Garage powerpop’n’roll fans worldwide celebrated the return of Fastbacks, who, with their first record in 25 years, still sound as magical as ever. But if you’re looking for more in that vein, look no further: The Okmoniks, a DIY garage rock band from San Francisco, have just dropped Afterparty Fever!!!, their first album since 2007. Available for pre-order via Slovenly Recordings, it’s on streaming services already — giving the record a play there which is probably the best decision you’ll make today.
I misread the title as Afterparty Forever!!! which sounds like my personal nightmare – sorry, but I need my downtime. And sleep – it could have worked just as well as a title for this record as Afterparty Fever!!! though. It’s a wild, raucous rock’n’roll affair, tailor-made for those who don’t mind getting a little dirty and sweaty. The Okmoniks deliver raw, old-school garage rock that’s both loud and catchy, with finger-stretching organ riffs played on an instrument that’s been around for six decades. The band pulls from an era long gone, so skillfully that they sneak in a cover of The Grodes’ Cry A Little Longer without skipping a beat and without having you notice it’s a song they didn’t actually write themselves.
Play this one loud, and dance like no one’s watching — this record is fun as hell!
Earlier this week we wrote about the latest album by The Bug Club, hereby also about the support act on their UK tour in November, a choice that makes perfect sense given their love for ‘burds wurds’. We’re talking about British Birds, the Chorley-based garage pop/indie rock/psych outfit featuring Bobby Mambo (lead vocals, guitar), Emma Townson (vocals, percussion), Ellie Winstanley (bass, backing vocals) and Lewis O’Neill (drums). Last January they flew over with their nice debut full-length In Search of Mr Rykyn, now they drop the wonderful Sucking Funny EP. We hear six confident and versatile songs chock full of hooks, where heavy guitars and sweet singing are just as easily combined as chucklesome lyrics with catchy harmonies (“Do do do doo” in My Bar, “Oh (oh) Oh (oh) Oh (oh) Oh (oh)” in Scowl). There is a lot going on and it is presented with a theatric feel, all very captivating. The audience at the upcoming live shows will be amazed.
Sucking Funny, written and produced by Robert Mambo Townson, is out now digitally and on CD (self-released).
Swedish quintet Kerosene Kream make their debut on PNKSLM Records with Buying Time, a four-song EP available on eye-catching red and white vinyl. The EP sets the stage for a full-length the band is working on.
Buying Time is a diverse mix of alt rock and garage punk influences, that makes me think the band does not want to pin themselves into a specific category. The highlight for me is Mindkiller, a track that blends ’80s new wave synths, gang vocals, and primal energy into a catchy pop gem.
Kerosene Kream’s eclectic sound makes this EP an exciting teaser for what’s to come.
Not all new music is really new, as many artists cover songs. Sometimes these are songs by their favorite artists, eg as a tribute to such a musical hero for a special reason, or they simply feel that a song deserves to be dusted and polished to reacquaint fans with great songs from the past. Other times, bands cover songs as a parody. Regardless of intent, some of those cover versions are so good or so much fun, we’d like to put a spotlight on them. Chosen from a wide range, here are – in random order – ten of our favorite covers from last month – links to the pages where you can add them to your wantlist included.
I Trusted You || Cover: Gustaf || Original: Andy Kaufman
Now this is a good idea. The song in which performance artist Andy Kaufman repeats the three words from the title more and more manically (we are talking about the late 70s), gets an awesome post-punk treatment from Brooklyn art rock outfit Gustaf. Lydia Gammill (lead vocals), Tine Hill (bass), Vram Kherlopian (guitar, keyboards), Melissa Lucciola (drums) and Tarra Thiessen (vocals, percussion) played the tune live in their early days as a band, and finally felt the time was right to release it — produced, mixed, and engineered by Jim Eno (Spoon). This could easily become a big dance floor hit. Out digitally via Royal Mountain Records.
The Dedication Song || Cover: The Fleshtones || Original: Freddy Cannon
And we have more cool music from New York, quite different though. Legendary garage rockers The Fleshtones return with a fresh 45 on which Peter Zaremba (vocals, piano), Keith Streng (guitar, backing vocals), Ken Fox (bass, backing vocals) and Bill Milhizer (percussion, backing vocals) rebuild two forgotten tunes. A-side Festa di Frankenstein is an alternate version of The Swinging Phillies’ 1967 Halloween track Frankenstein’s Party, here sung in Italian and featuring a saxophone solo. The Dedication Song on the flipside is even more fun, as catchy as it gets, thanks in part to new lyrics to Freddy Cannon’s 1966 hit — it serves as a sequel to their successful 1984 single American Beat. Out on limited edition 7″ vinyl through Yep Roc Records.
