Dig ‘in: The Limiñanas, The Murder Capital, Cloakroom
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
The Limiñanas – Faded (Because Music LP)
The faceless starlet images that adorn The Limiñanas’ latest record draws attention to gender inequity where female beauty is celebrated over personal accomplishments. The French couple of Marie and Lionel Limiñana synthesize the cultural revolution of the ’60s into their forward-thinking art that’s suffused in exotica and sensory delights. On the record’s title track, they carry the torch for a diminished icon, sounding empathetic and enthralled. Their passionate exchange on “Tu viens Marie ?” builds in intensity behind instrumentation that begs to be pressurized. Guest vocalists, both renowned and obscure, surface on about half of Faded’s tracks. Primal Scream’s Bobby Gillespie brings an unabashed swagger to the lacerating “Prisoner of Beauty” and Jon Spencer’s reverb-laden proselytizing on “Space Baby” resides in the echos of Alan Vega and Suicide. The Limiñanas’ shape-shifting versatility is on display in a sensual, but fierce-sounding “Louie Louie” that transforms the frenzied old workhorse into something fresh and delectable. In Limiñanas’ universe golden oldies are ripe for rediscover, if only to be given a chance to be observed at under a different light. -Bruce Novak
The Murder Capital - Blindness (Human Season Records LP)
Arriving at the title of their third record opened up a myriad of meanings for the members of The Murder Capital: blind fate, blind hate, blind optimism and so forth… Our myopic focus often impedes us from seeing the big picture, resulting in short-sighted decisions that have long-term consequences. The descent is captured in “The Fall” when James McGovern sings: “I keep my hand in the flame to find the divide / Between what’s steering my fate and what’s opposing my lines / When the pain is complete in pure decay / Don’t you wanna be smothered? / Don’t you want to betray?”
Guitarist Damien Tuit said the band considers Blindness as “a needle drop into a feeling,” and with the band’s Irish heritage, those feelings are passionately expressed. They come out punching from the start, setting their sights on high on the clamoring “Moonshot.” “Love Of Country” dissects the current wave of nationalism (“Could you blame me for mistaking your love of country for the hate of men?“) with the band advocating a humanitarian approach and backing it up by donating all proceeds from the track to Medical Aid for Palestinians. As the record winds down, McGovern offers his own self-reflection: “That feeling / Oh, changed my foolish mind / It’s stranger then a vision of / Of strangers who combine.” Seeing ourselves through the eyes of others is a line of sight that we ought to bringing more in focus. -Bruce Novak
Cloakroom - Last Leg of the Human Table (Closed Casket Activities LP)
There’s much to be said about developing a singular signature sound, but left untouched over time that unique approach can eventually stagnate and lead to listener fatigue. Cloakroom’s early forays into doomgaze and slowcore put them in rare company, but their continued artistic growth is what’s now what’s setting them apart. Last Leg of the Human Table marks Cloakroom’s fourth album release following their inception in 2012, and represents their most fully realized work to date.
“The Pilot” and “Cloverlooper” are spiritual descendants of the band’s earlier works with mammoth riffs, heavy ballast and Doyle Martin’s tranquil vocals. A brewing pop presence emerges with “Ester Wind” and “Unbelonging,” with brisker tempos and ringing guitar tones. The balladesque “Bad Larry” pulls back the reins, conveying a wistful feel and an outlaw tale. “Story of the Egg” comes on high-Wired, drawing comparisons to the English post-punk legends who have vehemently resisted replicating themselves throughout their existence. The title of Last Leg of the Human Table portends some sort of finality, but hopefully for Cloakroom it’s a sign that they’re only getting started. -Bruce Novak
UPCOMING
The Bevis Frond
Where: Schubas Tavern / Directions
When: March 6, 8:00 PM
Electric guitar ace and songwriter par excellence Nick Saloman began doing business as the Bevis Frond in 1987. His first batch of lo-fi, home-recorded releases bristled with guitar-heavy acid-rock that vividly evoked Hendrix, Cream and Syd Barrett-era Pink Floyd. At the time, the few people who even heard Bevis Frond assumed it was part of the young cohort of 1980s neo-psychedelic bands that included Plasticland, the Lyres and the Chesterfield Kings. Not so!! Saloman—who was several years older than the members of those groups—was personally involved in London’s late-1960s acid-rock explosion as a young teen. He was already middle-aged when the first Bevis discs came out.
