Grouper - "The Man Who Died In His Boat"

Sorry for the lack of updates yesterday and today, humanoids.  It's just been one of those lazy summer weeks.  Chill out and be lazy with Portland's Liz Harris as she sings you to sleep under the alias of Grouper.  Sit under a big shady tree and nap to this.

GROUPER - "THE MAN WHO DIED IN HIS BOAT"

Kranky Records 2013

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Bleached - "Ride Your Heart"

Okay, so you've gotten out of bed, taken that shower, and now you want to head to the beach.  But you need some driving music for that road trip!  And what to listen to on the boom box when you are playing volleyball or flipping burgers?  Don't worry, humanoids.  Monster Poison loves you, as do Jennifer and Jessica Clavin.  The two sisters who make up the backbone of Bleached have mastered the art of brewing up tasty garage punk concoctions.  Their debut album was released last year, and if you haven't been exposed to "Ride Your Heart," then you have been missing out this whole time.  The combination of riffs and Jen Clavin's melodic caterwauling is so charmingly endearing that you can't help but smile when this band plays.  Slather on the sunscreen, because "Waiting By The Telephone" is a scorching slice of yearning for that special guy.  Jump in the water and splash along with the bouncy girl-group harmonies of "Searching Through The Past."  "Dead Boy" builds up fuzzy low-end sandcastles before stomping them flat with childlike glee.  Hey, I think those burgers are done!  But don't worry,  these Burger Girls will still be kicking out the jams for your beach blanket bonanza even after you start to feel sick from pounding one too many in the hot sun.

BLEACHED - "RIDE YOUR HEART"

Dead Oceans Records 2013

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Blue Hawaii - "Untogether"

Alex Cowan & Raphaelle Standell-Preston have made a fantastic debut LP together under the moniker Blue Hawaii.  Relaxing and hypnotic, the softly kinetic acoustics of "Try To Be" skitter under an ethereal new age wash.  Dubstep-esque drops harken the arrival of "In Two" before the song takes on new life as a trance-forged butterfly.  Unlike so much electronic music being made these days, Blue Hawaii manage to avoid so many of the same cliches and pitfalls that ensnare their contemporaries.  Infusing their sound with ambient and new age influences gives the entire affair a feeling of intimacy and meditative sensuality that will titillate devotees of The xx.  This is baby-making music that has depth and substance from a compositional standpoint.  Light some Nag Champa and get lost.

 

BLUE HAWAII - "UNTOGETHER"

Arbutus Records 2013

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Cult Ritual - "LP1"

Taken from Wikipedia: "The mineral pyrite or iron pyrite, also known as fool's gold, is an iron sulfide with the formula FeS₂. This mineral's metallic luster and pale brass-yellow hue give it a superficial resemblance to gold, hence the well-known nickname of "fool's gold.""  That being said, feel free to enjoy the debut and final LP from Cult Ritual.  Ugly, abrasive, and frightening at times, it's a perfect listen for a bad day.  I missed them on tour in 2009 because I'm a poser who only got into them that summer, but I'll never forget the first time I listened to these songs.  I was on a bicycle around midnight, and I felt like someone was going to dart out of an alleyway with a knife at some point.  A truly unsettling experience if you have the guts to listen to it on headphones at full volume.  I've also decided to be kind & include a link to the lyrics sheet so you can sing along at home.  You remember "Disney's Sing Along Songs," right?  This is just like that.  Come on, kids, follow the bouncing ball!

"JUST CRUSH MY FACE UNDER THE WEIGHT OF YOUR SUCCESS"

CULT RITUAL - "LP1"

Youth Attack Records 2009

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Hank Wood & The Hammerheads - "Stay Home"

Hoo boy, is this ever a corker.  Hank Wood & The Hammerheads have really outdone themselves on their sophomore outing.  Debut "Go Home" was a rawkin' slab of garage punk that captured hearts and repulsed ears all over the country.  I wondered how they'd ever be able to top the vitriolic disgust of "Murder" and "I Don't Play Games."  However, "Stay Home" doesn't go down that road.  Still an ugly, bumpy, distorted ride, Mr. Hill & Co. have instead decided to focus on adding keyboard flourishes and jamming as many killer riffs into these songs as possible.  The result is something as compellingly nauseating as Chicken McNuggets: you know there's pink slime underneath the synth breading of "The Ghost" (the circle),  "In Bookings" (the boot) and "In Space" (the diamond), but you just want to keep cramming them into your mouth.  More fries please, and keep the sauce coming.

HANK WOOD & THE HAMMERHEADS - "STAY HOME!"

Toxic State Records 2014

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The Range - "Nonfiction"

A seemingly out-of-nowhere release, "Nonfiction" was a pleasant surprise to me during the cool autumn months of 2013.  The Range has created an album which reminds me of some of my favorite parts of Bonobo and Four Tet without ever compromising his unique sound.  Jungle drums and R&B-indebted keyboards coalesce into a compelling froth, adding a signature twist to the downtempo goodness.  Not quite a total chillout album, as some of these albums could take on new life on the dance floor, "Nonfiction" is still a remarkably relaxing listen.  I've spent many a late night and early morning immersed in it, and it continues to draw me in nearly a year later.

