The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Every Tuesday, the Sounding Board is a space for a short-ish review of a recent-ish release and conversations about new-to-you music. We’ll get things started with a write-up about a newer, likely under-heard album, and invite you to share your music musings in the comments.
Ripped and Torn’s charms aren’t singular, but that doesn’t make the debut album from Lifeguard any less likeable.
The Chicago trio’s first LP is a 12-song blitz of lo-fi guitar music that doles out warm-toned buzz and hooks in a ratio that slightly favors the feedback. Their sonic palette draws from the same crumpled box of slightly melted crayons that Cloud Nothings, Smith Westerns and No Age all used to messily color in their noise-filled early works. It is extremely charming to hear Lifeguard crack open that carton, grab some squishy wax with a peeled label and set to work on their own scruffy art.1
Despite a shambolic sound and a paucity of previously recorded material, Lifeguard have some big ideas. Ripped and Torn‘s version of scuzzed-out rock incorporates two-part harmonies and a post-punk twitchiness that give the album more urgency and dimension than anything on Endless Now by Male Bonding or Hippies by Harlem, to pick two example LPs from when this sort of music was last in vogue.2 The relative sophistication and thought-through interplay don’t add up to create a smooth listening experience. Imagine two Jay Reatards exchanging verses that occasionally overlap while backed by Gang of Four rhythm section, then top that off with a heaping helping of mud-caked guitar, and you’ve got a good idea of how “How to Say Deisar” sounds.3
That song is chaotic. So is most of Ripped and Torn, but Lifeguard manage to make the jagged pieces fit together with aplomb. A keen sense of melody goes a long way toward making that happen. “Under Your Reach” takes nearly a full minute for feedback to give way to a proper song, and repeatedly includes a percussive thud and recoil that sounds an awful lot like a pot lid striking the floor and wobbling on its rim. That track also features some of Ripped and Torn‘s most straightforward garage rock harmonies, which make the total package work.
Locked-in familiarity and talent are key ingredients, too. Kai Slater (vocals and guitar), Asher Case (bass) and Isaac Lowenstein (drums) have been playing together since high school, which their band bio helpfully notes is nearly a quarter of their lives.4 It’s not a surprise that Case’s beefy basslines fit like a glove with Lowenstein’s dynamic drumming, but their grooves’ ability to coexist with Slater’s reverb-drenched guitar is both impressive and consistent. The moments where Case and Slater play more or less the same melody like the intro to “It Will Get Worse” are a joy for the sheer mass of the stringed-instrument noise being generated, but they’re even better when they each get some space to breathe.
Closing track, “TLA,” is a prime example. Slater and Case take turns in the spotlight with Slater’s catchy riff typically leading the way, but Case steps into the spotlight for some nimble pre-chorus rumbles throughout. These nifty moments of tradeoff that bring necessary variety to a song in which “TLA” is sung out as “teeeeeee ehhhhhl ayyyyyy,” 10 separate times across three and a half minutes. If Lifeguard weren’t as good as they are, it’d be annoying. Instead, “TLA,” is damned catchy and an album highlight.
That song showcases a gift for turning a simple set of syllables into a hooks that rest on a foundation of noise that recalls songs like “Heartbeat” by Cloud Nothings and “Here Should By My Home.” That’s exciting. Lifeguard were already a band worth keeping a tab on, and now they have a more-than-solid album under their belt. It wouldn’t be a surprise if they continued to grow and excel, just like their like-minded, noisy peers from yesteryear.
About the writer
Ben Hohenstatt
Ben Hohenstatt is an Alaska-based dog owner who moonlights as a music writer and photographer.
For more information, consult your local library or with parental permission visit his website.
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The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Violent Femmes is an album that unreservedly exorcises teenage demons while simultaneously recognizing their inherent darkness.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Department of
Conversation
What did we watch?
The Kids In The Hall, Season Three, Episode Eight
– “Look, not everything that comes out of my mouth is the Theory Of Relativity, so can teh sarcasm, huh?” Interestingly, I recently learned Einstein never called it that.
– “You mean he’s turning his back on his gut?”
– “Even my dog’s got a real nice low ride.”
– “Hey, my car keys!”
– “I thought that guy’d never shut up.”
