I know a lot of indie artists out there use Bandcamp. Well, I just wanted to give you a heads up to upcoming changes to their business model. Like what happens to all cool free shit, it’s time for Bandcamp to figure out how to make money off this idea to remain “sustainable long-term”. These changes won’t be starting until early August. The basic service will remain free. However, Bandcamp will begin taking 15% of every transaction. Their rate will drop to 10% when your all-time sales exceed $5,000. Your initial rate (based on sales to your PayPal email address, not your Bandcamp account) will be determined by all your sales to date. (If you’re a label and have multiple artists all using the same PayPal account, your rate will be calculated by looking at the combined sales of your artists.) For a truly independent artist, it still beats most record deals. - Q.D. Tran
Being a band with a “thing” or a “shtick” can as easily work against you as it can for you. For The Kominas, their radical Islamic punk ideology was picked up by various notable publications that focused mostly on the disparate image of the defiant Muslims rather than discussing the music they were making. People say that there is no such thing as bad press, and ultimately The Kominas succeeded in opening eyes, rejecting preconceptions and fueling the Taqwacore scene, but writers and critics seemed more concerned with the idea of the band than the actual execution of their music. Now, after a bit of a lull, the band has “reinvented” itself (in a way) on its latest full-length Kominas, and enmeshed itself in the Philly music scene with the addition of Hassan Ali Malik a.k.a. Sunny Ali. With the new line-up, comes an arguably more casual agenda with less direct protest as much as tongue-in-cheek cynicism. They have the same goals; they are just taking a different route.
The album’s opener, “Aviation,” is an instrumental interlude that is punk and anthemic, down to the drum corps-style snare work. It is playful and full of attitude, much like the rest of the album. “Tahrir Square Dance” kicks the album into gear with reckless abandon and plays on the “Walk Like an Egyptian” trope in a way that actually makes the original song seem kind of racist. The following track, and my personal favorite, is “Disco Uncle” which is effectively a song long metaphor about the death of an “era.” The tune, along with the rest of the album, will remind most people of The Clash both lyrically and musically, especially the chorus that sounds like the long lost brother of “Rudie Can’t Fail” and includes the memorable lyrics: “Uncle took us to the show/He even got us blow/Now he’s spinning on his head/Uncle Disco’s dead.” The LP continues in a similar infused punk style with the skittering disco-punk “Left, Right Left” and the rollicking surf rock tune appropriately titled, “No One Gonna Honor Kill My Baby (But Me),” another flash of humor and arguably the best title on the full-length.
The album succeeds by keeping things loose, but making poignant statements within all the mockery and wit. The band is punk with or without the music, so even the more psychedelic backend of the album including “Nafs Said” and “My Friend, My Friend” have jagged edges. The closer, “Bhung Ho,” leaves the album on a clamoring but somewhat serene note. It ambles, it patters, it crashes, it squeals, and it dissolves. Kominas is gone as quickly as it came leaving behind a trail of inflammatory statements and battered eardrums. Once the ringing in your ears subsides though, hopefully some of the message will persist. You can download Kominas for free HERE. - Adam G.