THE RANGE - "NONFICTION"

Donkey Pitch/Project: Mooncircle 2013

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Zola Jesus - "Dangerous Days"/"Diamonds" (Rihanna Cover)

A preview from her upcoming album "Taiga," new single "Dangerous Days" may be the best thing I've heard yet from Zola Jesus. This shimmering, ethereal electronic composition is far more suited for play in the club than anything Nika Roza Danilova has produced to date. Zola's early work seemed more rooted in noise and experimentation, while recent years have found her flirting with mainstream pop sensibilities. As further evidence of this metamorphosis, I've also included her cover of Rihanna's "Diamonds." "Taiga" will be released October 7 on Mute Records.

 

Weekend - "Jinx"

The last few years have been rough ones for San Francisco's Weekend.  Shortly after releasing their debut album "Sports," the band found themselves locked in a heated rivalry with 80's pop superheroes Huey Lewis & The News over the title of their album.  Huey claimed that he alone owned the rights to "Sports," and The Heart Of Rock 'N Roll struck back hard in a court of law.  When the suit was dismissed, Huey became embittered and turned to the yakuza, the Japanese mafia, for help.  The members of Weekend put up a valiant fight, but were summarily gunned down in the parking lot of a Burlington Coat Factory during a March Madness clearance sale.  Only their faithful roadie Todd managed to survive the ordeal.  While convalescing in his iron lung and recovering from his numerous throwing-star wounds, Todd managed to cull together the sessions that comprised Weekend's follow-up album, "Jinx."  I must say, if the boys in Weekend have truly gone to that big pretzel wagon in the sky, they've left behind an epitaph befitting of their legacy.  "Jinx" is excellently sequenced, making the 45-minute listen go by in what seems like half the time.  Songs like "Adelaide," "Oubliette" and "Scream Queen" would have no doubt kept bodies moving on the dance floor had Weekend ever found the opportunity to take the album on tour.  I'm reminded of several bands as I play through the 10 tracks, but Weekend have a disparate enough end result to keep from coming off as pretenders.  As sad as their demise was, I'm excited to report that as soon as Todd gets that pancreas transplant, he plans on assembling a Weekend tribute act and taking them on the road!  I hear he plans on adding a "The" to the name and dropping the third "e" from "Weekend."  Look for them on tour near you soon!*

* = Some of the events in this review are a dramatization of actual events that may or may or not have occurred in real life.  Some names were changed to protect the innocent, except for Huey Lewis who is now suing me for defamation in a court of law.

WEEKEND - "JINX"

Slumberland Records 2013

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Trust - "Joyland"

Originally formed as a collaborative effort between Canadian musician Robert Alfons and Austra's Maya Postepski, the project known as Trust has taken on a slightly different direction since the departure of Postepski in 2012.  Trust is now Robert Alfons and Robert Alfons alone, making slinky coldwave synth bangers that have the energy of early house music surging through them.  The sonic blueprint for Trust is still here, and if you enjoyed their debut, you'll most likely find that same level of enjoyment in "Joyland."  The two albums definitely are composed from the same aural DNA strands.  It's not to say that Trust have re-made their 2012 album, it's just a case of "the same, but different."  Icy synths, ominous bass & pitch-shifted vocals congeal deliciously to create the result you know and love as Trust.  There's enough crossover appeal to intrigue electronic music fans of all stripes, too.  It's not hard to envision fans of Tritonal losing their minds to the throbbing overdrive of "Peer Pressure" or "Geryon," just as it isn't difficult to King Krule worshippers swooning over the electro-backed baritone majesty of "Are We Arc?"  By painting with such subtle variations on a strongly-defined palette, Trust have managed to create a welcome sophomore outing that offers comfort food for the moody soul.

TRUST - "JOYLAND"

Arts & Crafts Records 2014

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Future Islands - "Singles"