– “One thing that puts me down is when people put bandanas on their dogs.”
– “Excuse me, ladies. You’re scantily clad and have nothing to do with the narrative. Therefore, it’s sexist.”
– “No, Williams, it’s not your swearing that I’ve gotten complaints about, it’s the fact that you use the word ‘ascertain’ too much.”
– “And that, good people, is how I came to my decision to remain celibate.”
– “Okay, I’ll keep the time.”
– “Uh, I ordered white wine.” / “But this red wine.”
– “Excuse me, I’ve been waiting a long time.” / “Well, the Sixties were hard on everyone, weren’t they?”
– “You’re not very good at this, are you?” / “Very perceptive! Quite right.”
– “Can you get them to throw some butter?” / “I’d rather not.”
Fascinated by how Einstein, much as his name BECOMES slang for genius, is also disproven in his lifetime (“God does not play dice with the universe”) and never really recovers from it in academic and scientific circles.
The Simpsons, “Homer Goes to College”
“Homer, please. These boys sound very nice, but they’re clearly nerds.”
The Righteous Gemstones, “You Shall Remember” and “Interlude IV”
Two slightly weak episodes, but they’re only weak by this show’s standards: they’re still funny and engaging–
Actually, scratch that. I just remembered that “You Shall Remember” introduces the world to Teenjus, Baby Billy’s idea for a hit TV show featuring a teenage Jesus who glowers at Roman soldiers and longs to show off his sick dance moves. Nothing featuring that can possibly be called weak, even with caveats. This is perhaps one of the greatest comedic details the show has ever produced. I love Jesse pointing out that the way he’s mashed the words together for the title makes absolutely no sense; I love that the filming of the show reveals that other characters are saying “Teenjus” in dialogue like it’s his actual name. 11/10, no notes.
Two bonus selling points on that front: the fact that Baby Billy is genuinely, religiously invested in this project, to the point where he tears up as he’s working on it, and the way Tiffany gently prods at the notion that he’s going to keep pushing himself into new projects, still searching for hits even after Baby Billy’s Bible Bonkers has already left them financially secure. Even as he’s tried to learn from his failures with Harmon–he’s committed to sticking around this time–he’s still thinking that his main way to be there for his family is to provide wealth, when they’re actually in a good enough place now that Tiffany would prefer it if he just calmed down, retired, and spent time with them.
The non-Baby Billy material is less great, but we get major plot material in the form of Lori’s dead exes, as well as the introduction of Dr. Watson. That said, my favorite non-Teenjus-related part of these episodes is the reveal that Jesse was watching Kelvin’s Top Christ-Following Man roundtable and–despite putting heads with Kelvin all episode over Kelvin’s newfound ego–is obviously upset on his brother’s behalf after Kelvin is shamed on-air. (Kelvin, I can give you some better arguments to throw back at Vance. That was hard to watch.) While you could make the argument that it’s potentially unrealistic that it seems like Kelvin hasn’t even considered that people could hurl homophobia at him, I kind of feel like it fits his position in the family. At the end of the day, as much as the Gemstones bicker, Kelvin is still the baby of the family, and he’s always been sort of wrapped in a cocoon–it makes sense that even knowing disapproval is out there, it hasn’t quite touched him in this way. He’s always been protected, and he’s mostly been secure on his own turf; he’s had to prove himself but not defend himself. Vance just changed that, unfortunately.
Andor, “Aldhani,” “The Axe Forgets,” and “The Eye”
Saving full comments for the upcoming TV round-up, but this was a very strong set of episodes, and I can’t wait to watch more. Yet, cruelly, I must.
The implication that Baby Billy’s been poor a long time/made some terrible financial decisions gives his character a nice bit of dimension even when he’s being crappy – he’s been a coward and a lousy dad, but it’s also because he wants to protect the people he loves from his worst self.
The Roman soldier going “Always up to something, aren’t ya, Teenjus?” like Severus Snape rules. Seems to be a direct parody of The Chosen though I’ve heard the show is in fact pretty good.
“This ain’t no Teesus! It’s Teenjus!”
“Homer Goes to College” is great because as deeply silly as it is, it’s wall-to-wall gags, and the driving force is Homer’s inability to process reality when it conflicts with his view of college as determined from crappy Animal House knockoffs. Conan O’Brien has a great story on the commentary about the real-life Harvard geeks that inspired our wallet-inspected nerds.
