Ratboys (photo credit: Johny Fabrizio via artist’s Facebook page)
Too much music not enough time, however, Getintothis’ Simon Kirk earmarks some previous omissions in the latest edition of Unknown Pleasures.
Welcome to the latest edition of Unknown Pleasures.
As this is my first time at trying my hand at this column, do bear with.
It’s a good one (the column that is). Yet, this one may be slightly different.
Overseeing this month’s Albums Club amid the current situation of self-isolation got me thinking. “Too much new music, not enough hours.”
A bit like the too many Christians not enough lions adage.
We try our best to cover as many new albums as we can, however there just aren’t enough hours in the day to consume everything. So much slips through the net and while many of us are working from home at the minute, proving a great catalyst for listening to more music, still, that net is still ever evading.
Over the last couple of months, these three artists were earmarked for Albums Club inclusions, but you know how it goes. Someone has to miss out and at various stages, these artists fell victim to that particular trapdoor.
So it got me thinking. It would be bordering on blasphemous not to mention their unique offerings, so – with that – welcome to the pantheon of Unknown Pleasures, you beautiful beasts.
Hope you enjoy what’s on offer.
Stay frosty.
Dogleg (photo credit: artist’s Facebook page)
Dogleg
Having released two EPs midway through the last decade, Michigan four-piece, Dogleg (Alex Stoitsiadis – vocals/guitas, Parker Grissom – guitars, Chase Macinski – bass, Jacob Hanlon – drums) arrive with their stunning debut, Melee.
Bathing in 90’s post-hardcore reverence, Melee, quite frankly, blows away the competition. I mean, any album that starts with a track named Kawasaki Backflip can’t be anything other than awe-inspiring.
And Melee continues the trend, with white-knuckled bangers jam-packed with pummelling choruses and riffs-to-sky euphoria.
It’s hard to earmark any one particular song, for these ten tracks feel like a seamless delivery of young adult outrage.
It’s not hysterical or dramatic. The fault-line fury projected through each instrument cuts with raw vigour and verve.
Guitars might be a dirty word these days, but Dogleg give the middle-finger salute to such proclamations. This is outrage-to-the heavens delight akin to what Husker Dü achieved during the mid-80’s.
Fans of Cloud Nothings and Metz take note. You’ve just found your new favourite band.
Brooke Bentham (photo credit: via artist’s Facebook page)
Brooke Bentham
For all the hype surrounding Porridge Radio (and, fair enough, too) London singer-songwriter, Brooke Bentham, has released a modern day sleeper classic with her debut album, Everyday Nothing.
Produced by Billy Ryder-Jones, Bentham showcases an ability to squeeze every last drop from simplicity.
The lyrics are very inward with a contemplative sadness oozing from these tracks.
“Reading a book on death and thinking how I wouldn’t want you to die” sings Bentham on Blue Light. Yup, not for the fainthearted.
Everyday Nothing contains many moments like these. Perform to You is, well, a marrow-raw heart breaker.
Then there’s Men I Don’t Know. Sonically, you probably won’t hear a better tune all year, all told.
Ryder-Jones must take great credit for his work behind the studio glass, too.
His ability to sprinkle otherworldly sonic fairy dust on certain tracks is an underrated quality of his (see Our Girl‘s Stranger Today).
Make no mistake, the Wirral song-smith is garnering quite the reputation in this arena whereby he is just as an effective producer as he is songwriter. Bentham‘s decision to have him at the helm of production proved the right one.
Perhaps the most underrated release by an British song-writer this year, so far.
Ratboys (photo credit: via artist’s Facebook page)
Ratboys
They’ve been described as post-country (what the fuck is that?), however Chicago’s Ratboys provide a haunting blend of power-pop with a 90’s homage college-rock swing.
The quartet, (Julia Steiner – vocals/guitars, Dave Sagan – guitars, Sean Neumann – bass and Marcus Nuccio drums) return with their third album and easily their best yet in Printer’s Devil, which follows 2017’s GN.
Echoes of Kristin Hersh and Throwing Muses can be heard. The melodies are syrup-sweet with hooks that hit you in the heart.
Ratboys strike the perfect balance between beauty and aggression with a lovely swirling quality that washes over making your soul feel reinvigorated.
Printer’s Devil comprises of tracks that serve well as highway driving companions that make you smile incessantly.
Fans of Speedy Ortiz. We implore you to hold a lug to this.
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