Since 2006, Future Islands have been quietly churning out amazing album after amazing album while only garnering a relative modicum of attention in the music world.  I only heard about them after a girlfriend dragged me to a sparsely-attended Halloween show in 2011.  Future Islands played their hearts out to about 40 of us that night, and I immediately became a convert to their sound, pouring over their back catalogue while the band soldiered on through virtually endless touring. However, with the release of "Singles," the Baltimore collective remains a hidden treasure no longer.  Seemingly every blog, website and magazine is simultaneously buzzing over Future Islands and their new record.  The band find themselves topping festival bills and selling out entire tours in the blink of an eye.  Tickets to their shows are scalped for up to hundreds of dollars.  They truly are THE band of the moment right now.  The song "Seasons" has been impossible to escape this year, but who would ever want to run from such a perfect wedge of synthpop?  It isn't just "Seasons" that is masterfully composed, either.  From beginning to end, there isn't a weak track here.  "Singles" is an appropriate title for an album on which almost every track could conceivably be released as, you guessed it, a single.  From the shimmering, soulful goodness of "Sun In The Morning" to the candle-in-the-darkness ray of hope that is "Light House," Future Islands have released their most solid outing yet in an already flawless discography.  Samuel Herring's vocals are in top form here, while William Cashion and Gerrit Welmers provide a captivating, evolving backdrop of synths and driving basslines.  If you can find and afford a ticket to one of their live performances, I cannot stress enough that you owe it to yourself to see this band live.  I'll even go out on a limb and say it now: this is the album of the year.  Seven full months in and there's nothing I've heard that even touches this record.  I listen to and love a lot of music, but Future Islands have truly captured my heart with this release.  Highest possible recommendation.  

FUTURE ISLANDS - "SINGLES"

4AD Records 2014

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Pop. 1280 - "The Horror"

A callback to the untamed wilds of NYC during the 80's No-Wave heyday, Pop. 1280 manage to be their own unique beast while simultaneously drawing from various aspects of the New York noise scene.  Listen to the stabbing synths and tribal ferocity of album centerpiece "Bodies In The Dunes" for a perfect example of how the group combines punk and industrial music into a revolting yet compelling concoction.  Much critical attention has been paid to the opening snarl of "Two dogs fucking/digging for gold" from lead-off track "Burn The Worm."  However, a closer inspection of the lyrics to this album find them to be not only bleak and disturbing, but also containing a deliciously self-aware sense of dark humor.  "The thing about dogs is that they don't know what they're doin'/I want you to beg like a human" may be the couplet that best sums up Pop. 1280's manifesto: they know they're creeps, and they thrive on that expression you make when you come back for more abuse.  They're the ones holding the leash and they like when you beg.  Make sure you say "please" when you ask them for another.

POP. 1280 - "THE HORROR"

Sacred Bones Records 2012

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Kendrick Lamar - "good kid, m.A.A.d. city"

We here at Monster Poison received an email this weekend:

"Dear Monster Poison, can you post the amazing 2012 sophomore album by Kendrick Lamar?  I think his music is so sexy & it would mean a lot to me.  Please accept the enclosed 8"x10" glossy photo of me in return.

Sincerely,

Wanda Poffo

Altoona, AL"

Well, Wanda, thanks for reading.  We hate disappointing you humanoids, so we're more than happy to upload the Grammy-nominated "good kid, m.A.A.d. city" for you, as it's one of our favorite rap albums in recent memory.  Judging by the accolades that have been piled on K-Dot since this album dropped, that's not an uncommon sentiment, either.  Not even trying to mention the chart positions, the sales, the festival headlining slots, sold-out shows, magazine covers and Macklemore publicly Stanning all over him. That would be corny to focus on, because the music here is bulletproof.  There's a reason 5 singles got lifted off this album, and Kendrick could've probably gotten away with pulling at least one or two more if he was feeling particularly bold.  A concept record billed as a "short film" about his life, the narrative is hypnotic as it hits so many emotional highs and lows while never failing to be a perfect party album or soundtrack to some shenanigans.  Dre's production gives the entire affair a low-key West Coast flavor without relying on tired G-funk sounds or retreading ground he's already covered.  The entire thing sounds fresh and new, with tracks like "Swimming Pools (Drank)" and "Bitch, Don't Kill My Vibe" having particularly stand-out instrumentals behind Kendrick's raps.  In fact, its about time to roll up another one, put this record on and call Domino's.  Hope this one makes that shift at Shoney's a little bit sweeter, Wanda, and thanks for the picture.

KENDRICK LAMAR - "good kid, m.A.A.d. city"

Top Dawg/Aftermath/Interscope Records 2012

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Makthaverskan - "Makthaverskan II"

Personal relationships are funny things.  When two people are involved romantically, they idealize and value each other so much.  Almost nothing can bring them closer together.  However, the dissolution of such a partnership can cause the emotional equivalent of a grenade going off in the palm of your hand, and that person who you once thought so highly of is now persona non grata in your mind.  Art is wonderful because it allows for the filtration of these combustible & deeply personal feelings into something universal.  Who hasn't experienced the sting of heartbreak, the ache of rejection or the burning bile towards someone who is using you?  Gothenberg, Sweden's Makthaverskan certainly have, and they understand if you are still feeling bitter.  Channeling rage, wistfulness and unrequited love into a tuneful howl of longing, Maja Milner forces her crystalline voice through a backdrop of crashing drums, garage-ready riffs and synth-accented post-punk rhythm to convey the maelstrom of turbulence that comes along with modern romance.  Their second full-length album, "II" has been picked up for Stateside re-release by Run For Cover records with good reason.  From start to finish, this 9-song collection is exactly what you'll need to get you through that next bad break-up.  Listen to the soaring, spiteful non-chorus of "Antabus," the Cocteau Twins-esque cooing on songs like "Outshine" or the gorgeous refrain contained with "Asleep" the next time that special someone leaves you feeling not-so-special.  I'm thankful that Makthaversakan exist to soundtrack my next bad decision.  With my track record, I'll probably be getting a lot of mileage out of "II."

MAKTHAVERSKAN - "MAKTHAVERSKAN II"

Luxury/Run For Cover Records 2013

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Synkro - "Acceptance"

I feel like I'm doing a disservice to both Synkro and Volor Flex by posting their albums so close to one another.  It's not that the two are necessarily similar in sound, but they both have the unfortunate similarity of being compared to a certain mysterious UK dubstep producer who shall remain nameless.  Ok, it's Burial.  The thing is, Burial has become synonymous with this sound, which makes it difficult to review other releases within the genre without at least cross-referencing him in some way.  But where Burial is more likely to whip and chop his beats into a frantic groove that gets bodies moving, Synkro is content to work his magic in a more downtempo way.  Penultimate track "Mutual Divide" is a spare, melancholic paean that conveys a sober mood before the robotic seduction of "Don't Want" wraps you up in a blanket of binary code & kisses you goodnight.  This is subtle post-dubstep that is perfect for that late-night/early-morning comedown.

SYNKRO - "ACCEPTANCE"

Apollo Records 2013

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Ghost Cinema - "Ghost Cinema"

Bandcamp is a pretty amazing tool.  In the few years since I first heard of the site, it has lead me to discover countless bands & musicians I would have never known existed.  Take Munich electronic producer Ghost Cinema, for example.  I found Ghost Cinema's debut release last spring while sifting through the electronic music section on Bandcamp, and was immediately captivated.  I have listened to the entire album all the way through dozens of times, entranced by the bubbling synths & murky snare hits.  I immediately scoured the information superhighway for anything I could find on this producer or album, but to no avail.  There isn't any information about Ghost Cinema on Bandcamp, and an internet seach proves similarly futile.  With under 100 listeners on Last.fm, it's safe to say that Ghost Cinema remains unknown to a good deal of the world.  However, a few more releases with as much to offer as this promising debut should shine a spotlight on this mysterious German producer.  If you enjoy downtempo electronic music somewhat akin to what the Tri-Angle label offers up, spend some time with Ghost Cinema.

GHOST CINEMA - "GHOST CINEMA"

Self-released 2013

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Modern Charms - "Modern Charms"

The cover art for this EP is so befitting of the music contained within: summery dream pop goodness that makes you think of swimming pools and sunny days.  San Francisco's Modern Charms have garnered a lot of attention with this self-titled debut, and it's not hard to see why.  With a sound that can be likened to a sedated Medicine or even a more languid My Bloody Valentine in some places, the six blissfully hazy songs have enough originality to stay refreshing in an ocean of lukewarm pretenders.  Almost a year after the release date, this debut has lost none of the luster and keeps me coming back for more.  "Soothing" is definitely a good descriptor, as it's very easy to become lost in the embrace of Modern Charms.

MODERN CHARMS - "MODERN CHARMS"

Self-released 2013

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Asylum Party - "The Grey Years" Vol. 1 & 2

During their six-year tenure together as a group, France's Asylum Party they were the progenitors of some of the finest coldwave ever produced.  Stretched across 3 full-length albums and some singles, they left behind a rather impressive body of work.  However, even among fans of the genre, Asylum Party were relatively unknown in America during their lifespan and beyond.  In 2006, Infrastition Records did the world a great service by collecting Asylum Party's entire output on 2 double-disc CD collections, making their music much more available to the public.  If you are a fan of the contemporary wave of synthpop/post-punk bands sprouting up everywhere, you owe it to yourself to at least give a listen to "The Grey Years."  The chronological discography opens with "Julia" from 1988's "Picture One," possibly the band's best-known song and catchiest single.  But that's just the tip of the iceberg.  Included in this comprehensive assortment are compilation tracks, demos and all the deep cuts you would want from this self-dubbed "touching pop" trio.  There's a lot to discover here, but if you are even remotely interested in this sound, it's a must-have.  Asylum Party deserve much more recognition for the beautiful music they made.

ASYLUM PARTY - "THE GREY YEARS VOL. 1"

Infrastition Records 2006

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ASYLUM PARTY - "THE GREY YEARS VOL. 2"

Infrastition Records 2006

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Volor Flex - "Unlit"

You won't find any Burial comparisons in this review.  Nope.  Not a one.  At no point in talking about Volor Flex will I attempt to equate the producer with his equally enigmatic sonic brother Burial.  That would just be lazy hack journalism, the kind that we here at Monster Poison decry.  To even think about comparing Volor Flex to Burial would do a disservice to the music contained within "Unlit."  While there may be some surface comparisons that could be made to the popular dubstep upstart, Volor Flex's third album is no mere homage or tribute act.  The young Russian producer may work with the same tonal palettes and textures as Burial, but this album holds up when analyzed independently.  "Unlit" is an apropos name for the record, as everything about it is rendered in shades of grey.  Synths reverberate across the skittering beats as mournful vocal samples pop in the background.  Again, I am not comparing this album to Burial in any way, shape or form.  I would certainly never suggest that if you enjoy the "Kindred" and "Rival Dealer" EP's, you should run out immediately and track down a copy of Volor Flex's "Unlit."  Because I've got journalistic integrity, and that's what matters. 