Woo Andor! “Perhaps you’ve expanded.” Haha, owned.
The Ballad of Wallis Island – a lovely (if somewhat predictable) melancholy comedy-drama about a reclusive lottery winner who offers a big payday to two somewhat washed-up folk musicians who haven’t worked together in a decade. The recluse is Tim Key (of Alan Partridge fame) and he co-wrote it with his musician pal who plays one half of the duo – the other is Carey Mulligan. It’s never that hard to see where it’s going but it’s sweet and funny and the emotional stuff really worked for me, even if the pleasantly generic folk music isn’t really my thing.
Live Music – Stanley Brinks & Freschard, coincidentally a somewhat folky duo! But with more of a raw, eccentric edge and some lovely European accents. Very charming with some well-handled crowd singalong stuff that never felt forced. Good times.
Woo, live music! And a movie about music!
Woooooo charming live music!!
The Rehearsal, S1E1 – One of the most autistic shows in pure conception, finding the gap between “rehearsing for awkward and difficult social situations” and “manipulating and coercing your targets.” (One I’ve definitely questioned – masking is weird because you’re inherently rehearsing and performing for your own sake and that of other people.) It is clear at the end here that Kor made a pretty innocent lie years ago out of embarrassment, got caught in the lie, and is able to open up about a lot of other issues in his life* once he confesses the truth to Tricia. What’s also clear is that “Nathan Fielder”, the character/persona, is creating situations so people will like him and respond well to what he says, avoiding the same confession, even if it involves a labyrinth of lies and simulacras. Never has “Pure Imagination” seemed so sinister or sad.
*the line between fact and fiction here is also blurry as hell, but if what Kor is saying about his dad is true, that is heartbreaking.
Kojak, “Summer of ’69,” part one- In the titular summer, the Mets won the World Series, Kojak dated a wealthy woman, and a serial killer stalked Manhattan. Kojak thought he found that killer (who died in a shootout) but now two women are found dead in the same exact way (including elements never released to the press). Theo wants to make up for his apparent mistake, but is taken off the case. Even as the suspect remains at large. The first two parter of the season is fairly gripping, with a cast of somewhat familiar faces like Stephen McHattie as the killer and the guy who was the captain of the USS Grissom in Star Trek III. While the bulk of this was filmed in LA, there are new establishing shots of NYC and a couple of new shots of Telly Savalas getting out of cars in Manhattan.
The Avengers, “The Girl from Auntie” – Mrs. Peel is kidnapped by a dealer in “unobtainable” items like the Mona Lisa and British spies, and an actress is hired to play her without knowing the circumstances. Fun little episode from Rigg’s black and white season with a plot that ties to the Cold War more than to weird scifi. Liz Frazer, known for the Carry On movies, is the bubbly, somewhat ditzy, but capable faux-Emma, and look for Bernard Cribbins as a knitting instructor of all things.
I’ve been terrified of old ladies with knitting needles ever since I saw this Avengers episode as a kid.
Was a bit disappointed it turned out to be a short man in an improbable mask.
EXILED– Guess I’m going to have to go through Criterion’s Johnny To collection now. As Dave Shutton said yesterday, this is a more of a Western than a gangster film, one that references the group dynamics, particularly the bonhommie and reflectiveness of outlaws forged by years of friendship and cooperation, associated with Peckinpah, and the mis-en scene effectively mashes the compositions of Leone with Hong Kong heroic bloodshed showmanship. The self conscious referencing shows Tarantino’s influence on international genre based art house pulp, but To does his own thing with it, throwing in goofball comedy (the running gag concerning a corrupt cops “three days from retirement” angst never gets old, and the payoff, in which the operatic staredowns before the eruptions of mayhem play out in real time on another level of space, is wonderful) and old master inspired interior lighting. A damn good show.
Ha that cop is great — is he the Deke Thornton analogue? It’s a much looser tie but he’s in this world while longing to be out and working (such as it is) on the side of the law. And while I was super amped for To to do a straight riff on the Wild Bunch ending what he comes up with as his own thing works very well.
