We got in a ton of new records over the last few weeks. Here’s some of our favorites:
RATS – In A Desperate LP
At last! FRED and TOODY COLE (DEAD MOON, PIERCED ARROWS) and drummer LOUIS SAMORA’s ultimate punk masterpiece—In A Desperate Red. This is the last record by the Portland punk legends before moving on to a very brief country period and then Fred and Toody moving on to Dead Moon. In fact, two songs from the first Dead Moon LP hail from the same session as this LP. In A Desperate Red combines garage rock, new wave and art punk—just picture a more punk version of Dead Moon if you can. 6 years of work went into remixing and remastering this version with Fred Cole twisting knobs and obsessing over it’s every detail and then GREG SHADOAN and TIM STOLLENWERK finishing the job. One of Fred Cole’s greatest records and impossible to find for many years—at last this LP is available as it was meant to be heard. Play it loud! First Pressing includes a 40-page booklet and a xerox replica of a RATS show poster! Co-released with Mississippi Records.
BAD BREEDING – Exiled LP
The news cycle as it exists in 2019—rapid, permanently mutating, consistently grotesque—equally blesses and curses BAD BREEDING. A group with a keen eye for social injustice and establishment venality, expressed in hollered tones over a full-throttle, enervating soundclash of anarcho punk, hardcore and noiserock, their third album Exiled was fueled by the last 12 months in (primarily) British politics: a nation circling the drain while forever eyeing the plughole. Partly, anyway. Topics on this 12-song, 33-minute album also include some hardy perennials of left-wing hardcore punk: war, imperialism, the police, the press. Topics which, at a time where the political landscape could change tectonically between this being written and you reading it, maintain a grim relevance. It’s far more than generic protest prose though. One must hear for oneself to know for sure. Edtion of 250 copies on black vinyl housed in a classic Crass-style 12-panel foldout poster sleeve with essay inserts and download cards included. Art by NICKY RAT.
CYBERPLASM – The Psychic LP
The mutilated guitar buzz, hissing vocal fury, Cyberdyne Systems drum processors and brooding atmospheric tekno are a powerful commixture brought to light through the channel of industrial noise punk so we can all start to free the body from the mind. The Psychic Hologram is a mirror, a magnifying glass, a surgical kit and guidebook for self-liberation. Its freedom from flesh. Freedom from violence. Freedom from expectation. Freedom from “them”. Us for us by us. 500 copies of 150-gram vinyl housed in a 24pt reverse board jacket with 11×22 double sided poster and download card included. Art by SAINTE-X. Sound by CAPT. TRIPPS. Mastering by JOHN GOLDEN.
FRENZY – s/t LP
Portland hardcore release from Distort Reality, featuring the label meister and members of NERVESKADE. (Distort Reality Records #46)
PEST – Ara LP
The debut from 2000 finally on vinyl for the first time. Pest is a German black metal cult that needs no introduction. From the Teutoburger forest, West Germany, comes an album full of madness and weirdness. On this album, Pest displayed how they were prime forerunners of original European black metal that does not sound like Burzum or Darkthrone. Expect chaotic compositions accompanied with hysterical and possessed vocals, executed in a way that would became that recognizable Pest sound. (Nuclear War Now Records #379)
CEMETERY URN – Barbaric Retribution LP
By now, CEMETERY URN should need no introduction. A staple of the Australian extreme metal scene, for over a decade now, the band have been a study in staunch self-reliance, self-booking two highly successful tours across the United States as well as releasing their first two albums on their own Cemetery Recordings. Although HELLS HEADBANGERS would release those first two albums – 2008’s Urn of Blood and 2010’s The Conquered Are Burned – on vinyl in 2011, CEMETERY URN’s spirt is fiercely independent. Not to mention that they’ve a deep history in that Australian extreme metal scene: founding guitarist and songwriter Andrew Gillon also hails from reactivated Aussie barbarians ABOMINATOR, and previously played in the final lineup of BESTIAL WARLUST; original vocalist Damon Bloodstorm was renowned as the frontman for BESTIAL WARLUST and for ABOMINATOR from 1996-2001; and drummer Matt Crossingham, who’s played with such bands as Belligerent Intent, Scars of Sodom, and Draconis Infernum. (Hells Headbangers #248)
