Tag Archives: pop rock

Love Cop – Eat Yr Heart Out



Ah, 80′s glam electronica, you always know how to put a smile on my face and Gnarnia VIPs and dark pop geniuses, Love Cop, oblige with a cassette of lofi dreamgaze with a heavy tote of perverted pop. With clear nods to the best moments of Television Personalities, The Clean, and Factory Records bands like Joy Division and New OrderEat Yr Heart Out is bursting at the seams with fuzzy guitars, jangly guitars, crunchy guitars, dance beats, rock beats, witchy vibes, stoner vibes, and maybe the kitchen sink (why not?).

Signed copies were available at their performance at Gnar Tapes SXSW Showcase on March 15th, 2013 but never fear, you can still get your not-as-special unsigned copies through the friendly folks at Gnar Tapes. So pop on the album through bandcamp (or better yet, the cassette itself), open up the windows, and ignore your responsibilities. Love Cop‘s got the soundtrack to your dysfunctional narcissism.

Love Cop – Eat Yr Heart Out (Bandcamp)

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- Cliff

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Daphne Lee Martin – “Moxie” Interview & Album Radio Special

In case ya didn’t read my original article, let me just go ahead and summarize, though I imagine you can probably guess where this is going since I am, in fact, setting time aside to specifically write on this again. Yes, I thorough enjoyed Daphne Lee Martin‘s Moxie, the first of twin records: Frost & Moxie. Produced by Bill Readey at Fuzzy Rainbow Production, the album even includes John Panos of Mates of State along with her full band, “Raise the Rent“. Yet these are matters I have already discussed (again, just read the original article already if you’re curious).

The real reason for this article is that Dissociative Identity Productions & WKDU Philadelphia, 91.7 fm are proud and excited to host Daphne Lee Martin at the studio, around 6:30 pm EST (assuming the dreaded ‘punk time’ does not strike) to have an interview as well as an overall Moxie album radio special. This means an hour of tracks off the album, interview and the odd assortment of conversations which come with that territory, as well as some tracks of which have proven influential to the group as a whole. Yeah, it should make for quite an interesting hour so be sure to tune in either at 91.7 fm or simply by streaming through the WKDU site (top right hand corner). See ya then and just to get ya excited, not only is the full album streaming above but we’ve even got an official video for the single “Belly” below. Check it out and thanks for tuning in.

Daphne Lee Martin – Moxie

WKDU Philadelphia, 91.7 fm

- Cliff

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Grapefruit – Freeway Romantics

Technology and modern electronics have the eerie ability to both feel warm and connect us with the world as well as cold and distant, isolating in pure design. It’s a Catch 22 which appears to be the Holy Grail for any creative mind ingenious enough to create a synthesis between the two extremes. While, on a technological note, this process appears to still be ongoing, Charlie of Kill Rock Stars appears to have made a bold new step in this development within the ambient, electronica genre. Under the name Grapefruit, Charlie has released his instrumental synth wanderings in the form of “Freeway Romantics

As described by Gnar Tapes, the album is, “pulsing and vibrating, like hearing lights pass through crystal. As much outside as it is in. Is the freeway out in space, or is it in your mind?” A little on the new age side but hell, I guess you have to be a little to indulgence in this album. This is not intended to be a put down however: rather, this music has a spirtual sort of feel to it by design. Perhaps I am too reliant upon these groups to help vocalize what I am unable to articulate however with a combination of soundwall aesthetics as displayed by M83‘s “Fields, Shorelines, and Hunters” and an attention to 8-bit culture the likes of Gatekeeper gives Grapefruit‘s “Freeway Romantics” a, well, romantic feel. And I mean this in the purest sense: a romanticism which takes what appears to be a dark and grim world of alienating technological feats and create a warmth unknown to many in their own physical lives.

The ramblings of a tired fool, perhaps. However, while I do love his previous projects, I find this release such a personal journey without the gimmicks of traditional ambient electronica that it just feels enlightening. Take a listen and grab a download ($7? Why the hell not, plus I believe they sell tape copies as well for those so inclined). I recently read an article which believed that A Brave New World was a far more believable distopia than 1984. For while the government attempts to subdue its population by withholding information in 1984, the government in A Brave New World do not care to withhold information but rather drown it out through perpetual pop culture and media distractions. Welcome to the Brave New World. Enjoy.

