk style of drumming, but it was absolutely straight ahead rock drumming- which will never get a complaint from me!
Fisty is one of the first bands in NYC I met many moons ago when I first got involved in the music scene and started booking bands and we’ve been great friends ever since. Bluesy, grungy, sultry- they have only gotten tighter over the years and it is always a treat to see them. Front woman Lola Johnson is engaging, funny, and passionately delivers song after song. While Johnson deftly handles lead vocals throughout, she is also joined for beautiful harmony vocals on several songs by drummer Rebecca DeRosa and bassist Chantal Wright (who is also a contributing writer for FTA), the standout being “Waiting For the Rain.” They sadly don’t have a big recorded output currently, but are working on new music for their full length; I very much am looking forward to that and being able to listen to them wherever and whenever I want.
Desert Sharks closed out the night in their first show as a trio, which was also their first show back since the beginning of the pandemic. They seem to have sounded even bigger to me than they did when they were a quartet and absolutely slayed with a set consisting of tracks mainly from their 2019 album Baby’s Gold Death Stadium with a few new songs mixed in. Guitarist Sunny Veniero shreds like it’s her full time job, making it look absolutely effortless in the process, and vocalist Stephanie Gunther croons with the best of them, belting while also hammering driving bass lines. For the final three songs of their set, they also brought out special guest Vanessa Silberman, a power house guitarist who blended in perfectly with Desert Sharks wall of sound.
To add just a little more spark at the end of the night, Merab came back out and performed a few more numbers to the by now weary crowd, but weary or not, it was all worth it to see such an awesome night of music and performance art. I am beyond giddy to be writing up all of these artists because it means more and more and more is returning to “normal” whatever that means….but the queer rock/variety show feels like not only my normal but my absolute happy place.
Scroll down for more pics of the show (photos by Kate Hoos)
VEMILO
RONI
LILY MAO
NUCLEAR FAMILY FANTASY
FISTY
DESERT SHARKS
by Kate Hoos | Jul 11, 2021
The Muslims is a “crunchy kickass punk band of Black and brown queer muzzies,” They make no bones about how they feel about fascists, or any other similar kind of nonsense and they never have. They have never held back on making their views crystal clear and are never shy to dispense the snark in either their lyrics or on social media, also letting everyone who lands on their Bandcamp page know “your racist dad is a piece of shit and THIS IS NOT A SAFE SPACE.” They are a master class in being explicitly and uncompromisingly political while also being sarcastic and funny as hell in the process.
2020 was a garbage year for sure, but one of the few bright spots along the way was the release of their stellar full length, Gentrified Chicken, as well as the single Merry Jihad. Flash forward to summer 2021 and they are back, this time with their first release for Epitaph Records, the single “Fuck These Fuckin Fascists.” And true to form, they give absolutely zero fucks about your racist uncle or your feelings if you’re a fascist or apologist.
Unsurprisingly, some of the punk (aka “punk”) crowd of the older white male variety was up in arms in the YouTube comment section on the accompanying music video for the song- as this Loudwire article details. The article really misses the mark in my opinion, with the title ridiculously stating “The Muslims Cause A Stir” when no, they aren’t causing a stir at all, they are speaking the truth and their lived experiences, it’s the butthurt old white bros causing the “stir.” Because god forbid anyone but straight white Christian cis men have an opinion on anything, political or not.
On their Instagram the band addressed the backlash saying “let’s keep it stack: we’re not getting hate for being an anti-fascist and anti-establishment punk band, we’re getting hate for being an anti-fascist and anti-establishment punk band that is Black and brown and queer and Muslims. LITERALLY THAT’S IT!!” One has to wonder what the reaction of these same trolls would be if an all white, all cis male band created the same exact song…but it’s pretty safe to say we all know what it would be…….
Musically speaking the song is an old schoolish punk bop with plenty of pop sensibilities and a crunchy bite. The guitar buzzes with a sharp rhythm attack, anchoring the tune, while a fun bass line playfully bounces all around just below the guitar. The lyrics call out “white ass pride,” crusties who walk around with Nazi symbols on their clothes, apologists who look the other way when confronted with these so called “punks,” and those who seek to shame a band like The Muslims for “fuck(ing) things up.” The chorus is a gleeful singalong in the making, declaring “fuck these fuckin fascists, fuck their families and friends, if they defend a fuckin fascist they can fuck off til they’re dead.” As the band returns to playing live shows, they are sure to have this shouted back to them each and every night.
