Dig ‘in: Terry, Deerhoof, Holiday Ghosts
Check out what the No Wristbands team is listening to and what’s in our show calendars this month on our latest Dig ‘in.
INCOMING
Terry - Call Me Terry (Upset the Rhythm LP)
For the members of Melbourne’s Terry, power resides in their voices. Featuring lineage from Total Control, Dick Diver, UV Race and Constant Mongrel among others, each of the quartet contributes vocals. Furthermore, those vocalizations are rather pointed; critical of their native land’s checkered history of colonialism, corruption and class privilege. Amy Hill and Xanthe Waite often sing together with well-paired voices that provide a double track-like effect. On the other hand, Al Montfort and Zephyr Pavey operate in a baritone speak/sing style that contributes to the band’s unique presence. “Gold Duck” is a prime example of this dynamic as the contrasting vocals develop a call and response cadence that pairs agreeably with a woozy mixture of synth modulation, guitar strum and woodblock-sourced rhythm. There’s a similar dynamic in play with “Jane Roe,” with Hill’s and Waite’s serene voices masking the underlying disdain for Operation Rescue’s bribe to flip Norma McCorvey’s abortion stance in the ’90s, which wasn’t made know until after her death in 2017. For Terry, truths are often uncomfortable, all the more reason that they need to be told. -Bruce Novak
Deerhoof - Miracle-Level (Joyful Noise LP)
A few summers ago I brought my friend darkymarky to see Deerhoof at DoDivison Street festival. Mildly prepping him for what may be in store, it was particularly joyful to see his eyes grow big and jaw drop again and again as we both witnessed the controlled maelstrom and musical art that Deerhoof has been generating for the past 20+ years. They seem to achieve a new musical iteration of what Buddhists refer to as “beginners mind” with each successive record. As instrumentalists they are master level and the intricate interplay between guitarists Ed Rodriguez and John Dieterich—astonishing. Meanwhile percussionist/drummer Greg Saunier—who frequently plays with a kick drum and snare, along with a cymbal, finds more color, drive, and finesse than most drummers ever achieve. Satomi plays her Hofner bass whilst jumping in synchronized patterns, delivering her melodic vocals spot on. Deerhoof is simply one of those bands that need no introduction or “prior knowledge.” No wonder that the likes of Questlove have called them the best live band in the world and Radiohead had them opening shows.
On Miracle Level Satomi delivers her lyrics throughout in her native Japanese, a first. There’s a pleasant optimistic vibe throughout this record which displays loud soft dynamics and out of left field interludes and repetitions that are all part of the experience. Standouts include “Sit down, let me tell you a Story,” the loungey groove of “The Little Maker,” the shred of “And the Moon Laughs,” and “Everybody, Marvel,” which brings to mind peak period Shudder to Think. Deerhoof play Lincoln Hall on July 14. -Wade Iverson
Holiday Ghosts - Absolute Reality (FatCat Records LP)
Holiday Ghosts favor an unadorned sound, relatively free of effects pedals and studio embellishment. It’s a retro aesthetic utilized by K Records founder Calvin Johnson, whom the band have toured with and greatly admire. Guitarist and vocalist Sam Stacpoole started Holiday Ghosts as a solo endeavor after departing the Falmouth, UK garage punk outfit The Black Tambourines (not to be confused with the American Slumberland Records band, Black Tambourine, from the early ’90s). Katja Rackin came aboard shortly thereafter as drummer and co-vocalist, and their spartan approach carried forth even after the later additions of bassist Ryan Cleave and guitarist Charlie Fairbairn.