WEAR YOUR WOUNDS – Rust On The Gates Of Heaven LPx2
“Rust On The Gates Of Heaven” is the new album from Wear Your Wounds. This release marks the first time the official lineup of the band; Jacob Bannon (Converge), Mike McKenzie (The Red Chord, Stomach Earth, Unraveller, etc.), Adam McGrath (Cave In, Nomad Stones, etc.), Sean Martin (Twitching Tongues, ex-Hatebreed, ex-Kid Cudi), and Chris Maggio (ex-Trap Them, ex-Sleigh Bells, etc.) have properly written and recorded together. It also features musicians Ben Chisholm (Chelsea Wolfe, White Horse) and Gared O’Donnell (Planes Mistaken For Stars, Hawks And Doves) collaborating throughout. Vinyl version includes digital download. (Deathwish Records #212)
DEATH WORSHIP – End Times LP
With its highly-anticipated debut recording, “Extermination Mass,” Death Worship emerged in 2016 to write the next chapter in the storied legacy of the Ross Bay Cult. Whereas many bands over the years have striven to claim a position atop the mantle of bestial black metal, the incomparable lineage of Death Worship’s members and the pitiless assault on the feebleness of human existence as evidenced in this first recording confirmed it as one truly worthy of such a distinction. Now, approximately two years later, Death Worship returns with its second siege, “End Times,” which ominously portends the finality to which all mankind will succumb. (Nuclear War Now Records #418)
ASID – Pathetic Flesh LP
“On their first vinyl effort, ASID’s almost monomaniacal devotion to gutting hardcore of its accretions of style and refinement and revelling in its basest instincts of power and fury is on rude display. Pounding forward with a jackhammer beat, ASID burn through tough riffs birthed choking in a dirty glut of muggy fuzz that conjures up the sickened tone of something like Disclose’s Nightmare or Reality 12″. Pathetic Flesh is an intense explosion of a record, chucking up the rudimentary stomp of Fever, the brawny pogo of Bootlicker, the panic-stricken downhill rush of the title track. This record is a total hardcore statement, with stunning art from the singer Tin, whose tortured yell struggles painfully against the storm of the noise, breaking through with ugly anguish.” (La Vida Es Un Mus #191)
ENZYME – Howling Mind LP
After two 7″s on Crust War and Hardcore Victim and a Tour flexi in Japan on Vox Populi Records, Australian noise-punx Enzyme release their debut 10 track debut album. The band made up of ex members of PISSCHRIST, KROMOSOM and UNKNOWN TO GOD worship at the altar of Perdition era DISORDER, CHAOS UK and CONFUSE. The bass drives the sound, the drums hectic with a lot of rolling tom tom work whilst the guitar has an immense tone of buzzing distortion and flanged psychedelics which sits somewhere between GLOOM and LES RAZILLES DENUDES. Pummeling, assertive one-two hardcore with a visceral-physical without stupidity, clever but unpretentious venomous vocals. Recorded by Jason Fuller at Goatsound and mastered by Shige at Noise Room Howling Mind comes with sleeve and 16 page booked designed by Zach Malakonas. (La Vida Es Un Mus #184)
MALCRIA – El Reino De Lo Falso LP
Pointed, chaotic and forceful hardcore from Mexico City. MALCRÍA underlines their odd brand of precise punk with dark urgency and pained screams without a drop of reference or a borrowed idea. Very fresh, very real. The pure scrap of this trio is infectious and exciting. And for what it’s worth, “Nadie Es Especial” is gonna be the song of the summer for sure. Something about that opening bass riff and the overall foreboding vibe of that track that keeps me coming back for more more more. 500 copies of 150-gram black vinyl with an elaborately etched B-side housed in a painstakingly collaged 24pt reverse board jacket with lyric insert and download card included.