The absolutely EPIC cover art was created by illustrator Cristy Road and features Johnny Rotten getting socked right in the face. Yeah THAT guy aka the leader of the punk boy band the Sex Pistols who is currently living out his twilight years as a Tory/right wing clown. “God save rotten” indeed.
If any further proof beyond their previous releases was required that The Muslims is simply one of the best and most important bands making punk music today, it’s right here in this single. I for one can’t wait to see what their next full length holds.
The Muslims at Punk Island 2019 (photo by Jeanette D. Moses)
“Fuck These Fuckin Fascists” is out now on Epitaph Records and available to purchase on Bandcamp or stream on Spotify.
by Kate Hoos | Jul 10, 2021
VACANT COMPANY
Putnam Palace is a backyard DIY spot that we have featured before and I am happy to report has been continuing to host shows. As I’m sure most readers are aware, DIY spots are constantly under threat of being shut down, tail end of a pandemic or not, and sometimes don’t last very long before they are interfered with. Thankfully they are still going strong (though currently taking a bit of a break during the hottest parts of the summer) and put on an incredible anti 4th of July event on Saturday 7/3 which I really had an absolute blast at.
The bill was a bit of a mixed bag stylistically, but those are really my favorite kinds of shows and always have been. The weather was cool and overcast which made the outdoor show environment that much more pleasant; it was sooo much better than broiling 90 degree heat. I definitely used that to my advantage, getting very into “the zone” while I was shooting, particularly for Vacant Company‘s set. This was the first time I was seeing all four of these bands and it was such a treat because I fell in love with all of them immediately.
Grungy duo Shadowmonster kicked things off with a set of tunes packed with dissonant guitar and complex drumming- as a drummer myself I found myself constantly trying to study the stick work (and thinking to myself that I need to practice more, ha!) and watching for patterns in the intricate fills. Lyrically the songs were poignantly angsty- many dealing with depression and isolation- which is something everyone can relate to at some point in their lives, and particularly over the course of 2020 into 2021. Many of the songs hit close to home for me in that regard.
Vacant Company was up next and played a set that was nothing less than explosive from start to finish. They hail from Raleigh, NC (though their singer splits time between BK and Raleigh) and were unflinchingly political and beautifully intense. With hints of early Fugazi, and the clear influence of Slint in their sound, they also very much reminded me of that particular style of 90s post hardcore that had a bit of an artcore bent ala a band like Swing Kids. This band would have been right at home on Dischord in that era- hell they still would be today! To say I was absolutely floored would be an understatement and it took me a few days to get over it really; I had their EP Decolonize on repeat immediately, not wasting any time and starting on the drive home.
The mathy duo Gorgeous hit the stage next and I was supremely impressed that front woman Dana Lipperman was not only singing in a sweeping, at times operatic voice, but finger picked each and every song. I can barely handle shouting some atonal noise and playing guitar at the same time without screwing something up, and I can’t touch any stringed instrument without a pick, never mind doing all that she was doing and doing it so well. With the clever rhythmic push and pull back and forth of the guitar with the busy and commanding drums, I was even further impressed and I’ve been listening to their 2019 album Egg quite a bit since the show. (I also love that apparently the two members of this band met in 6th grade science class, forming the band many years later in 2017)
TVOD aka Television Overdose closed out the day and was the most fun band of the show with their special brand of “high energy disco-punk songs for your heart and soul.” I definitely got my head bop game going while the rest of the crowd danced (I can NOT dance) and it was a really cool way to close the show. I loved the dance punk vibes and definitely felt and appreciated the Q and Not U influence. The drummer of TVOD also is instrumental in running the shows at Putnam, doing sound for the events, so on point that sometimes he will even hold the mic for backing vocalists!
Live music is central to my core being as a person and while I love seeing bands in many different settings, nothing quite gets to my heart like a DIY show. I am thankful that spots like this exist and continue to survive despite pretty much anything the outside world happens to hurl at us all.
Scroll down for pics of the show (photos by Kate Hoos)
SHADOWMONSTER
GORGEOUS
TELEVISION OVERDOSE
VACANT COMPANY