Absolute Reality marks the band’s fourth album and continues to highlight their knack for combining restraint with an emotional pull that invests you willingly into their songs. When Stacpoole and Rackin sing in tandem, the effect is endearing, whether emanating from the simmering “Vulture” or the meditative “Big Cold River.” In moments where he takes the lead, such as in “B. Truck” and “Again and Again,” Stacpoole comes across edgier, swept along by brisker tempos. In contrast, Rackin’s vocal take on “Blue” is gorgeously wistful, yearning and unhurried. Holiday Ghosts keep to the basics of directness and melody, and in their case, it’s all that’s needed to coax listeners along for the journey. -Bruce Novak
UPCOMING
Clear Capsule
Where: Hideout / Directions
When: May 2, 8:00 PM
When Bryce Pulaski departed Connecticut for LA to escape the winter seasons and snow, he was in for a rude awakening. His prior indie pop band, Chalk Talk, was a prototypical DIY project—a concept that was fairly scarce in his newly adopted home. The LA underground scene at the time was dominated by Burger Records garage bands, which didn’t suit Pulaski’s desire for a more ambitious sonic palette. Eventually he would hook up with fellow transplant and bassist Leon Mosburg to form Clear Capsule. After securing a drummer, Clear Capsule went on to release the four song Windowless Spaces cassette on their own Mutation Records imprint in 2018. Now a five-piece band, Clear Capsule has found a greater community that’s in tune with their psychedelic shoegaze sound. Last year they followed up with their second EP, Gravity Licker, and played their first slate of shows with the expanded line-up. Brent Ulrich’s synth adornment pairs well with the band’s twin guitar crunch and Pulaski’s malleable, androgynous voice. Clear Capsule navigate a loud/soft dynamic that can take them from a whisper to a scream, all the while yearning to be heard. -Bruce Novak
Smoke Bellow
Where: Empty Bottle / Directions
When: May 4, 8:00 PM
Appearing as part of the much anticipated Trouble In Mind Showcase with En Attendant Ana and Sunwatchers, Baltimore by-the-way-of Melbourne outfit Smoke Bellow make their return engagement after a 2014 appearance at The Burlington. Following a couple releases on Ehse Records out of Baltimore, core members Meredith McHugh and Christian Best sent a demo recording to TIM’s Bill and Lisa Roe of what eventually became their 2021 album, Open For Business. That record built upon their denser, drone-driven beginnings for an airy, free-flowing sound anchored with more complex rhythms to support McHugh’s soothing vocals. Elements of krautrock, lounge-pop, electronica and art-funk comprise their varied sound tapestry. It’s easy to get lost in the meditative-quality of their song construction. After the Empty Bottle performance and a gig in Milwaukee, Smoke Bellow will circle back to town on May 6 for an in-store appearance at Tone Deaf Records, providing yet another opportunity to bask in their presence. -Bruce Novak
The Bouncing Souls / Swingin’ Utters / Samiam / Pet Needs
Where: Metro / Directions
When: May 11, 6:00 PM
This four band bill at the Metro covers a lot of territory. We’ve got The Bouncing Souls from New Jersey, Swingin’ Utters and Samiam from California and Pet Needs from the UK. Musically though, this all comes together nicely—plenty of sing-along punk rock here. It’s also the kickoff show of the tour. The headlining Bouncing Souls just released their new album Ten Stories High, but I’m sure we will be hearing a bunch of classics from their 30-plus year history. I saw them a couple of times last year and they definitely still know how to get the crowd moving.
Swingin’ Utters and Samiam are also long-time punk veterans with 30 years of history apiece. Samiam also have a new record out—Stowaway. It’s their first studio album in about 12 years and I’m sure we’ll hear something from that one. I’m looking forward to seeing both of these openers.
Pet Needs are the youngsters of this group, having put out their first EP in 2017. Their new album, Primetime Entertainment was released last fall. I saw them about 10 times last year and they are a blast. Brothers Johnny (vocals) and George Marriott (guitar) put on a very fun & energetic performance. I can’t wait to see them again at the Metro! -Tom Novak
UNCOVERED
Carsick Cars - S/T (Maybe Mars LP)
Understandably, indie music in China underwent a different gestation period than the rest of the modern world. With the Ministry of Culture having oversight on lyrical content and performance permitting, music counterculture was bereft of the volume of labels and venues that we benefit from here in the States. Wider access to the internet changed the dynamic in the early aughts, and when Michael Pettis opened Beijing’s D-22 club in 2006, it was a catalyst for the expanding underground scene. Pettis, a renowned economics professor, had arrived from New York a few years earlier and brought some experience in club management. He also co-founded the Maybe Mars label the following year with Kevin Domer and signed on Carsick Cars as one of their earliest acts.
Carsick Cars 2008 debut album was a landmark document to the Chinese indie music scene, inspiring countless acts to follow in the manner of which the Velvet Underground influenced generations of punk-minded musicians. Of course, the Velvets themselves were a jumping off point for Carsick Cars, along with successors such as Sonic Youth and Suicide. Guitarist and vocalist Zhang Shouwang was attending the Beijing Institute of Technology in 2005 when he met bassist Li Weisi and drummer Li Qing through a mutual acquaintance. Their name was derived from the smoke-infested perils of a congested city of over 14 million residents. They capture the exhilaration and anxiety of growing up in a big city environment with music that is in turns melodic and discordant. Their debut record was primarily sung in their native Mandarin and was produced by Yang Haisong, vocalist of P.K. 14, who inspired the band, With the support of Sonic Youth, Carsick Cars became one of the greater known bands around the world to emerge from China. They subsequently released a couple of more albums (including a 2014’s 3 produced by the Clean’s Hamish Kilgour and Sonic Boom) and occasionally still perform and put out a random single here and there. -Bruce Novak
We recommend listening along over at our Spotify page. Here’s this week’s content: