Because I said so. Order never subject to change.
1. “Gladiator”
2. “Destroy Before Reading”
3. “Monkey Trick”
4. “Boilermaker”
5. “Dancing Naked Ladies”
Continue readingBecause I said so. Order never subject to change.
1. “Gladiator”
2. “Destroy Before Reading”
3. “Monkey Trick”
4. “Boilermaker”
5. “Dancing Naked Ladies”
Continue readingSuperchunk are delivering their sunniest, most playful and even chipper-sounding record since 1995’s Here’s Where the Strings Come In. Read my Music Connection review.
Sooper Records cofounder Glenn Curran speaks elaborately with conviction and altruism about what drives him and his partners to pour their heart and soul into the super-duper Sooper Records—and release albums they believe in, as art for art’s sake. Read my profile on the bespoke Chicago label for Music Connection.
HLLLYH’s URUBURU was originally intended to be the fourth Mae Shi album. But the members of HLLLYH discovered that making new music by piggybacking on prototypes of old Mae Shi material sounded like Mae Shit. In hindsight, it was as if HLLLYH had put on an elaborate stage production of Weekend at Bernie’s. Read my review on Treble.
While Matt Jencik is listed first in this collaborative duo’s billing, one could easily mistake Never Die for a proper studio effort by Madeline Elizabeth Johnston’s Midwife. Muted, melancholic, sometimes meandering and always mysterious, hers is a tranquilizing sound. Read my review of Never Die on Treble.
Fyr, the new EP by superbly skillful Swedes GAUPA, is a downright infuriating listen. Well, to this embarrassed rock critic, at least. How does a band capable of writing and executing a record, even if it is just a short-player, without the slightest blemish, scratch or scuff? Read my review of the EP for Veil of Sound.
St. Louis’ progressive/blackened sludge metal band The Lion’s Daughter were adamant that their farewell performance would barely resemble the inescapably dire mood that characterizes most bands’ sayonara shows. Read my New Noise feature that reveals intimidating frontman Rick Giordano’s surprising soft spot for animal rescue.

Haggus is the band leading the charge for “mincecore,” a form of “grindcore,” to be accepted by the punk underground community. But founder Hambone doesn’t mince words when it comes to Nazis, racists, bigots, sexists and other propagators of hate. To paraphrase the admirable musician, they can all fuck off.
Three weeks ago, shortly after the Oakland band released its new album Destination Extinction on Tankcrimes, Hambone spoke in great length with The Bad Penny about Haggus, the band’s history, his views on punk music, and just about every other issue under the sun.
Buckle up, kiddos. You’re able to hear the straight dope from a wicked talented musician who has no tolerance for dopes.
Continue readingIf there’s one thing we’ve to come to expect from a studio album by black-metal duo Austere, it’s that it’ll be a no-nonsense affair that eschews humor in favor of maintaining a laser-like focus on cerebral, emotional, and even spiritual growth. In our recent exchange with the Australian duo–consisting of Tim Yatras (drums/keyboards/vocals) and Mitchell Keepin (guitars, bass, keyboards, vocals)–we discovered that, as human beings, they as direct as their no–frills music.
The symmetry between art and the personality of the artist who created it is not to be confused with what corporate suits call “on brand.” Those shysters insist that artists, in order to make a living, must prove their artistic mettle in tandem with their ability to socialize and hock their wares–honest advertising be damned.
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