I think that the analogue has less to do with Peckinpah and more with the railroad in ONCE UPON A TIME IN THE WEST. The unit of time representing its progress is elliptical, while the drama ahead of its progression is operatic, with each note (o rstare) extended for musical effect. The detective measures his time in terms of the termination of his duties as set by a calander, while the underworld sets its pace in terms of balletic choreography and voyeuristic foreplay. The joke,which I thought was funny, is that the former runs out while the other is still playing out, foregrounding the illusion of linear time through cross cutting.
Predator: Killer of Killers. This starts out as an anthology of 3 animated shorts, all set in different time periods, then certain characters from each short come together for the finale. This is all very cool stuff if you’re a fan of the Predator movies, watching humans fight Predators, or extended, elaborate fight sequences. It’s on Hulu.
What did we listen to?
Liverpool Sound Collage, Paul McCartney
I loved this way, way more than I was expecting to. The really funny thing is that McCartney is fundamentally a pop writer, so this is very much, as advertised, a sound collage for an art piece, but it’s like McCartney keeps trying to find pop songs in the noise; my favourite part in the whole thing is in “Peter Blake 2000” where he takes a soundbite of Harrison saying “Do what ya wanna do” and keeps repeating it and changing it until it becomes a bassline that he builds a whole song out of (later, more literally, in “Free Now”). I have a strong suspicion this is too pop for art folks and too arty for pop folks, but it hits a sweet spot for me; I need structure but I need weirdness.
Short n’ Sweet, Sabrina Carpenter
I ended up liking this a lot. Honest, clear-eyed; I think this captures how a lot of ordinary young women think but keeping an eye on originality rather than cliche; you can tell she rewrites a lot because she keeps coming dangerously close to cliche (and its slightly stronger cousin the-second-thing-after-cliche) but veering into a more specific direction. I enjoy the music too – a lot of natural and acoustic instruments and a blue-sky sensibility. This felt like Beck-lite in some ways – a compliment – in that Carpenter mixes and matches genres to suit whatever she’s doing at the time; there’s even some country in here, maybe lifted from Taylor Swift.
Harvest, Neil Young
Definitely a kind of country-rock thing, though interpolated in ways more difficult to parse than Carpenter. There’s a strong sense of melancholic resolve to Young’s music that I’m attracted to.
I’ve only heard “Espresso” off Short ‘n’ Sweet, but that’s a profoundly catchy song, and I like both the confident sexiness of it and the almost over-the-top playfulness of the lyrics.
I love the idea of Paul McCartney being unable to help seeking out and creating pop sounds. That combination of structure and weirdness can be hard to find sometimes, but that’s a big art love of mine too.
Weirdly, “Espresso” was my least favorite song on the album. “Please Please Please” was more my speed.
Really weirdly, I heard “Espresso” while we were out Monday night, and it sounded familiar but I didn’t know what it was. I don’t think I’ve ever consciously listened to it. (And the chorus reminded me of Hines and Beck’s “Boom Boom Back.”)
Mattiel – Uh, I like their album, also called Matteil? Not much insight from me today, I’m afraid.
Been trying to randomize my Spotify experience. In that I hit a letter on the keyboard and see what names come up in the search. The most interesting was Johnny Cash. I think i can say there are two Johnnys. One is more or less stripped down, just s guitar sometimes and a small band others, songs that had a bite to them often. I like that Johnny. And there is the Johhny with the larger bands and the partnerships with other country stars, and those songs tend to be a bit overwrought and sometimes far too patriotic to be of any interest to me. I am not much for that Johnny.
Some Ravel and Bach, though I’m not just that interested in 19th century classical music – maybe it doesn’t engage my emotions and mind the way a lot of later instrumental jazz and experimental work does.
1001 Albums, etc.:
Rush – 2112: Found the screechy vocals offputting at first, grew on me a little bit over the course of the album but not something I’m expecting to return to.
Jorge Ben – Africa Brasil: enjoyable Brazilian pop but nothing really special – there has been some Brazilian stuff on the list previously I’ve really gotten into so was a bit disappointed here, although it’s still fun.
Joan Armatrading – S/T: eh, there are a couple of songs on this that are very well-written and catchy but in general it’s very tasteful songwriting with impressive musicianship that lacked any interesting edge.