VOLOR FLEX - "UNLIT"

Dark Clover Records 2013

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Late Bloomer - "Late Bloomer"

Late Bloomer have just released their second album, "Things Change," and seem poised to break through to a wider audience at any moment.  They've been getting a lot of press for this record, and for good reason.  Late Bloomer make distorted guitar-rock that would make J. Mascis take note.  In fact, Dinosaur jr is the perfect reference for the North Carolina 3-piece's 2013 self-titled debut album.  Fuzzy, punky and with just a touch of "fuck you" attitude, these songs would have fit in next to "Feel The Pain" or "The Wagon" on an early-90's skate video.  The fizzy pop of carbonated alcohol at the beginning of "Sunglasses" lets you know that these guys don't take themselves too seriously and have a passion for thrashin'.  If you like what you hear, grab a copy of their new album, "Things Change."  It's a little slower, a little heavier and a little more serious than this debut LP, but it's still the same Late Bloomer.

LATE BLOOMER - "LATE BLOOMER"

Self-Aware Records 2013

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Work Drugs - "Delta"

You want a summer record?  Here's your summer record.  Work Drugs nailed everything they were going for on their fourth album, "Delta."  Every aspect of this record glistens and shimmers, from the sparkling synths to the dreamy production to the whispery vocals.  A band that "makes music specifically for boating, sexting, dancing, yachting and living," Work Drugs have crafted the perfect soundtrack to your next summertime shindig.  Just as appropriate for nighttime listening in the bedroom as it is for grooving on the deck of a catamaran, "Delta" is full of subtle dance-floor bangers that will get stuck in your head all day long, but with enough staying power to keep you coming back for more.  Tracks like "Rad Racer" and "License To Drive" will be staples for that summer playlist on the way to the coast.  A great album to explore on a sunny July weekend.  Dip into this & then explore the rest of the Work Drugs discography.  If you like synthpop, you won't be disappointed.

WORK DRUGS - "DELTA"

Bobby Cahn Records 2012

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Title Fight - Demos

In the last few years, Title Fight's stock has risen astronomically as a band.  To some, the Pennsylvania quartet's meteoric shot to the top seems like an overnight success story, as the band virtually went from unsigned unknowns to possibly the biggest current band in the melodic hardcore community.  However, to those who closely follow the comings and goings of the hardcore scene, Title Fight are no laymen.  Cutting their teeth in the Wilkes-Barre scene since 2003, the members of the band are active in so many aspects of hardcore.  They were co-owners of the Redwood Art Space, an all-ages local venue which existed to give exposure to local & touring bands.  They've also been active in other projects such as Disengage & Bad Seed.  For a group of young men barely old enough to drink, the guys in Title Fight have accomplished so much in a relatively short period of time.  Also, they're a very kind and polite group of human beings.  Title Fight deserve every bit of the success that they are currently receiving.  Included here are the group's 3 demos from 2003, 2004 & 2005 along with the phenomenal 2006 EP "Light Up The Eyes."  The early demos are more of a curiosity than anything else (although "All In All" wins points for a vintage Simpsons sample), and they really didn't come into their own sonically until the EP.  However, for fans of Title Fight, these demos are a charming sketch of the band we know and love making large strides towards maturation.  Make sure you request "Light Up The Eyes" the next time you see them live.  That song is too good to be lost to the annals of time.

TITLE FIGHT - DEMOS

Unreleased 2014

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Cloudkicker - "Let Yourself Be Huge"

Cloudkicker is the alias of Ben Sharp, who has been making music under that name for 7 years now.  Mixing metal, electronica and post-rock into a blurred concoction that soothes as much as it riffs, this particular EP reminds me of a reflective instrumental version of Minus The Bear in some places with some finger-tapping goodness.  Cloudkicker's music has taken on many forms over the years, but this release is definitely my favorite.  Not as aggressive or pummeling as some of his other works, this mini-album is truly where Cloudkicker comes into his own as an electronic producer.  If you like Tycho, you'll swoon over Cloudkicker.  Listen to this on the beach with a summer sunset behind you and experience bliss.