PRETTIEST EYES – Volume 3 LP
Last year’s Pools having taken up a sizable chunk of Castle Face’s cold dark hearts, the label was delighted to hear that LA post-industrial trio Prettiest Eyes have a new gang of crowd-stirrers. None too early, either; once one’s become accustomed to their clanging synthetic orbit, it’s hard to find other tunes that truly scratch the same itch. Volume 3 bursts at the seams with chrome-dipped timbres and surprise sharp edges, alien klaxon-calls and wailing dissonance offsetting the ziplock’d grease of their insistent drum and bass grooves. Prettiest Eyes are one of the most exciting live bands going on right now, and Volume 3 catches them in fine fettle.
TOMMY AND JUNE – Self Titled LP
Since Fat Wreck Chords began nearly 30 years ago, people have associated the label with a certain sound, and it’s safe to say it bears little resemblance to TOMMY AND JUNE. The self-titled debut from the mysterious duo lacks the aggressive, overdriven power of the bands on Fat Wreck’s Mount Rushmore. Tommy and June’s 10 tracks stick mostly to acoustic guitars, breathy vocal harmonies, and a spirit indebted to Pete Seeger as much as Pete Shelley. But this isn’t power chords on acoustic guitars, or punks unplugging for novelty’s sake. Delicate finger-picking carries “Lonely Train,” “Adulthood,” and closer “Young Man Bones,” for instance. “Better Life Story” and “Monogamist” bounce with a folky jauntiness. “Mary Unfaithful” is a straight-up pop song that should soundtrack a montage in a romantic comedy. In a good way. That said, Tommy and June isn’t coffeeshop chic. The distorted guitars and propulsive percussion of “Ghost of Paris,” located at the midway point of the album, will sound familiar to Fat Wreckfans. The organ-assisted “New Alive” is a hooky blast of new wave energy, which “Black Maze” picks up again toward the end of the album. Lyrically, Tommy and June has plenty of teeth. “Jetlag Blues” recalls the experience of Traveling While Brown, and “Adulthood,” “Better Life Story,” and “Young Man Bones” exude a punk rock defiance to the expectations of growing up. Listeners who pay attention to the lyrics will hear enough clues to guess something about Tommy and June’s lives. But label co-founder Fat Mike—who assembled the duo like an impresario from rock ’n’ roll’s past—wants to maintain the mystery. He will say that he met Tommy in Israel a dozen years ago and encountered June, an Iranian who lives in Colombia, on tour in South America. Both were great songwriters but had never met. At the urging of Fat Mike, the unlikely duo—a Jew from Israel, and a Colombian Arab—united in the studio, and the result is 10 clean, simple, catchy tracks; clocking in at 20 minutes.
LVCIFYRE – Sacrament LP
After the leveling aural decimation of 2014’s Svn Eater, the UK’s Lvcifyre have re-emerged with Sacrament, a twenty-three minute extended-play offering of cacophonous and wretched death metal savagery. Where relentless and violent death metal riffing meets chaotic and claustrophobic atmosphere, this is a delve into the corner of death metal fringe that many fear to explore. Features a faithful and blistering cover of Kat’s (Poland) “Morderca” in addition to four original tracks. Vinyl version is a single-sided 12-inch with an etched b-side featuring art from Timo Ketola.
OBLITERATION – Cenotaph LP
“Cenotaph Obscure is the fourth album from Norway’s death metal custodians Obliteration. Following their now classic Nekropsalms (2009) and the harrowing Black Death Horizon (2013), the latest offering further expands on the quartet’s trademark sound: lead heavy old school death metal with distinct flavours of both doom and black metal. Inventive yet never difficult to grasp, technical without wankery and obscure without being diffuse, Obliteration are masters at their craft. Cenotaph Obscure was recorded in Studio Cobra, Stockholm with Martin “Konie” Ehrencrona at the helm, lending the album an organic yet in-your-face production. In perfect keeping with the music, the lyrics deal with dystopic, apocalyptic themes, extinct civilizations and interdimensional portals etc. With Cenotaph Obscure, Obliteration cement their status as leaders in the Norwegian death metal scene, delivering a grizzly yet flawless monument to death metal the way it was meant to be; obscure, ominous and unpredictable.”
