Review: 2022 saw the unlikely return of late 90s New York screamo/"skramz" pioneers Saetia, who have seen a massive surge in popularity in the decades since their initial disbandment, due to being credited as a major influence by numerous affluent modern post-hardcore acts such as La Dispute and Touche Amore. Noted for their expansion of the chaotic "emoviolence" sound by imbuing their cataclysmic compositions with heightened melodrama, spoken-word vocals and poetic lyricism pulling from Greek tragedies, both their self-titled EP and sole full-length have been held aloft as quintessential blueprints for the genre in the decades since their original tenure. Following a hectic reunion schedule which has finally brought the group to new foreign shores across the UK and Europe, the three tracks that make up the Tendrils EP serve as their first new material in 26 years, marking the follow up to 1999's Eronel EP.
Review: The ill-fated Sex Pistols US tour of January 1978 has become as infamous and discussed as the band themselves, as it came at a time of rife turmoil between members whilst it was potentially beginning to dawn on them how out of place they were on their label, how inconsiderate and mismanaged they were being treated and how much more of a travelling circus show those in attendance were paying to see rather than genuinely caring for the music or message in the same manner of their homegrown fanbase. This exhaustion, frustration and evident burnout was all captured during these live performances, which after several semi-coherent releases have finally been isolated, properly sequenced and finally deliver the closest fly-on-the-wall experience to these implosive shows yet. Taken from their set at the Winterland Ballroom in San Francisco, this is peak pissed off Pistols on the cusp of their ultimate breaking point. While the band are currently enjoying a celebratory jaunt with former Gallows vocalist Frank Carter replacing the MAGA man John Lydon, delivering the closest experience to the Never Mind The Bollocks era yet, those who'd rather not spend more than 100 quid on a ticket can now experience the authentic real thing from the comfort of their turntable.
Review: Recorded in 1978 at the legendary Gibus Club in Republique, Paris when The Slits were defined by thrashy, visceral punk energy and hadn't embarked on their artful genre-splicing era just yet. The Slits you hear on this record is the original four-piece line-up, with Palmolive on drums and it was changes in their rhythm section that led to the embrace of reggae and dub. Having had a formative and breakthrough year in 1977 where they opened for The Clash, it's arresting hearing The Slits at this point in their trajectory. They audibly had the kind of youthful adrenaline and drive that only a band who've awakened to the fact that they're capable of taking the world by the horns can convey..
Review: Originally formed in London in 1976, The Slits made major waves with the frenetic post-punk energy of their acclaimed 1979 debut LP Cut, whilst their 1981 sophomore follow up (aka "difficult second album") Return of the Giant Slits would arrive mere months before the group's initial disbandment. Highlighting the internal creative differences occurring at the time of recording, the material showcases a major expansion of sound, pulling from rhythmic afro-pop and dub, conjuring a unique "world music" approach to post-punk before the likes of Vampire Weekend were even a twinkle in their father's eyes. The album would also serve as their last output until their return with the 2006 Revenge of the Killer Slits EP followed by 2009's third full-length Trapped Animal.
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