Blank Check, Clueless – lovely episode, always great to hear them talk about a film they truly love. I should watch this again, it’s very good and I haven’t seen it in a long time, but for now just hearing them sing its praises was an enjoyable time.
These 1001-albums were disappointing but I should give a shout out to previous entry Curtis Mayfield’s “There’s No Place Like America Today” which I’ve been returning to very regularly. Such a gorgeous album, especially the brass arrangement on “So In Love”.
Mayfield’s sheer prolific genius is staggering, Prince-level. Should give him more eartime.
Me too! I only really know this one and Superfly, which is also great but in quite a different way!
Curtis rules, the opening song is terrifying in the best sense.
I love Lee’s voice. But it only works within prog and wouldn’t work in any other genre. It’s the perfect prog voice.
It’s definitely a powerful weapon.
#1 Record, Big Star
I surprised myself by already knowing “The Ballad of El Goodo” and “In the Street” without having realized it: beautiful and memorable songs. Past that, I loved the adolescent sweetness of “Thirteen,” the plaintive starkness of “Don’t Lie to Me,” the endearing simplicity of “When My Baby’s Beside Me,” and the ache of “Try Again,” in particular. Great album, and I approve of the title: it should be the best album title I’ve seen lately, but TV on the Radio knocked theirs out of the park, so this will have to be second-best.
Radio City, Big Star
“Life Is White” is such a good, unsparing breakup song–which is as good a way as any to lead into the fact that overall tone of this album feels tougher and more cynical than #1 Record, even though the songs are just as beautiful. You still get some lovely wistfulness–the chorus of “Way Out West” really stuck with me on that front (“And why don’t you come back from way out west? / And love me, we can work out the rest”), as did the sense of “Back of a Car” as an anxious introvert’s love song–but also some A+ sad cynicism, like in “What’s Going Ahn.” I have the impression that “September Gurls” is famous, so I was disappointed that it didn’t speak to me as much as some of the other songs, but even with that being said, it’s still gorgeous and catchy.
Desperate Youth, Blood Thirsty Babes, TV on the Radio
Fantastic, evocative language–“The Wrong Way” is a terrific intro, and I say that even though I had trouble understanding the lyrics, and that usually hurts my ability to appreciate a song. The sound is just that incredible. “Dreams” is clear and painful and lovely: “But you were my favorite moment of our dead century.” A big highlight for me was “Ambulance”: I’d somehow heard “all wrapped up in wrong” as a phrase before without having heard this song, but it’s the chorus that sticks out as especially fantastic. I love the contrast here between the bold lyrics and the boppy a cappella style. Overall, just an extremely compelling album where everything has a lot of impact.
I’ve also gone through a couple years of Pitchfork’s best-of-the-year articles, combing them for possible recommendations of individual songs I’d like. This is hard, because Pitchfork tends to write about songs in such a way that I sometimes have no idea what the fuck they’re talking about. But I’ve still found some good things (I’ve had pretty good luck with their tastes in country, in particular).
Highlights include Arctic Monkeys’ “Four Out of Five” (cynical, funny song about capitalism and gentrification on the moon, very catchy), U.S. Girls’ “4 American Dollars” (catchy and angry and peppy all at once), Grace Ives’s “Shelly” (I love that this is a lesbian love song about being attracted to a girl because she looks like Shelly from Twin Peaks, and it feels like it captures the sensation of a headlong crush), Wednesday’s “Chosen to Deserve” (if this were 20% more nuts, it would be a great Judy/BJ song), Pistol Annies’ “Best Years of My Life” (great resigned achiness, plus “I picked a good day for a recreational Percocet”), Mount Eerie’s “Real Death” (this should be too earnest, and it certainly starts out that way, but it gets somewhere raw and real), Shaboozey’s “A Bar Song (Tipsy)” (the rest of the world probably already knows about this one), Gillian Welch and David Rawlings’s “Hashtag” (poignant mourning for another lost musician), Father John Misty’s “I Guess Time Just Makes Fools of Us All” (banger), and my possible favorite, Waxahatchee’s (with MJ Lenderman) “Right Back to It” (achy, romantic, poignant, heartfelt, sing-able).
