Austin power trio, Death Party drops their latest single “Evil Eye” today at The Cosmic Clash. The song is the second single released by the group, following their “Son of Sam” single which was introduced in February.
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Dry Cleaning was back in Austin for a sold-out show in the Red River Cultural District at Mohawk on Friday, January 27. The South-London, post-punk band displayed a great deal of synchronal growth almost eight months to the day after a sold-out performance at Hotel Vegas
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Bartees Strange, Pom Pom Squad, and They Hate Change performed an intimate set at Empire Control Room November 29.
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With their latest record, Stumpwork, London’s Dry Cleaning announced themselves as one of the most unique bands in modern music. The quartet’s sophomore full-length effort was released on October 21 on the 4AD label.
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New Zealand post-punks Swallow the Rat are premiering their video of the track “Other Rooms” featuring Yuko Miyosi (of Memory Foam) today at The Cosmic Clash.
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Brooklyn-based rock quartet, Parquet Courts, released their seventh LP, “Sympathy For Life” on Friday, October 22.
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One of the latest bands to emerge through the thick post-punk movement of the modern-day UK is Yard Act, a self-described, “minimalist rock group” based in Leeds, England. Their debut full-length record is set for release on January 7, next year.
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Through the South London fog, as UK lockdown restrictions eased up and pubs began to serve the ale-starved public, London-based four piece Dry Cleaning released their debut LP, New Long Leg, on April 2.
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Three years almost to the day after Shame released Song of Praise, they delivered on that promise with the release of Drunk Tank Pink in mid-January.
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Metz’s new record, the follow-up to the Steve Albini-produced Strange Peace is Atlas Vending. The album continues in a similar trajectory as an angst-layered commentary on post-nuclear life. The record is due for an October 9 release on Sub Pop Records. The new LP indeed picks up where their previous work left off, further establishing the Ottawa natives as a hardcore punk sub genre all their own.
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To the excitement of many fans, Fontaines D.C. announced early this year that they had completed recording their sophomore effort, A Hero’s Death which was heavily inspired by the music of the Beach Boys. An ambitious undertaking to both avoid the sophomore slump and put out a record that rose to lofty level of Brian Wilson and company.
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