Grapefruit – Freeway Romantics

- Cliff

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Mental Theo – West Coast Mix 01


It’s been a little while since I’ve written anything on house/electronica material so indulge me in my odd attempt. I’ve always had a good deal of respect for Gnar Tapes with its extremely unique while ferociously independent. Admittedly, I was puzzled then when I received a seemingly gaudy email on what looks like an anxsty teenager’s cover art (yes, I’m being mean but I promise it goes uphill from here). Still, the story got me hooked. As described by Gnar Tapes, “Dutch “Gabber” DJ Mental Theo (aka Theo Nabuurs) has been making hardcore electronic dance music since the early 90s. After scoring a few big Happy Hardcore hits in Europe with their songs “Wonderful Days” and “Stars” alongside fellow countryman Charly Lownoise, Theo continued on to become a VJ on the European version of MTV. During the late 90s he hosted his own European MTV show called “Mental Theo On The Road“, in which he visited various nightclubs across Europe interviewing and interacting with partygoers, including a “Spring Break Special” report on the American club scene in Florida.”

It was that start which urged me to go ahead and take a listen. Spanning a little under an hour, I’m glad I did. As Gnar Tapes continues to state, “West Coast Mix 01” is the result of how educational and fun the Internet has made cassette culture” with “a unique mix of a Dutch Hardcore and Gabber records and remixes”. Now to use my only words. Irony is certainly a beautiful thing, however too much serves as a gluttonous mask to true identity. Luckily, Theo, through his years of experience and active participation, appears to understand this exact balance, an attribute I greatly admire. Sure, he uses humorous bits and pieces as well as highly overdone mixes. However there appears to be no embarrassment in this use, rather a primal pride that shines through. Take a listen, hell grab the actual, physical copy (cause come on, an hour of Dutch Hardcore on a car trip: I know you want to). It’s been awhile since I’ve written on this kind of material, yet Theo is more than deserving of the article. Enjoy.

- Cliff

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Emotional – Feeling

There is just something inherently lovable about the 80′s. It was an era that seemed to have accepted materialism to historic heights, one with cues to the rise of morality and the religious right, one of both complacency and ambition all melded into a popular culture that still affects us today. Now may be a good time to point out that I wasn’t born until the 90′s: still, I am nearly lecherous in my imagination that is of the 80′s. And somewhere in this weird hallucination that is my mind I imagine hearing Emotional’s new album, “Feeling“.

Released about 2 months ago, I feel ashamed to say it has taken me this long to write on it because, yes, it is damn well worth your time (and $7? *wink wink, nudge nudge*). Opening with the aptly entitled “Grass To Pass The Time“, the 30 seconds give you a very appropriate introduction to the rest of the album. With heavily distorted vocals (not to mention essentially everything else) and an extremely poppy synth hook, the song takes you through a montage of casual nothingness which, essentially, may be the best of times. “Baby I’m So Strange” follows which, by far, is my favorite track. There is an overwhelming feeling in my pretentious side to note that it appears to have an extremely common verse structure but hell, it’s a dream scape pop track, what the hell are you supposed to expect? “Baby I’m So Strange” excels because of it’s seemingly casual anthem to society and mediocracy, a message which seems to fit rather well as it ends in a symphony of light chirping of the guitar.

Clearly, I am not necessarily providing too grand of an image as far as the whole album goes. Frankly, it’s on purpose. I sit here, by my computer, spewing my thoughts into a blog which I can only assume someone, somewhere is actually reading. Yet the joy comes from the idea of no preconceived notions. I like to think Dissociative Identity Productions is hear to raise awareness, not to sell a message (though if ya ask me about politics, that may become something entirely different…). Listen to the whole f’ing thing. The 80′s excelled because people were still naive enough to enjoy and not be pretentious. Emotional understands this, and it may be a good idea for us all too as well.

Emotional – Feeling

- Cliff

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Glacial Records

Glacial Records

Glacial Records



Before the Thanksgiving break, which all but cemented my slothful nature, I have to say that I have been pleased with the sorts of independent, local groups coming forward. Sure, I do love my Sargent House however it always raises my spirits to see more local, small, and independent acts coming forward and making their presence known through a vigilant commitment to patience and passion. It is largely for this reason that I wanted to go ahead and write this article in honor of Glacial Records, an upstate New York record label which has given us the likes of Winterlong and Lives of the Obscure. (both releases recently reviewed).

