Track Of The Day: VERO – ‘Heather’

A strung out anthem about the distorted nature of lust and the frustrations that come with being the focus of someone else’s romantic fixation, Stockholm-based trio VERO have shared their sultry new single ‘Heather’. Taken from the band’s upcoming debut album Unsoothing Interior, which is set for release on 6th May via PNK SLM, the band toy with the duality of intimacy through moody vocals, lyrical juxtapositions and swirling guitar riffs on their latest track.

Formed of teenage friends Julia Boman, Amanda Eddestål and Clara Gyökeres – who they met  whilst DJ’ing disco tunes on the Stockholm nightclub circuit – VERO decided they wanted to move away from the bright lights of nightclub dancefloors and make heavier, louder guitar music together instead. Creating anthems with shades of 90s alternative icons Sonic Youth, VERO’s aim is simple: “write the best fucking songs…have the best energy and show people that we’re having fun.”

The band have showcased their talent for tapping into the right kind of raucous energy with singles ‘Beg!’ and ‘Cupid’, as well revealing a different kind of emotional rawness on ’22:12′. Now, with their latest single ‘Heather’ the trio linger in the shadows of lust an obsession, willingly playing the fool in order to retain the attention of a lover. “The lyrics are about shamelessly wanting to be somebody’s object of desire” the band explain about the track. “You want to be played with, be given commands, amused, but also be told you’re the one. We wrote about this sensation in different ways, describing the good, the bad and the ugly that comes with it.”

Listen to Heather below.

Follow VERO on bandcamp, Spotify, Twitter, Instagram & Facebook

Pre-order VERO’s debut album Unsoothing Interior here

Photo Credit: Dan Kendall

Kate Crudgington
@KCBobCut

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ALBUM: Scrunchies – ‘Feral Coast’

Through mutual admiration of each other’s bands, a group of Minnesotan punk rockers began jamming together in Minneapolis, forming Scrunchies just over four years ago. As a local supergroup – with Laura Larson playing for Kitten Forever and Baby Guts before that, Danielle Cusack playing for Bruise Violet and previously Tony Peachka, and their stint in Buzzcocks cover band, Buzzcunts – Scrunchies released their debut LP Stunner in 2018; a DIY stunner that captured the spirit of 90’s riot grrrl. Joined by Condominium’s Matt Castore (as bassist and engineer – having previously recorded Scrunchies debut), the trio’s sophomore effort Feral Coast, is arguably more punk-as-fuck; ripping out riffs with cathartic rage!

Opening with ‘The Houseplant’, Castore’s bass groove can barely contain the punk rock energy Scrunchies are about to release, leading to Larson and Cusack’s propulsive rhythm and screaming lyrical angst. ‘Torrini Decorating’ follows with an equally obliterating punk sound, and Scrunchies are only just getting started! ‘No Home Planet’, another whiplash-inducing ripper, tears apart the fabric of the universe with crushing riffs from Larson (“It’s not the end of the world…”) before Cusack’s punishing percussion on ‘Sway’ has this reviewer gathering his friends together for an impromptu moshpit.

Maintaining their intensity, the infectious bassline of ‘New What’ is followed by the fuzz-drenched hooks of ‘Wildlife’; the trio crescendoing into a cataclysm of feedback near the halfway mark. ‘Black Egg’ will offer listeners no respite before the thrashing ‘Absolute Maximum’ shreds sludge with lo-fi, early Seattle grunge-esque riffs, surrealistic stream of consciousness lyrics, and authentic riot grrrl brattiness. “Don’t take offence I’m trying, but I’m barely alive / You wanna stick your hand in, well it’s mine, mine, mine!”

Inspired by the noise rock of Shellac and Sonic Youth, ‘Parallel’ disturbs with jarring harmonies – and a Kim Gordon-esque deadpan vocal delivery in the bridge – layered over scuzzy post-hardcore guitar hooks. And quickly catch your breath during ‘Ditch’ because you will find yourself shouting along with the loud/soft dynamic of ‘Feral Coast’! Encouraging women and queers to embrace the same DIY ethos that empowers Scrunchies, Feral Coast is a raw, spontaneous record that is comfortable with perfect imperfection; delivering chaotically crafted punk ragers that inspire.

Follow Scrunchies on bandcamp, Spotify, Twitter, Instagram & Facebook

Ken Wynne
@Ken_Wynne

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Track Of The Day: Ethel Cain – ‘Strangers’

An emotive, bittersweet lament about the cyclical nature of love and life, American songwriter Ethel Cain has shared her latest single ‘Strangers’. The closing track to her highly anticipated debut album, Preacher’s Daughter, which is set for release on 12th May via her own imprint Daughters of Cain, the track is tinged with Cain’s irresistible trademark melancholy, made all the more affecting by her yearning, passionate vocals.

“This is the second song I wrote for this record, without the intention that it would become the ending,” Cain explains about ‘Strangers’. “Looking back, I can’t imagine a more perfect resolution to this lineage. I think subconsciously, this song was always the end of the road. It’s the realization that some things cannot be avoided, only accepted, and that just because it isn’t a happy ending, doesn’t mean it’s a bad one. There is an ending in every beginning, and all things come back around in one strange way or another. You can’t change your past, nor anyone else’s and the only real strength you have in this lifetime is your forgiveness.”

Unravelling over the course of almost six minutes like her previous offering ‘Gibson Girl’, on ‘Strangers’ Cain candidly asks listeners “am I making you feel sick?” over lavish, swirling guitar riffs and atmospheric cymbal crashes. Laced with a palpable desire, it’s a poignant rumination on how time affects our perspective on relationships with others and with ourselves, weaved together by Cain’s exquisite vocal delivery and intimate lyrics.

On Preacher’s Daughter, which she wrote and produced herself, Cain paints a portrait of a brilliant and deeply empathetic artist, committed to telling the story of “a flawed family plagued by human nature and the Southern soil on which it all plays out.”

Listen to ‘Strangers’ below.

Follow Ethel Cain on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Ethel Cain

Kate Crudgington
@KCBobCut

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ALBUM: Bodega – ‘Broken Equipment’

Sardonic New York art-punk collective BODEGA have an insatiable appetite for philosophy, and with their latest LP Broken Equipment, they have interrogated their own identities – and the external technological influences that shape the band – with self-aware pretentious wit, techno-scepticism and scathing social commentary. The result is a wordy concept album of sorts set in NYC; a collection of cynical anti-establishment post-punk.

Following the dissolution of their previous band Bodega Bay and BODEGA’s formation in 2016, Ben Hozie and Nikki Belfiglio’s satirical musings – like those pondered on their 2018 debut Endless Scroll and 2019 extended play Shiny New Model – never shy away from self-critique. Opening their sophomore album with a dance-punk ode to identity, Hozie tries desperately to understand himself and the constant challenges NYC flings his way on ‘Thrown’. “My molecules change yet I remain / I weave and unweave my image.”

Atop an infectious twangy bassline courtesy of philosophy professor (and ‘de facto’ leader of BODEGA’s philosophy book club) Adam See, and Tai Lee’s percussive strikes, Hozie sneers at NYC’s culture of never-ending productivity in ‘Doer’, spitting out a Daft Punk-esque mantra that the city is maybe making him “bitter, harder, fatter, stressed out!” BODEGA’s sarcastic humour shines throughout their anthemic Beastie Boys/Run-DMC-style throwback (“Innovation waits for no man / Unless I lose my dongle!”), providing us with a New York slice of relatable satire.

Belfiglio takes on lead vocals for ‘Territorial Call of the Female’, dissecting female competition “because you know when the man is around / that’s when I’m putting you down.” Alternating between snarky and sweet with ease, Belfiglio’s expressionist vocalisation is complimented by Daniel Ryan’s angular new wave lead guitar lines and tone (referred to as the “insectoid” sound). This melodic sensibility continues on ‘NYC (disambiguation)’ with BODEGA taking a softer direction that is often at odds with their lyrical anger and disappointment; an honest look at NYC’s history.

Released in multiple languages prior to the LP’s release, ‘Statuette on the Console’ is another Belfiglio-sung highlight that ponders “anyone who puts their reality on your back and forces you to carry it around,” followed by the hip hop bounce of ‘C.I.R.P.’; Belfiglio and Hozie tag-teaming lyrics and wrestling media elitism whilst See, Lee, and Ryan provide ringside support with pulsating bass grooves, driving beats, and propulsive riffs.

The Cult-like love song ‘Pillar on the Bridge of You’ and The Velvet Underground inspired ‘All Past Lovers’ continue Hozie and Belfiglio’s journey of self-discovery in NYC, tackling relationships new and old, whilst ‘How Can I Help Ya?’, ‘No Blade of Grass’, and ‘Seneca The Stoic’ allow BODEGA to show off their rock and roll chops; Ryan shredding his way through the band’s ceaseless punk energy. But it is Broken Equipment’s closer, ‘After Jane’, that will leave a lasting impression.

Picking up the acoustic guitar, Hozie reflects honestly on his relationship with his mother for the album’s heartfelt final track; an emotionally raw realisation that after her death, her grace and pain now reside within him – “I’m channeling your hurt when I sing my songs” – It’s a sombre ending to an otherwise biting social satire, told through the ethos of punk rock.

BODEGA is a philosophical project and Broken Equipment is their latest thesis; an analysis of the changes occurring around us at an accelerated pace that directly inform our life experiences. Perhaps we’re the broken equipment.

Follow Bodega on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Pooneh Ghana

Ken Wynne
@Ken_Wynne

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