CLOUDKICKER - "LET YOURSELF BE HUGE"

Self-released 2011

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NASA Space Universe - "Across The Wounded Galaxies"

Nothing about NASA Space Universe is normal.  They're a hardcore band, but they manage to eschew most of the sonic shackles that manacle most bands of their ilk.  Their live show is an unpredictable chautauqua of audience participation and chaos that is befitting of the soundtrack behind it.  The band prefer to play in unconventional venues and art spaces, turning their live show into something more akin to a performance art piece than a punk show.  The band has been slightly less active in recent months, but you can bet we haven't heard the last of NASA Space Universe.  They're too damn weird to go quietly into the night.  Just listen to the opening salvo of "Tiny Tim Allen Wrench" and try tell me that this is the kind of band that would go out with a whimper instead of a phlegmy howl.

NASA SPACE UNIVERSE - "ACROSS THE WOUNDED GALAXIES"

Shotgun Records 2011

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Weed Hounds - Discography

Oh, Weed Hounds.  How you torture me so.  First, you release a great demo, a groovy split with Dude Japan & a kickass pair of songs on a self-titled 7."  You talk about the full-length album you are recording, making me salivate at the thought of an entire Weed Hounds record.  Alas, it's all a tease as you call it quits in the middle of the recording session and break up.  Then, after a year of mourning your passing, I hear rumors that you aren't really dead!  What's more, the album is supposed to be released on the wonderful Katorga Works label!  But, it's been months, maybe a full year, and still no album.  Weed Hounds, why are you doing this to me?  I can only take so much of your emotional indecisiveness.  In the meantime, tide yourself over with the aforementioned releases in this homemade Weed Hounds discography.  Included are their tracks from the split, their demo and their 7" single.

WEED HOUNDS - "DISCOGRAPHY"

Unreleased 2014

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XXYYXX - "XXYYXX"

Marcel Everett, known more commonly to music fans as XXYYXX, is a wunderkind producer.  Seamlessly blurring the lines between hip hop, garage, dubstep and chillwave, Everett has created something new out of a familiar pastiche akin to sonic spiritual brethren Clams Casino.  Seeing him open for CHVRCHES last year at the tender age of 17 was touching, as Everett seemed emotionally overwhelmed at the positive crowd response he received.  He mentioned that it was the largest crowd he had ever performed in front of, but listening to this self-released album, it's easy to predict plenty of similarly big things in the future for this young gentleman.  His recent remixes for Usher, Beyonce & Waka Flocka Flame should be an obvious indicator of the brightness of his rising star.

XXYYXX - "XXYYXX"

Self-released 2012

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Death Of Lovers - "Buried Under A World Of Roses"

A new project comprised of members of Whirr & Nothing, Death Of Lovers have released a very solid debut outing in their EP "Buried Under A World Of Roses."  The echoing vocals & chiming guitars of "Shaken" are reminiscent of Asylum Party or "Faith"-era Cure, while the title track bears more than a passing resemblance to the recent spate of Cold Cave singles.  The driving opener "Cold Heaven" is the most aggressive track here, letting you know that the band members haven't forgotten the word "punk" is the key part of "post-punk."  4 songs in under 19 minutes leave me wanting to hear more from this band, and I'll definitely be keeping an eye out for the full-length debut from Death Of Lovers.

DEATH OF LOVERS - "BURIED UNDER A WORLD OF ROSES"

Deathwish Records 2013

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Polaris - "Music From The Adventures Of Pete & Pete"

We here at Monster Poison are huge fans of "The Adventures Of Pete & Pete."  One of the best television shows of all time, it managed to capture the pathos and ennui of youth without being patronizing or condescending towards a primarily pre-adolescent audience.  A component of the show that has received a particular amount of praise is the soundtrack, largely composed by Miracle Legion's Mark Mulcahy.  Mulcahy dubbed his side project for the show Polaris, and the soundtrack to the show contains twelve of their most memorable songs from your favorite episodes.  "Waiting For October," "Coronado II," "Summerbaby" and of course the theme song "Hey Sandy" are all included here.  If you like Miracle Legion, R.E.M. or 80's jangle-pop in general, you'll love this album regardless of whether or not you are a fan of the show.  However, if you are like this reviewer and have a fond memory for Nickelodeon, you will take extra joy in the soundtrack to "The Adventures Of Pete & Pete."

POLARIS - "MUSIC FROM THE ADVENTURES OF PETE & PETE"

Mezzotint Records 1999

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Culo - "My Life Sucks And I Could Care Less"

Forget all the stories, rumors, lies and allegations you've ever heard about Culo:  the fireworks in the pit at shows, the sketchy financial dealings, the so-called "homophobic language," the fights, the drugs, the extraneous melodramatic bullshit.  It is all indeed bullshit, and none of that matters.  Strip it away, and what you are left with is (was?) a band that makes (made?) incredible hardcore punk.  Their magnum opus, "My Life Sucks And I Could Care Less" is an incredible high note to go out on if the band has indeed called it quits. 20 tracks of nonstop melodic rage, this is the sound of a party gone wonderfully out of control in the best way possible.  Think you outgrew hardcore?  Think again.  Chop a line and snort along with "On The Nod."  Get kicked in the face by the careening synth-punk of personal favorite "Sick, Sick, Sick" and tell me you're too cool for this.  The closing title track is an anthem, and if Culo really are dead and gone, it's a hell of a song to go out on.  Also included here are 4 bonus tracks that were supposed to be included on various compilations.  Delete those goddamn Of Montreal MP3's & make room for this bad boy.