I Can See You || Cover: Cherie Currie & The Dead Boys || Original: Taylor Swift
Rock acts such as The Courettes and The Dollyrots and pop singers like Tiffany and Samantha Cole are brought together on the 12-track compilation A Strange Tribute To Taylor Swift, a title that says it all. The punk rock rendition of I Can See You by Cherie Currie (The Runaways) with The Dead Boys gets priority on our stage. Out digitally and on CD through Cleopatra Records.
You Don’t Own Me || Cover: Bad Buddy || Original: Lesley Gore
Edmonton, Alberta-based rock band Bad Buddy are back with their sophomore album Bad Buddy II. Emily Bachynski (vocals, guitar), Andi Vissia (vocals, guitar), Shari Rae (bass, backing vocals) and Geoffrey Hamdon-O’Brien (drums) deliver ten powerful originals with distinctive vocals taking center stage, and while the one cover is more understated, it still holds up in terms of intensity. Out digitally via Meatflower Music.
Newtown || Cover: Dealing With Damage & Yootha Today || The Slits
On the split 7″ Dealing With Dinosaurs, two British punk bands each share two notable covers. Dinosaur Skull chose songs by Big Drill Car (In Green Fields) and Dogpiss (She Said), Dealing With Damage pays tribute to The Cure (M) and The Slits (Newtown). Extra credits for the collaboration with Yootha Today (Edna Flange, Mimsy Scratcher and Ethel Quim) on the energetic closing track. Out digitally and on limited dino green vinyl 7″ through Brassneck Records.
Searching For The Truth || Cover: The Harlem Gospel Travelers || Cover: Dwain Vinyard
On their new album Rhapsody, gospel singers Ifedayo Gatling, Dennis Bailey, and George Marage delve into Numero Group’s gospel funk catalog, a suggestion from their mentor Eli “Paperboy” Reed that pays off. The original versions, found on the compilation Good God! Apocryphal Hymns, are definitely worth checking out, but the new versions are also top-notch — this track in particular is heavenly. Out digitally, on CD and vinyl LP, through Colemine Records.
You Dont Believe Me || Popincourt || Original: The Pretty Things
On the House of Four EP, four psych pop and mod-adjacent artists celebrate English R&B band The Pretty Things. Andy Lewis (Walking Down The Street), Popincourt (You Don’t Believe Me), Papernut Cambridge (Defecting Grey) and Robert Rotifer (House of Ten) pass this challenge with ease. The ragged edge of Olivier Popincourt’s vocals stand out to me. Out digitally and on 10″ vinyl through Gare du Nord Records.
Brown Eyed Girl || Cover: Nuisance || Original: Van Morrison
Californian punk band Nuisance, who made some waves in the 90s, have collected sixteen singles, compilation tracks and songs found in a garbage can on new compilation Terminal Fuckups, including the ska-tinged, gritty and infectious take on Van Morrison’s classic Brown Eyed Girl. Out digitally via Lavasocks Records.
Fade Into You || Cover: The Rubens || Original: Mazzy Star
Then it’s a small step to Hope Sandoval, the lead singer of Mazzy Star, who won many hearts with her dreamy performances of the wonderful 1994 single Fade Into You. Australian alt-rock band The Rubens may not be able to top that in their contribution to triple j’s Like A Version – no one can, right? – but they certainly know how to captivate, not least because of that slide guitar. Their new (original) single Sunday Night is out now via Ivy League Records.
Last Leaf || Cover: Willie Nelson || Original: Tom Waits
It’s almost unimaginable, but country icon Willie Nelson is coming with his 76th solo studio album (and 153rd album overall). Under the title Last Leaf On The Tree he covers tracks such as Lost Cause (Beck), Come Ye (Nina Simone), Keep Me In Your Heart (Warren Zevon), Robbed Blind (Keith Richards) and Are You Ready For The Country? (Neil Young). The record will also feature two songs by Tom Waits, of which Bad As Me‘s Last Leaf has already been shared. I played the old and new version at the same time: the two unique voices fit surprisingly well together, but on their own they also are both beautiful. Out on November 1 through Legacy Recordings.
Be My Baby || Cover: UFO Club || Original: The Ronettes
The UFO Club was a garage psych project by Night Beats’ Danny Lee Blackwell and Black Angels’ Christian Bland, who released a self-titled album through Reverberation Appreciation Society in 2012. Its eleven tracks include reverberating covers of The Ronettes’ Be My Baby and The Seeds’ Up in Her Room. The LP is available again on vinyl via Bandcamp, so what better reason to share it here?
Check out our Dusted playlist on Spotify for more cool cover songs.