While those early Bevis discs were awash in loud, psychedelic axe extrusions, his records soon began sporting a few stunningly catchy pop tracks. “Lights Are Changing” from Triptych (1988) is an infectious, guitar-jangle masterclass that’s now considered an indie-rock classic, covered by artists like Mary Lou Lord and Teenage Fanclub. But it was on 1991’s sprawling New River Head that the full breadth of Saloman’s songwriting chops was revealed. Effortlessly tossing off hard-rock wallops (“Motherdust”), beguiling British folk (“Thankless Task”), soaring pop (“He’d Be a Diamond”), brooding psychedelia (“God Speed You to Earth”) and even Wipers-worthy punk (“Undertaker”), the disc proved Saloman was a gifted, multifaceted artist and not just a florid string-bender.
The Bevis Frond has continued rolling out delightful, catchy, moving records ever since (always on indie labels) and even found ways to tour the states several times for some energetic, thoroughly entertaining shows, several of which this writer can attest to. Now 72 years young, Saloman (and the Bevis Frond) are visiting Schubas as part of their first American tour in 25 years. It’s a wonderful opportunity to see and hear Saloman’s superb songs and riveting fretwork in an intimate setting, and who knows if it’ll ever happen again. Highly recommended! -Rick Reger
Kestrels
Where: Empty Bottle / Directions
When: March 11, 9:00 PM
Being tucked away in the remote woods of Halifax, Nova Scotia didn’t insulate Chad Peck from a changing world order. The genesis for Kestrels’ fifth album, Better Wonder, that was released in February on Darla Records, emerged from the anxiety that Peck felt from “so much change and tumult and those feelings of insanity at three in the morning.” Describing the effort as “nighttime record,” Better Wonder explores the darkness that’s seeped into daily lives—with Peck even going so far as to paint his home studio black when working on the track “It Would.” Contrary to the downcast vibes, Kestrels’ music consistently soars with a shoegaze sheen and pop melodies. J Mascis was a guest guitarist on the preceding Dream or Don’t Dream album, and Weird Nightmare’s Alex Adkins came aboard on Better Wonder for harmony vocals on the sumptuous lead track “Lilys.” Jim MacAlpine (bass) and Michael Catano (drums), who also are in Weird Nightmare’s touring line-up, provide a crack rhythm section. Similar to Peck’s residence of choice, Kestrels remain off the map for most listeners, but truly worthy of discovery for those adventurous enough to seek them out. -Bruce Novak
Möney
Where: Fallen Log / Directions
When: March 16, 8:00 PM
The Bristol, UK trio Möney have become an edgier endeavor since first surfacing in 2021. Although they’ve been politicized from the get-go, their astringent tones now fall more in line with their oppositional ideology. As virulent anti-capitalists and critics of neoliberalism, their songs bristle with observations on how our identities have been reduced to consumerism, thereby creating our own imprisonment. Möney’s sound is reminiscent of the intersection of ’80s English post-punk and goth, with the band personally opting for the DIY egg punk genre label. Möney’s low profile extends to their (primarily cassette) music catalog on Chicken Attack Records, a diminutive label located in the south of Spain, and a self-confessed “pretty shit” social media presence. The idea of them popping over for this Chicago gig seemed remote, but life brings all sorts of surprises. -Bruce Novak
UNCOVERED
Nice Strong Arm - Reality Bath (Homestead Records LP)
The arrival of spring sets my sights on the SXSW music festival. The festival originated in 1987, which is also the year that Austin’s Nice Strong Arm debuted with Reality Bath. The record garnered enough attention that Nice Strong Arm landed a spot on the festival’s line-up the following year. The band relocated to NYC following the recording of their second LP (Mind Furnace) when bassist Jason Asnes was offered to join Swans; a decision that was aided by Austin’s bleak financial picture at the time.
Reality Bath opens with “Life of the Party—a swirling miasma of agitation that hits like a direct descendent of the Replacement’s “Color Me Impressed.” “When Truth Comes Around” rides a percussive rollercoaster engineered by dual drummers Stephen MacMurray and Jamie Seidel. The back to back pairing of “Minds Lie” and “Free at Last” on side two highlight the serpentine interplay between Asnes and guitarist Kevin Thomson and sparkle with an emo-like vigor. Nice Strong Arm eventually folded in 1991 following the release of Stress City, their third album for Homestead. Thomson continues to perform with Enablers, fronted by poet Pete Simonelli, and under his own solo project titled Hazel Atlas. -Bruce Novak
We recommend listening along over at our Spotify page. Here’s this week’s content: