GYASI

GYASI

GYASI

(Nashville, USA // Alive Naturalsound Records)

Pronounced Jah-see, Gyasi seems in many ways to come from another planet, and being raised in the woods of a West Virginia holler might as well be another planet in this day and age. He approaches his music as an all-encompassing art piece, using fashion, storytelling, and his guitar to create a world for his music. Inspired by a wide range of art and culture both past and present, his work is fueled by an undeniable passion to create music that brings rock n roll into the 21st century. Gyasi is a modern rock star like no other.

“This man is an enigma to say the least, a glorious mixture of David Bowie and Marc Bolan with the slightest modern twist.”

 

 

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LAS ROBERTAS

LAS ROBERTAS

LAS ROBERTAS

(San JosÉ, Costa Rica // Kanine Records)

Based in San José, Costa Rica, Las Robertas is a five piece band (Mercedes Oller, Fabrizio Durán, Russell Davis, Daniela García and Felipe Oller) that has developed a sound and style around influences that go from the psychedelic music scene from the 60s, bands like The Velvet Underground in the 70s, to the alternative 90s rock n roll scene. The band started playing in 2009 and since then, have played and toured in and outside Costa Rica numerous shows and tours, including festivals like NRMAL (Mexico), Levitation (Austin, TX), Coachella (Indio Valley, CA), Rock al Parque (Bogotá, Colombia), Primavera Sound (Barcelona) among others. The band has released 4 LP’s and 2 EP’s,  in the USA, Mexico and Spain, its most recent release “Love is the Answer” was out in February 2023 via Kanine Records (USA).

“Love is the Answer” is a compilation of nine songs  about love towards the universe, individual freedom and of hope in a time where the world seems ever closer to being consumed in chaos. Some of the band’s influences for this album were The Brian Jonestown Massacre, The Dandy Warhols, The Charlatans, Lush, Ride and The Breeders.

The album was produced, recorded, mixed and mastered by the Welsh producer Owen Morris, who have worked previously with bands like Oasis, The Verve, Ash, Kaiser Chiefs and Madness. The band and Owen started working together after they met in Costa Rica. While sharing time together, great chemistry happened between the band and Owen, and eventually ended up collaborating for “Love is the Answer”. The recording of the album started in Hermosillo, Sonora (Mexico) and was completed in Santa Ana, Costa Rica. 

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R.M.F.C.

R.M.F.C.

R.F.M.C.

(Sydney, Australia // Anti Fade Records)

https://www.youtube.com/watch?v=0er9TVgZ89s

ROCK MUSIC FIGHT CRINGE

What is modern music writing without the opening descriptor “long awaited”? To describe most records as being awaited is ridiculous. Nobody today has the patience to wait for a text or a tram or a traffic light… and yet… there is something here, I have a point to make…

Please resist cringe – I will not cringe, cringe is the mindkiller – I assure you, I never use words like “long awaited debut” in polite conversation and avoid those who do by general rule.

But.

ROCK MUSIC FINESSE CLASS

The imminent arrival of the R.M.F.C. long awaited debut means rules must be broken, tablets must be shattered, sacred pigs must be slaughtered…

In our age of media saturation and attention deficit, where every band has side project with a triple LP catalogue before they’ve played a show or had opportunity to tease or tantalise, there’s a lot of easy music being created… and forgotten… look back over the past decade and see how many hype bands you’ve forgotten, how many redundant “long awaited debut” ended up ashen within a month. Nobody is waiting for more easy music. We are waiting for the R.M.F.C. Club Hits LP. 

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

ROCK MUSIC FANATIC CONVULSIONS

To your average German the sound of Bach made them reverent with Lutheran frenzy, and for the average rock music fan the sound of R.M.F.C. makes them catatonic with guitar overdose.

To your exceptional German composer that came after Bach, the sounds of Bach inspired genius invention, and for the generation of exceptional rock music creators that come to Club Hits, a great deal of easy listening rock music has become redundant and this is a new standard: the craft of these songs is precise, the flow of this record is masterful.

Club Hits is one of those rare records that sounds absolutely of its time without evoking depression, despair and disgust – for we live in times of desperation that most rock music bands are adorning with insipid, tedious tunes that couldn’t make most people put their phone down let alone believe in R.M. – but with the benefit of 80 years of ROCK MUSIC to draw on, there’s a lot of mistakes that Buz learned from and hasn’t replicated here.

