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DIY/Lo-Fi





Cool Heat "Slow Burn"

Cool Heat has released the final single, "Slow Burn", from his forthcoming full-length debut album, Nowhere, which is due out on June 10th via Spirit Goth.

These are the Lo-Fi dream pop sounds of Eden Sierotnik who was formerly with the group Color Card.

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DIY/Lo-Fi

Time: 
20:30
Band name: 
Golder
FULL Artist Facebook address (http://...): 
https://www.facebook.com/Golder-104312022044510
Venue name: 
Gold Sounds
Band email: 
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DIY/Lo-Fi

Time: 
20:00
Band name: 
Lach
FULL Artist Facebook address (http://...): 
https://www.facebook.com/Lachworld
Venue name: 
Mercury Lounge
Band email: 
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Bummer Camp learn(s) to "Laugh All Day"

A lot of times when I'm writing these reviews or rants or whatever they are exactly it's sometimes difficult to decide if a band’s name should be followed by a singular or a plural verb. Like most people would say “The Doors were on tour in Miami when Jim Morrison was arrested for indecent exposure” because to say “The Doors was on tour when Jimbo etc etc penis etc etc” just sounds weird. But to say “Duran Duran is a band known for their sometimes risqué music videos” versus "are a band known for..." isn’t so weird at all even though there’s at least two “Durans” in the group. It’s all darn confusing sometimes.

What’s also darn confusing sometimes, and just about as common these days, is the question of whether a “band” who’s really just a single dude or dudette or charcoal briquette (whatever!) should be treated as a singular entity or a collective identity. And to complicate/simplify matters further it’s not unusual for individuals to refer to themselves as “they” these days. So hey, why not use the plural form of verbs for these individuals-cum-bands like for instance: “St. Vincent are known for being romantically linked to Kristen Stewart” which isn't bad actually because this makes it so much easier to have sex with entire bands at once and to describe such encounters in grammatically precise terms. 

Anyway what I’m really driving at here is that Bummer Camp is/are one of those “one-man bands” that gives verb-tense fixated music blog editors headaches (and don't even get me started on one-woman bands!) but for the rest of humanity Bummer Camp is/are simply purveyors of good head music, that is, if you’re chill enough for it because Mr. Bummer has a way with entrancing songs built around looping repetitions and layer-by-layer wall-of-sound constructions like a DIY musical paper mâché project made up of Rick Rubinesque Def Jam-era drum loops, bedrock bass riffs, and circling, swirling layers of guitar (plus the occasional synth natch) pasting scraps of melody-upon-melody and texture-upon-texture but while never losing the minimalist feel of each basic building block either. And by any given song's end you may feel like you huffed a little too much Elmer's glue

Bummer Camp's latest single “Laugh All Day”—his/their third single in the preceding five months—provides a good case-in-point for the points above. The song also fits his/their social-media self description to a tee, i.e., “gothy folk pop from Queens” and lyrically it's either “about my life, my friends, my family, my job, [or] my car and the inadequacy it feels because it only has one headlight" because that's what Bummer Camp songs are about.

"Laugh All Day" opens with a chugging chord progression that would do Paul Westerberg proud with its restrained “aging punk rocker aging gracefully” raggedy folksy vibe but accompanied by a primitive drum machine and catchy as hell to boot. Then about half a minute in there’s a lead part that enters with this distinctive mid-tempo-contemplative-melodic-goth feel to it where you just know that if Molly Ringwald were in detention she'd go up onto the library's stairwell landing and do her preppie anarchy dance, a mood that's intensified further by the swampy echo on the vocals sung with a Richard Butler-esque sunglasses-at-night insouciance. Ergo, gothy folk pop from Queens. 

“Laugh All Day” bops along contentedly but it also keeps slipping in these subtly spectral moments too—like how the guitar line mimics the vocal melody at first but then starts to detach until it spins off into its own curlicue melodic figures finally reaching escape velocity about halfway through the song, and then dissolving into a shimmering halo of sound, and then a plucky palm-muted surf’s up section, and then a rhythmic drop and a cascading guitar line soaring over the top, and then a wordless vocal croon soaring over the top of the soaring guitar line, with the end effect something like a chorus of cicadas on a still summer night. 