So why write about Glacial Records? Sure, there are plenty of small outfit labels, striving to provide a new sound to an often over saturated music industry. The first explanation I would offer is the simplest: they have done an incredible job picking out acts. Whether it was Deathfete 7″ from Lives on the Obscure or Five Songs from Winterlong, Glacial Records has proven that they not only know how to seek out and master a niche, but also how one can expand a niche to a larger sound that seems to blend genres and scenes. Believe me, I tend to never compare the sounds of Plastic Constellations with Jawbox but somehow, Glacial Records has forced the comparison through some of their acts (Oh, and there are plenty of additional amazing acts on the label, acts I hope to write about in the future. For now, however, I will stick with the two I know and love).

The biggest explanation for this article, however, is that I like their style. For several weeks, we were unable to get in contact to discuss articles and the like. It turned out that he was on the move, hopping from one location to the next and thus, one computer to the next. After living around the MICA scene, I can certainly sympathize. Thus, get used to the ad we will be trying out on the side column. It’s well deserved.

Glacial Records

- Cliff

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Unkle Funkle – Picture of My Dick

Gnar TV recently premiered their newest video, Picture Of My Dick by Unkle Funkle, the side project of Chris Uehlein of White Fang. Directed by Unkle Funkle and Brian Echon, the video features three men swaying/dancing within a blank white room, nearly nude (the three men? Mikey Peterman AKA 99¢, Justin Leon Johnson aka J Green, and the funky monkey himself Unkle Funkle). This was all done in the attempt to represent Unkle Funkle’s new album, which will be available on vinyl this week via Marriage Records, digitally via Gnar Tapes, and on cassette in the next few weeks via Burger Records.

You caught me: I couldn’t resist. With a name like that, you can only expect Dissociative Identity Productions to write at least something. Yet the video, as a preview to the whole album, does show a large amount of promise. First and foremost, yes, White Fang has a great sound so I naturally hold excitement about any side project with this kind of experience. Second, and the real reason I’m writing this article, is that its pretty f’in good. It has a distorted pop anthem with vocals seemingly reminiscent Liars, followed by a reflective melody which, dare I say it, brings up Real Estate. All in a video entitled “Picture of My Dick“. Yeah…it’s weirdly impressive.

So stay tuned for the whole album, an album which I look forward to reviewing as well. If “Picture of My Dick” is any cue, then it should be interesting to say the least…

Unkle Funkle

- Cliff

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Die Eternias – Sould Out

Vienna’s Die Eternias’ second album is on it’s way (11/23/2012). Produced by Wolfgang Möstl (Killed by 9V Batteries, Mile Me Deaf) and recorded live in studio in Vienna and Graz in three days, Sould Out embodies a soul of rock ‘n’ roll with its seeming negligence of genres, often jumping through dashes of swing, cabaret, pop, and even reggae. Described as a “collection of tragic yet (gallows-)humorous short-stories, a day in the life of society’s outcasts, and an ode to Vienna’s most beautiful murderess”, Sould Out gives an amazing introduction for any new comers to Die Eternias, as well as providing a solid sophomore album for those devoted.

Singer and guitarist Voodoo Jürgensclaim claimed to originate from He-Man’s home planet Eternia in his childhood daydreams. By 2004, it appeared as though that claim may hold truth as Die Eternias was formed. Jump starting from a band-contest at Viennese club Flex, they released their first album on said club’s own label Flexschallplatten (released digitally on Seayou Records). Another 7” EP on Seayou shortly followed. While Die Eternias’ setup is conventional: guitar, bass, drums, an organ at live shows, the music is certainly not. Influences range from reggae to Kurt Weill, the songs are about the “repressed facets of Western society, the peripheral and marginalised individuals, the petty criminals, and the prostitutes.” Yikes, kind of heavy. Yet, as far as a sound, its pretty damn enlightening and outright fun, encouraging a break out dance session once in awhile.