Hell yeah Big Star! Here’s a (somewhat hasty) cover of September Gurls that I did once.
https://prfmonthlytributeseries.bandcamp.com/track/september-gurls
Oh, that was lovely!
Thank you!
“ This is hard, because Pitchfork tends to write about songs in such a way that I sometimes have no idea what the fuck they’re talking about”
I’ll defend Pitchfork (they introduced me to Arooj Aftab! And Lonnie Holley! And just look at that beautiful, nuclear Greta Van Fleet pan!) but I feel this in my bones
And if you like those Wednesday and Mount Eerie tracks, the albums they came from are must-listens
I will definitely add both of those to my Spotify!
Seconded.
Radio City is one of my top ten favorite albums, and September Gurls is the song that most reminds me of college, where we managed to put in on the radio station even though it was released well over a decade before my friends and I had ever heard it.
I once had a pizza and beer with Alex Chilton with said friends before a gig he played once, and until he started playing had no idea who the hell he was.
Huge Big Star fan, Third/Sister Lovers is a much weirder and rougher album than the first two but the whole discography has a kind of downward trajectory that works great in a full listen. And good songs here, love “Time Makes Fools of Us All.”
Woo Big Star! Those are two of my favorite albums ever, and just, like, a blueprint for so much power-pop going forward. I think you get the differences between the two; Radio City is a little older, cynical, and more diverse; sometimes I appreciate that added edge, sometimes I like the simplicity and plainspokenness of #1 Record. “Thirteen” is an all-time great ballad, and I’m probably one of the biggest advocates for “September Gurls” as a perfect power-pop song. But there’s a lot to like on both; not a bad track in the bunch, really. (How good is “O My Soul”?) “Way Out West” had Andy Hummel singing lead, the only time someone besides Chilton or Bell did. (Bell had officially left Big Star before Radio City, but his influence– and even presence– is evident on a few tracks, most notably “Back of a Car.”)
If you liked Desperate Youth, Blood Thirsty Babes, you’ll probably also like the EP they put out not long beforehand, Young Liars. (And you’ll get to it if you get to the EP list!) I didn’t care as much for their later albums, although it’s widely agreed that Return to Cookie Mountain is a classic, and there are a few songs on it I like (“Wolf Like Me,” “A Method,” “Dirtywhirl”). I’ve also liked the newest stuff from Tunde Adebimpe, “Magnetic” in particular.
I also don’t understand what the hell Pitchfork writing is saying most of the time either, but their recommendations were generally good in the old days, in that when they said something was good, it was. I don’t check it for much more recently, but as far as other songs I’ve liked from these listed artists, U.S. Girls “So Typically Now” and Arctic Monkeys’ “I Ain’t Quite Where I Think I Am” (which I think is from their subsequent album) come to mind.
Massive second on Young Liars, what an EP.
I still think my favorite TV on the Radio track is “Satellite,” the first track on their first proper release.
See, I don’t usually look up who is in a particular band, so finding out from this that one of the guys from TV on the Radio is Tunde Adebimpe, whose “Magnetic” is one of my favorite discoveries off your playlists, was like someone ripping off a Mission: Impossible mask. This keeps happening! I don’t know why I don’t check more often!
I really like “So Typically Now” and (especially) “I Ain’t Quite Where I Think I Am,” too!
“Pitchfork tends to write about songs in such a way that I sometimes have no idea what the fuck they’re talking about”
It’s a classic for a reason:
https://x.com/JucheMane/status/852949235981012994?lang=en
Haha, I was pretty sure I knew what this would be before I clicked it, and I was correct.
Year of the Month update!
This June, we’re covering 1983, including all these movies, albums, books, et al!
Jun. 12th: Bridgett Taylor: Silkwood
Jun. 19th: Cameron Ward: Barefoot Gen
Jun. 23rd: Sam Scott: El Sur
Jun. 24th: John Bruni: Legendary Hearts
Jun. 26th: Cameron Ward: Twice Upon a Time
Jun. 30th: Tristan Nankervis: The Big Chill
And next month is 2005, including all these movies, albums, books, et al!
Jul. 28th: Tristan J. Nankervis: Sin City
I have a real affection for this era of noise pop/rock so will give this a listen. Male Bonding, No Age, Wavves, etc.