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Malvina – Hybrid War

If Malvina is what Brazilian hardcore music is then I am certainly not opposed to listening to more of it.

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What is Brazilian hardcore music? It is Malvina. I am quite certain that these guys are the real deal if you are into an anarchy of instruments. The trio from Nova Friburgo, Brazil, take full advantage of portraying political messages and awareness through song. Explained by the band; ‘the album’s concept has to do with the rolling coup in Brazil, the rise of neofascism and the alt-right attacks over the world,’ which is why I am so disappointed I can’t understand their lyrics.

A chaos of instruments fills your ears from beginning to end. It’s functioning chaos, but variety is missing from the album. However, sometimes you need albums like this, where all you want to do is hear the guitars and drums being slapped and hit as hard as possible from start to finish, get the blood pumping, get the head banging, let your locks fly and start throwing some punches.

XIII brings an “Ace Of Spades” by Motorhead type of tone but with a punk twist. It is a fast-paced two-minute song that packs a punch. As told by RollingStone Brazil; “they relate the year 2013, prior to the impeachment of former President Dilma Rousseff, to the political events of the time: the demonstrations of the middle class on the streets, the media news, and the resulting end of Dilma’s term.” I definitely need to brush up on my Brazilian history…

Standouts of the album would include “The Anomie”, “The Cypher” and “Biped Goodbye”. “The Anomie” has some incredible guitar work involved and allows no time to warm up for the force of instruments. “The Cypher”, well, it’s pretty much great for the same reasons; impressive guitar work and no build up, they just get straight into it. “Biped Goodbye” begins with more of a melodic intro, but don’t be fooled, it takes a predictable turn straight back into pandemonium.

This is the type of album you could start a riot with. And then riot to the whole duration of it. It is hardcore music with a message, and with a mission to criticize political agenda. It would have been nice to see some diversity throughout the album, seeing as it probably doesn’t drop from about 150bpm the whole time, but if this is what Brazilian hardcore music is then I am certainly not opposed to listening to more of it.     

(Punk & Disorderly Records)

Reviews

Tennis System – Lovesick

This is furious noise

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Tennis System Lovesick

It is impossible to read music that taps into the shoegaze lineage without finding mention of My Bloody Valentine or The Jesus and Mary Chain. While the aforementioned bands are certainly the epicentre of the genre, bands like Los Angeles’ Tennis System aren’t all too interested in being just another page in the Kevin Shields songbook. Unlike the genre’s progenitors, Tennis System only graze the often plodding, overly moribund nature of shoegaze, and instead find more inspiration from uptempo punk urgency. Lovesick, their third album, is a culmination of what the band call their “putting it all on the line” mentality, wrapped in fuzzed-out, loud guitars, breezy percussion work and that ‘let’s go’ punk attitude.

Songs like “Alone” and “Esoteric” come cut from the same mold that crafted early emo band Cap N’ Jazz; manic, loud, frenzied, while opener “Shelf Life” digs deep into the fuzzy, distorted heaven of Jawbox meets Burning Airlines. The song itself feverish sudden changes, one that mimics what vocalist/guitarist Matty Taylor told Flood Magazine about the song’s “journey of realization, denial, and finally acting upon things”. It’s true then that songs on Lovesick owe more to J. Robbins than Kevin Shields, but it is not to say the album is not without its more shoegaze moments. It’s the moodier soundscapes of “Cologne” and almost whispering “Fall” that paint from that brush.

The album’s strongest outing is the terrific “Turn”. It is a song that is a well constructed effort combining early emo and elements of shoegaze with the furious noise of guitar powered alternative/punk, packing together all the best qualities of the band in alluring freneticism.

As the title track closes proceedings, the listener is left with a sense of aural delight that came with albums like Loveless, or Trail of Dead’s brilliant Source Tags & Codes. It doesn’t mean to say Lovesick is a trailblazing record, but what it does mean is that the album’s tightly wound energy and furiousness explodes in euphoric delight- even if it is temporary. In the song “Lovesick”, Taylor sings, “please don’t let me burn out”… and perhaps, with this much aural euphoria, it is inevitable. But as the saying goes, “it’s better to burn out…”

(Graveface Records)

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Pom Pom Squad – Ow EP

The latest EP by this Brooklyn four-piece is beautiful vulnerability

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Pom Pom Squad

Brooklyn “quiet grrl” band Pom Pom Squad may have a cute moniker and description of their sound, but like their riot grrl brethren that it comes from, it’s anything but tame. Pom Pom Squad is a four-piece led by vocalist and songwriter Mia Berrin, who on their second EP, have taken the twinkly sounds of Rilo Kiley and Mitski and injected it with the grungy, manic energy of Hole and Bif Naked and the distorted, punk urgency of Bratmobile.

Ow stands out from the opening “Ow (Intro)”, a song of delicate heartbreak that is both pensive and biting. It’s mostly just Berrin and her guitar, sparkling in a glow of Midwestern emo-esque strings and her voice. The song is beautifully wistful when it sings “he says he wants what’s best for me” and biting when it comes back and says “they all say they want what’s best for me / but they never try to be the best for me”. It’s from this you hear the strength of the EP; that when it gets a little brooding, melancholy, pained, it’s also gorgeous, vulnerable and definitely unafraid to show the listener honesty and character.

In songs like “Heavy Heavy” and “Honeysuckle”, Pom Pom Squad get a little dirtier, a little grungier, amping up the distortion and sludgier percussion work. The hazy bellowing of “Heavy Heavy” adds to the angry introspection of the song; its lines of “It’s getting heavy heavy / Telling everybody that I’m fine / I’m feeling heavy heavy does it mean / I wanna fucking die?” painted by lusciously loud guitar work that would make Steve Albini smile. “Honeysuckle” takes on a similar pained look inside the mind but with a more fuzzed-out, alternative-rock veneer. Berrin’s lyrics come across as vividly as she sings “If I’m nothing without you am I anything at all?” It’s songs like these, with words like these, that hint of comparisons between Pom Pom Squad’s captivating allure with that of Courtney Love and Babes in Toyland during their heydey.

“Cherry Blossom” taps into that beautiful sorrow again, plugging into the aura that is painted when it is just Berrin and her guitar again. It’s almost hypnotic at times, and just as quickly as the tension and the magnetism builds, it ends. The anger of the album works because unlike angst, it’s calculated and targeted, leaving Ow as much of a substantial outing as it is growth from their 2018 EP Hate It Here. The only real downside to Ow are some moments like on the closing notes of “Cut My Hair”- a song that builds up to its crescendo with more dazzling vulnerability but ends a little quicker than it ought to. In truth, that’s the only real con of the EP, that when the orchestral fade-out of “Owtro” howls away, you’re left searching for more, with only repeated listens as your respite. But in the end, what could be better for an artist you’ve recently discovered than to get under your skin and leave you wanting more?

(self-released)

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