CULO - "MY LIFE SUCKS AND I COULD CARE LESS"

Deranged Records 2013

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Clams Casino - "Instrumentals"

"Instrumentals" is a curious album.  Originally intended as a series of beats for rappers such as Lil B, Soulja Boy and A$AP Rocky, the chillwave beats are finely-crafted enough to stand on their own.  Grime and dubstep influences seep into the mix, creating a result that is both moody and ethereal.  Clams Casino, aka producer Mike Volpe, has created his own brand of chopped-and-screwed goodness here.  Standout tracks like "All I Need" and "Illest Alive" (which contains a fantastic Bjork sample) are sleek enough to relax to, while at the same time maintaining enough composition and originality to  keep the listener attentive.  A fantastic album to get lost to on a sunny day as much as it is a chillout record, "Instrumentals" is a fine showcase for Clams Casino's talent at the board. 

CLAMS CASINO - "INSTRUMENTALS"

Self-released 2011

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Lust For Youth - "International"

I saw Lust For Youth open for Pharmakon last year, which ranks among one of the stranger shows I have ever been to.  It was outside, in the front area of a small local record shop.  A handful of young children watched Margaret Chardiet stalk through the sparse crowd like an animal as she emitted feral howls of pain.  People were walking along the quaint suburban neighborhood during the entire performance, lending to the surreal "Blue Velvet" atmosphere of the whole scenario.  Even the combination of artists themselves was an odd mixture.  Lust For Youth were touring on the heels of their previous release, "Perfect View," which was much more pop-oriented than their earlier work.  They played a few unreleased songs that day which showcased hints of an even poppier direction.  When "International" was released this year, I can't say I was surprised at the new sound of Lust For Youth, but I was definitely floored at what a consistent album they produced.  Tracks such as "Illume" and "Armida" have memorable melodies and moody beats that call back to Depeche Mode or New Order.  Lust For Youth have scrubbed some of the dirt and grime from their sound, only to reveal beautiful layers of introspection contained beneath.

LUST FOR YOUTH - "INTERNATIONAL"

Sacred Bones Records 2014

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Fins - "Fins"

I stumbled across the second EP by Connecticut's Fins at the end of last year, and I've had it in fairly constant rotation ever since.  From the "Bleach"-era Nirvana rumblings of opener "Passing" to the emotive bursts of songs like "Sockets" and "Wander," Fins manage to create something unique from their patchwork of influences.  Other reviews have compared them to The Replacements, but to be totally truthful, I find that comparison inadequate.  There's a certain sadness to some of these songs, a sense of being overwhelmed by one's emotions that reminds me much more of mid/late 80's DC hardcore than The 'Mats.  These six songs are lovely ragged compositions that convey so much intensity in just under 20 minutes.  Let's hope that Fins decide to release a full-length & tour soon.

FINS - "FINS"

Self-released 2013

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Slowdive - "Souvlaki Demos & Outtakes"

Slowdive are a band who need no introduction, at least with the massive amount of press they receive these days.  Seemingly pulled from the annals of relative musical obscurity, their current reunion tour is one of the hottest tickets in town right now.  Tumblr and other forms of social media are packed with songs, videos, pictures and swooning missives about the band, and for good reason.  Slowdive released one of the finest shoegaze albums of all time in 1993's "Souvlaki," a record that has taken on near-mythical status in the last few years.  As is the case with Neutral Milk Hotel and several other indie darlings at the moment, Slowdive seem to be currently enjoying a level of popularity they had never experienced during their original lifespan.  Seeing as how everyone most likely has a copy of "Souvlaki" or can find one readily, I've decided to focus on the demos & outtakes from that wonderful album.  It's a shame that Slowdive never recorded a proper studio version of "Joy," as it may be my favorite song of theirs.  The recording quality isn't the best on all of these songs, but there's definitely treasure here, even if you only know them for "Alison."

SLOWDIVE - "SOUVLAKI DEMOS & OUTTAKES"

Unreleased/Creation Records 1993

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Pity Sex - "Feast Of Love"

The shoegaze revival is in full swing at the moment.  One of the leaders of the pack is Ann Arbor's Pity Sex, whose 2013 album "Feast Of Love" is a fantastic modern example of the genre.  Tracks such as "Wind-Up" and "Honey Pot" hit hard with pummeling drums and distorted guitars, while the male/female vocal counterpoints weave subtle layers of melody beneath the fuzz.  Singers Britty Drake and Brennan Greaves create an atmosphere where their voices work perfectly off of one another, each taking turns with lead and back-up vocals.  Fans of 2012's "Dark World" EP will most likely be thrilled at the progression shown on this record, as the songs have become more streamlined and aerodynamic.  With this sort of growth exhibited between the two releases, one can't help but be excited for the next record.

