At first glance, 3 seems like a perfectly fitting title for a new nots album. After all, it is the Memphis band's third full-length (two released by Heavenly) and their first as a trio. Makes sense. But after you begin to peel back the layers of 3-unearthing every writhing guitar squall and every piercing vocal melody-the spirit of the record comes into much clearer focus. This LP is a whirlwind of razor-shard guitar and vocals for fans of the raw post-punk shriek
Pega Monstro are sisters Jlia Reis (drums) and Maria Reis (guitar, keyboard), both sing! The duos name translates as catch the monster, perfectly countering the bands striving dream-punk sound. The name Pega Monstro also references a novelty toy in the shape of a jelly hand on a string, which children have been throwing at each other in delight for many generations in their native country. Great new signing to UTR, Pega Monstro are two sisters from Portugal halfway between Talk Normal and Vivian Girls.
Spanning just 7 songs in a little over 30/minutes, Casa de Cima feels like the most accomplished Pega Monstro records, especially in terms of how they further explore the dreamier and more polished qualities of their dream/punk sound. But regardless of how refined they may sound here, they remind us at the same time that they-re still plenty capable of rocking out.
PRIMO is Vio (Shifters), Xanthe (Terry) and Suzanne (film expert), on bass, drums guitar and vox. Their songs sound like the places you go when you're working hard nine/to/five and can't go anywhere. From A to B, Kings Cross the magnetic strip, sound's effect, ghost in New York we didn't see, scenes of suburbia, sea a sonic mirage. mici' is the Melbourne trio's debut album.
Un/defined by genre, Ravioli Me Away's high energy, dangerously ambitious and delusional jazzy/post/pop/punk/hip/funk sound with stylistically schizophrenic motifs span all/known past, present and future human cultures and sub/cultures. This is social realism soaked through with a heady dose of fantasy, idiosyncratic poetics, keyboard flurries and vocal vicissitudes described as "vintage drag/queen Bananarama Youtube footage played with twice the sass and in double time with an incredulous broadband connection reflected in the eyes of a much overworked and downright exhausted Julie Burchill on acid."