ROCK MUSIC FOOTBALL CLUB

I like music and I like football. I like physicality, sweat, blood, I like music with guitar and drum… I like to experience being in the presence of violent movement that is graceful and produces goals or songs…

Great live band this R.M.F.C. Kicking goals, making songs.

If not for the experience of watching them play these club hits live, I don’t think we would be “awaiting” this record. Which is to say, on record FC President Buz takes on all duties: songs written, songs recorded and songs mixed by the Commander In Chief Clatworthy.

If this was the extent of it, if we couldn’t SEE and FEEL the rock music in R.M.F.C., if it was RECORDED MUSIC FAN CLUB – I’m sure you understand me – Buz has managed to make a solo bedroom project into a rock music band of great quality, and hearing these songs develop and stick in your head for days and weeks and months after the show, festering and waiting to be unleashed on the world this coming November 3rd.

ROCK MUSIC FAN CLUB

For those who read these things without listening first, you might ask: what does this R.M.F.C. sound like?

Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band.

Indulge me.

If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking.

Wire unpacked punk immediately and spent three perfect albums mapping what comes next – their “long awaited debut” came after a pub rock punk phase… and entered into the world of angular guitars and arctic ice feel.

Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band.

Few bands manage to sound like all 3 records, but R.M.F.C. are rock music fan club…

ROCK MUSIC FREAK CLUB

One day when I listened to the Velvet Underground ‘What Goes On’, I thought: this is a perfect song. I could listen to this song for hours on end. I did this – I listened to live versions, multiple ten minute plus jams, alternate mixes, and then back to the album. Over and over again. The song continually delivered new revelations, I saw a golden path leading through a dark cloud of misery, surrounded by spite and resentment, a golden path leading toward something better… and in Club Hits, I hear that same obsessive nature, I could imagine you understand this too, I know I am not alone in listening to rock music like I am encountering the sacred sound of a new religion… you must be obsessed to make music like this, and you must also respond with true passion and devotion… our times need the Club Hits

ROCK MUSIC FINAL COMMENT

R.M.F.C. Club Hits LP on Anti Fade (AUS) / Urge Records (USA) will be released on November 3rd.

Written, recorded and mixed by Buz in Burrill Lake and Sydney between January 2022 & April 2023. Mastered by Mikey Young.

https://www.youtube.com/watch?v=0er9TVgZ89s

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BELLA AND THE BIZARRE

BELLA AND THE BIZARRE

BELLA AND THE BIZARRE

(Berlin, Germany // In The Red Records)

Bella and the Bizarre is a high-energy Berlin-based band that blends the raw intensity of garage rock with a tender soulful flow.

A wild fusion of garage punk, sixties rock n roll and a touch of RnB soul, with its own gentle smokiness.

Combining a broad spectrum of influences – from Wanda Jackson to the Remains, Eartha Kitt to the Ramones, they are ready to set you in trance!

Known for their vibrant stage presence and infectious energy, Bella and the Bizarre deliver performances that are as captivating as they are unpredictable.

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PYPY

PYPY

PyPy

(Montréal, Canada // Goner Records/Black Gladiator Records)

It’s been nearly a decade since Montreal’s PYPY (pronounced like ‘π π’…with a long ‘i’ or a rather than long ‘e’, thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger « She’s Gone » carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent’s 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial « next level. »

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes’ (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement’s (Duchess Says) brings a nastier bottom end that locks onto Simon Besré’s drumming with a death grip for the entire affair. And guitarist/ co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that’s like hornets caught in yr hair.

« Lonely Striped Sock » grooves along like « Earthbeat »-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the « ear-vestment » in dividends throughout. « Ear-vestment »? Yikes. Then it’s time for « She’s Back, » a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day’s best- known gem (the aforementioned « She’s Gone »). This one packs a hook that’ll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn’t matter…nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you’ll be doing that anyway. A lot. « Erase » is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn’t know we had…deceptively kicking off with a no-fi drum machine that is immediatelylost in the massive pop din that seemingly includes everything within reach. « Poodle Escape » is two minutes of perfect (and perfectly distorted) synth- punk and « I Am A Simulation » – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70’s (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. « 15 Sec » (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes’ gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album’s title track is a love letter to Hawkwind in the musical language already established here. « Vanishing Blinds » is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of « Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

RIYL: Christina Monet, ESG, Oh Sees, Bush Tetras, Lost Sounds, Mercier Descloux/Ze Records, early Comets on Fire, Au Pairs, Brainiac

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https://express.adobe.com/page/dLpkxQgiQYxZe

 

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