So with these recent single releases who knows if Bummer Camp is building up to full EP or an LP or a fold-out-gatefold-triple-album concept record that'll come with a full set of van decal stickers illustrated by Roger Dean. But wherever it all ends up I'd say it’s a safe to say this one-man band will keep us oscillating wildly (or oscillating mellowly) until we reach the end of the ride. (Jason Lee)





Seasonal record roundup: The Heart Attack-Acks drop a "Love Bomb" and an Xmas banger

On “Love Bomb,” the debut single by The Heart Attack-Acks, the Queens-based duo of Candice and Cody bring an energy and dynamism to the disco-new-wave number that the world hasn't witnessed since Billy Joel and Christie Brinkley danced around awkwardly in front of a car repair shop circa 1983a car repair shop that just happened to employ a small crew of line-dancing mechanics plus a couple crop-top-wearing-popping-and-locking breakdancers—and by the way this is the second song called “Love Bomb” to be reviewed on this blog in the past several months so please no confused letters to the editor!

And if this seems like a pretty random comparison to draw just check out the Heart Attack-Acks press photo above and tell me there's not a downtown-guy-uptown-girl dynamic at work there–except since they’re from Queens it means Cody must live in Glendale, or maybe Ridgewood, whereas Candice must live up in fancy-pants Astoria Heights. And oh yeah there’s the matter of the band’s name too.

As far as “Love Bomb” goes, well, it doesn’t sound a whole heckuva lot like “Movin’ Out” that's true. But it’s clearly indebted to the music Billy J. was likely vibing to that same year (1977) on nights when he’d put on the ol' Groucho Marx disguise and drive from Long Island to Bay Ridge, Brooklyn to hit the 2001 Odyssey discotheque with Tony and the boys. And also on nights when he’d drive into Manhattan to hear some next phase new wave down on the Bowery. Which is all just a way of saying that “Love Bomb” is a twitchily danceable mutant punky-disco-party-tune. And since there’s nothing more inherently New Yawk in musical terms than a twitchily danceable mutant punky-disco-party-tune it’s really quite a smart career on the part of T.H.A.A. to pay homage to their hometown musical heritage right out of the gate. 

Not to mention “Love Bomb” is a great kiss off song and that's very NYC toobut one that’s not so much about “creeps in the street” (see above) as it's about the creeps we all carry around in our pocket these days, like pick-up-artist wannabees who bombard potential victims with digital bum crumbs of approval and affection until suddenly withdrawing if-and-when the conquest is achieved (“first off, you blow up my phone / but in a month, you’ll leave me all alone”).

But the song’s narrator is clearly too astute to fall for such cheap tactics (unlike over at @thedelimag where we gladly accept transactional praise!) and instead turns the tables on her love bomber (“so in the meantime, I’ll take what you can give / train you like you’d do me, if I gave in”) which is clever (love bomber, bomb thyself!) and also clever because the majestically-adenoidal NYC-accented call-and-response overdubs make for a nice callback to classic empowered ‘60s girl group anthems except updated for the iPhone Generation. 



And speaking of updating, the Heart Attack-Acks also have a new Christmas single out called “No Sleigh Bells Tonight” and yes I know I know Christmas is over already but hey you’re well within your rights to play Christmas music up 'til New Year’s Day at least just like people keep their trees for that long so why not. And the song itself will get you back in that Santa spirit from the moment it hits you with a Motown-style bass line and some sleigh bells too in the intro (see what they did there!) soon going on to evoke a Phil Spector Christmas Album kinda vibe (peep that “Be My Baby” beat!) while lyrically dispensing with all this “Birth of the Messiah” business and instead rightfully focusing on the true meaning of Christmas just as God intended, which involves a mixture of devastating bone-chilling loneliness, forlorn romantic pining, and, quite possibly, murder (ok I’m inferring the latter, but Phil Spector!) all set to a jaunty sleigh-worthy beat. (Jason Lee)

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