In conclusion, yes, I do enjoy the album a bunch. Yet what seems to connect me to this album even more is the seeming relevance it holds, even when the artists originated hundreds, if not thousands, of miles away. Sometimes, smirking at the encompassing destruction is all we can do. Sould Out, on the other hand, it not the kind of destruction we should fear: rather it is the creative destruction that we desperately need. So thank you and please, as you were.

Die Eternias Facebook

Die Eternias – Sould Out (Bandcamp)

- Cliff

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Daphne Lee Martin – Moxie

Sometimes, I feel just so damn classy. Something about exiting the world around me and entering my bedroom, blasting an album and living in the world of my own existence makes me feel like the most dignified person in the room (probably because I am the only one too). You indulge in a self reflection that is both selfish and scathing, apologetic and spiteful. Moxie, the new album by Daphne Lee Martin of Telegraph Recording Company, could perhaps be the soundtrack to this exact scenario. A 40 min stroll through devilishly delightful bluesy tunes, Moxie is the first of twin records: Frost & Moxie, or ‘treat a queen like a whore and a whore like a queen’ as explained by Daphne. In this case, Moxie is the unapologetic whore, expressing itself from the plaintive cries in tattered Whiskey & Sin to the madness of Molotov.

Produced by Bill Readey at Fuzzy Rainbow Production, Moxie takes Daphne’s beloved traditional southern roots sounds and runs them through megaphones, mellotron, a very old tube amp, as well as “a swamp and a dark alley or two”. Beginning with “Sweet and Low Down“, Daphne initiates the album with a skip through a sin city, if you will. Between cigarettes and Old Crow, the lyrics as well as the general feel is all too familiar: something I can only assume most readers can sympathize with. Those evenings idly staring off in a dive bar off the beaten path, fumbling through packs and thoughts of what lays ahead. And with a bass line that walks you through the ups and downs, it appears to never leave you throughout the rest of the album.

It is, of course, worth noting that not only does this album include Daphne’s full band “Raise the Rent“, Moxie also showcases some work by John Panos of Mates of State, an addition which oddly makes perfect sense. Regardless, Moxie stands out as an album which pays a well suited ode to the often abused bluesy melodies without falling into clichéd motifs. Grab a listen and, while you’re at it, a download. For those moments of classiness and isolation, Daphne‘s Moxie places the perfect companion. Which makes me all the more excited to meet Frost.

Daphne Lee Martin – Moxie

- Cliff

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Winterlong – Five Songs

A barrage of percussion followed by a thrashing sensation of elegantly distorted guitars. It’s quite the introduction yet seems entirely fitting for the Hudson Valley, NY math rock group insistent in its commitment towards melody as well as just damn catchy hooks. Winterlong is off of Glacial Records and recently released their “Five Songs” EP. A 20 min dash through what appears a perfect resurrection of the 90′s and early 00′s, Winterlong is able to make an impression upon the listener that few groups could hope to achieve in an entire full length.

As described before, “Five Songs” begins with an impressive start with the single, “Stasis“. A contemporary group which immediately jumps to mind is the Midwest noodle rock glory that is the Plastic Constellations. Yet it cannot be so easily summarized with such a vague reference. Rather, wrapped in the shell of 3 mins, “Stasis” provides the glimpse of Winterlong as not only an extremely talented math rock group, but also one which makes genuine odes to post-hardcore and emo rock epochs of decades past. The vocals are sincere and passionate where all too often, groups feel as though wild screaming will suffice. It is a refreshing attitude which serves as a glorious beginning to the album.

Jump to the track “Arena“. Serving as the anthem of the album, if you will, the single opens with wailing guitars followed by a stead fast percussion reminiscent of Cinemachanica. While a dreary track, to be sure, it does not fail to hold onto the listeners attention with the complacent haunting vocals floating inbetween the purposefully imperfect harmonies unfolding. This in combination with it’s uncompromising bass line, and “Arena” shows a very promising side to Winterlong: one which knows when to exhilarate a crowd and when to lead one towards a trance.

The digital collation, with 5 tracks, is only $4 which makes it a worthwhile investment yet, if you want to be a real pro, the vinyl is certainly a welcomed option which only serves to further enhance “Five Songs” as a whole. Anyways, overall, this EP appears extremely exciting. As always, though, I still look forward to the live show. If this serves as the trailer, then I warmly look forward to the opportunity.

Winterlong – Five Songs

- Cliff

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