PITY SEX - "FEAST OF LOVE"

Run For Cover Records 2013

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Yung Lean - "Unknown Death 2002"

Stockholm, Sweden isn't exactly known as a mecca for hip-hop, but Yung Lean and his Sad Boys clique are one of the hottest things in the game right now.  His 2013 mixtape "Unknown Death 2002" mixed chillwave beats with a slack-jawed flow to create a unique listening experience.  Yung Lean is poised to release his debut album "Unknown Memory" this year, and the single "Yoshi City" seems to be a taste of what's to come on the record.  I've included "Yoshi City" and "Kyoto" as bonus tracks with this mixtape.   Sad Boys unite and pour a tall can of Arizona out on the curb for all our fallen homies.

YUNG LEAN - "UNKNOWN DEATH 2002" + SINGLES

Self-released 2013/2014

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Q Lazzarus - "Goodbye Horses"

Best known for her appearance on the soundrack for "The Silence Of The Lambs," Q Lazzarus is something of an enigma in the musical world.  Not much is known about the singer or the other members of the project.  The song "Goodbye Horses" has some rather unsavory connotations attached to it due to its use in a certain scene, but the song itself is actually a lovely piece of synthpop.  This version is the original 4:19 edit.

Q LAZZARUS - "GOODBYE HORSES"

All Nations Records 1991

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Jon Hopkins - "Immunity"

Jon Hopkins released one of the best electronic records of 2013 in his sophomore album "Immunity." The two sides of the record act as masterful counterpoints to one another.  Tracks 1 through 4 have an upbeat, house-influenced style.  "Open Eye Signal" reminds me of something off of "Kosi Comes Around" by DJ Koze.  However, for all the groovy goodness of the album's first half, it's the second 4 tracks that are the real stunners.  Elegant, ethereal and slightly mournful, tracks such as "Abandon Window" hit extra hard in their starkness after such a beat-oriented first half.  The closing title track is a gorgeous 10-minute slab of ambience that makes you want to sigh deeply and start the whole thing over again.  No matter what kind of electronica you fancy, you'll find something to latch onto in here.

JON HOPKINS - "IMMUNITY"

Domino Records 2013

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The Hunt - "The Hunt Begins"

One of the saddest things for any lover of music is discovering a band or album you really love, only to find out that the band is no more.  That happened this past fall when Sacred Bones unearthed the lost debut album from The Hunt, a post-punk band from NYC.  From the first time I heard their earth-shaking single "Fifteen Minutes," I fell in love with this group, only to have my heart broken when I read that they disbanded sometime in 2010.  They did, however, leave behind one fantastic epitaph in the form of "The Hunt Begins."  Dark, aggressive and with more than a touch of self-awareness, The Hunt managed to encompass everything good about the deathrock genre in just 9 memorably catchy songs.  Download this album, dust off those steel-toed boots and prepare for the summer of hate.

THE HUNT - "THE HUNT BEGINS"

Sacred Bones Records 2013

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The Notwist - "Neon Golden"

Some albums truly stand the test of time.  I first heard "Neon Golden" by The Notwist over 11 years ago, and it has only gotten better with repeat listens.  Everything about it comes together to make a perfect record: the glitchy beats, the warm production, the simplistic lyrics and the sequencing of the tracks combine into a melancholic yet comforting soundscape.  These songs are just as appropriate for dancefloors as they are bedroom listening or cross-town headphone immersion.  Fans of The Postal Service or any of the Morr Music acts will find a lot to love here.  If you like electronic music with just a touch of sadness and introspection, you won't want to pass this up.

The version I have uploaded is the US import with 3 additional bonus tracks.

THE NOTWIST - "NEON GOLDEN"

Virgin/Domino Records 2002

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Cousins - "Bathhouse"

Welcome to Monster Poison.  This is a place for sonic treasures both new and old.  We will be showcasing all types of music, but mostly focusing on punk, electronic, shoegaze and dream pop.  All music contained within this blog is strictly for sampling purposes.  Feel free to download as much as you like and share the music with whoever you want.  If you like it, please support the artists and purchase their art from them.  Go to as many live shows as you can and support touring bands.  The entire purpose of this blog is to support the artists who make our days better through song.

My first entry will be the debut album from Cousins, a Milwaukee band who sadly are no longer with us.  Their drummer was accepted to Kent State University, and the band has called it quits.  However, they did manage to leave us with a very solid debut LP.  The opening track is one of my favorite songs of last year.  Dark, propulsive and catchy, "Abdicator" chugs along on a solid backbeat while distorted guitars slash through the droning vocals.  The entire album is a true gem, and one can't help but wonder what sort of animal Cousins would have evolved into had they been given a longer lifespan.

COUSINS - "BATHHOUSE"

Bridgetown Records 2013

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