Over thirty years into their career, we’ve come to appreciate and experience the soulful sound of Californian punk rock quartet The BellRays as a reliable beacon—their proven formula: emotion + energy = excitement—but another release is always good news, especially since we’re dealing with one of the most amazing female vocalists around. On the new Heavy Steady Go! LP, Lisa “big voice, big hair” Kekaula and Robert Vennum live up to their reputation with their unique synergy: he builds a concrete wall of solid but raw guitar riffs, which she paints in bright colors with her soul-powered vocals. Together with an experienced rhythm section* they play at maximum volume in ten original songs, inspired by icons such as Tom Petty, Bon Scott, Fleetwood Mac, Howlin’ Wolf, Cheap Trick and Betty Davis. It’s all rock-hard, but those who listen closely will discover deeper layers.
Heavy Steady Go! is out now digitally, on CD and vinyl LP, through Sweet Gee Records. *Its recording was split by two cities, two years and two rhythm sections, featuring Mark Cisneros (bass) and Ron Miller (drums) in a Tucson, AZ session, and Nico Miles (bass) and Craig Waters (drums) in a Riverside, CA session. Band founders Robert and Lisa seamlessly produced both sessions into the final record. The digital version includes covers of The Temptations’ Ball of Confusion (That’s What the World Is Today) and Duane Dee’s True Love Travels on a Gravel Road (popularized by Elvis Presley) as bonus tracks.
Nashville label Sweet Time knows exactly how to tap into the pulse of old-school punk rock’n’roll. Their latest release brings back Love Collector, an Austin-based band that vanished after releasing two 7″ singles over a decade ago.
Hit play on the opener of Love Collector’s new 7″ EP, and your heart will start racing. First Night of Leather is a killer slice of late ’70s punk that feels like a lost classic from the era. It’s followed by two additional snotty, and bratty tracks that show Love Collector are experts at this sound. The EP wraps up with Last Night of Leather, completing a thrilling ride from start to finish.
Love Collector is the real deal and their must-have new 7″ is now available from Sweet Time.
Just when you think Welsh rock trio The Bug Club are slowing down, they’re back with their next LP. Under the rather complex title On the Intricate Inner Workings of the System, Sam Willmett (vocals, guitar), Tilly Harris (vocals, bass) and Dan Matthew (drums) recorded eleven new tunes about everyday topics, touring experiences and random thoughts such as War Movies, Quality Pints, James Bond, Lonsdale Slipons and Actual Pain.
We have been following the sympathetic band since the beginning, but they continue to amaze with both the quantity and quality of their output, meanwhile playing 200+ shows a year. In an earlier 3voor12 interview they said that they have to finish a new song before their cup of tea is cold, believe it or not. In the end it is the result that counts, and they have done it again: we hear earworm after earworm, always good for smiles and nodding heads.
On the Intricate Inner Workings of the System, produced by Tom Rees, is out now digitally, on CD and vinyl LP, through Sub Pop Records.
The Twerks, a punk rock trio hailing from the outskirts of Milan, are back with A Private Display of Trouble, marking the first release on Venti3, the new label from Italian writer and punk journalist Stefano Gilardino.
Following up their previous releases — The Twerks (2014), Kinky Boredom (2016), and No Opinions (2019), The Twerks return with a refreshed lineup but the same high-energy sound. Blending old-school punk rock with a heavy dose of power pop, these nine tracks are packed with infectious melodies and raw rock’n’roll spirit.
This single-sided white vinyl is a tight, catchy collection from a band that knows how to balance attitude with hooks.
If the Nashville-based tape label Knuckles On Stun isn’t on your radar yet, their new compilation Delinquents & Shitbags makes a strong case for why it should be. The album is a goldmine of lo-fi underground noise, featuring both familiar names (Emma Goldman Sachs, Cromm Fallon, Class) and plenty of bands that will likely be new to most listeners. It’s an impressive feat of curation, showing the label’s keen eye and ear for raw, exciting music.
Most of the tracks are previously unreleased, which makes the overall quality even more remarkable, with some delightful surprises like Midgee’s cover of Jumpin’ Jack Flash and Class’ live version of their modern punk anthem Oh! The Nerve. The compilation keeps things fresh with a wide variety of subgenres, from mutant synthpunk to garage rock and pop, psych, surf, punk rock, and power pop. There is a lot to unpack, and if Delinquents & Shitbags were a radio show, you’d be complimenting the DJ!
Ten years have passed since their very enjoyable Let Loose! LP. Now that we finally hear from them again, it turns out that the Bloodhounds have lost none of their swagger. Thank goodness, because the Los Angeles-based four-piece blends garage rock, alt-country and rhythm & blues Los Angeles in such a way that I can’t get enough of it. In that respect, it’s a pity that their new album, named after their hometown, only has seven songs. But above all, let’s celebrate these twenty minutes, because the band masters this genre like the best.
L.A., written by Aaron “Little Rock” Piedraita, is out now digitally and on vinyl LP (self-released).