PLASTICHEADS – Nowhere to Run LP
Heading up the new crop of Toronto outfits, these ignoroids blaze through ten tracks of rough buzzsaw scorch with speed and hooks to spare— think ‘77 (Dils, Weirdos) meets ‘82 (Angry Samoans, Zero Boys) with a healthy side Lazy Cowgirls and early Humpers. Members of Career Suicide and School Jerks, so you know what’s up. Cut loud at 45 for maximum impact, one-time pressing of 500.
RAW POWER – 83 Demo LP
One of the fiercest, most violent punk sessions ever recorded, the legendary Italian hardcore outfit’s 1983 ‘Brown Studio’ demo has unbelievably never appeared on vinyl in its original form (although you’ll recognise ‘Fuck Authority’, culled from here to appear on MRR’s Welcome to 1984 comp). Nineteen songs of feral thrash in 23 minutes, kicked out with unreal fury, chainsaw guitars and savage vocals. Remastered by Raw Power freak James Cavalluzzo (Malhavoc) from an original copy of the demo, this has been beefed up without sacrificing the essential rawness. Ugly Pop is proud to present this killer 12”, released in a limited pressing with the band’s cooperation.
ABYSSAL – A Beacon in the LP
Otherworldly mysterious UK dark ambient death metal entity Abyssal have completed work on their fourth opus A Beacon In The Husk. Standing as the band’s most colossal and ambitious offering yet, this latest stretches the Abyssal sound into even darker, more abstract, noiser, and progressive realms than anything within their previous repertoire. Four years following the acclaimed Antikatastaseis observation, an album that took a slightly more structured approach to their enveloping horror, and one that escalated the band into one of the most prominent death metal artists emerging from the UK, A Beacon In The Husk brings the audial terror to a whole new suffocating and insanely complex level, making it their most outré album to date.
LADRONES – Self Titled LP
Slovenly Recordings is proud as hell to present the debut LP from Puerto-Punk screamers LADRONES. From the gutters of Atlanta by way of the island paradise known as San Juan, Ladrones exist in that undeniably fun sweet spot of punk and rock ‘n’ roll where pogoing and slam dancing all make sense, dedicating album opener “Tropimuerte” to the island’s tradition of el jangueo (simply “hanging out”) – it could easily go unnoticed for what it really is: a declaration of individuality, defying any demands for conformity*. Led by crazed, mic-gripping she-devil VALERIA SANCHEZ, Ladrones goes Reatards in spasmodic bursts of pure aggression, with a respectful nod to Los Angeles legends X and superhero Exene Cervenka while channeling the swinging and playful doo-wop side of fellow countrymen Los Vigilantes, but this is an extra special snot-rocket en Español that they own to the hilt. ¡VAMOS A TRIPIAL!
VIRCOLAC – Masque LP
After five years of roaming city streets like a pack of rabid dogs, Vircolac is set to release its debut full length album Masque on Sepulchral Voice Records in Europe and Dark Descent Records in the US. Following on from 2016’s The Cursed Travails Of The Demeter EP, Masque celebrates a bolder edge mixing more visceral and vicious aural assaults with with a foreboding and obtrusive atmosphere throughout the thirty-six minutes of the recording. The album title reflects the myriad masks human beings hide behind and the cover represents what is ultimately left once the mask of flesh is finally removed. Whether pauper or opulently venal, the end is the same for all. Thematically, the album reflects two different strands of story telling, with the first half adopting a starkly defiant tone throughout. The second half then takes a moodier assessment of the obsequious venality that governs the world inhabited and inherited, the conclusion of this being the mass industrialized slaughter of much of Europe’s young in the great war. It is a direct statement of purpose by Vircolac and the culmination of half a decade of steadfast belief in the continual relevance and importance of death metal.
XENU AND THE THETANS – Self Titled LP
When BRANDON WELCHEZ from CROCODILES (Fat Possum Records) moved from the sunny, mellow beaches of San Diego, CA to the hyper metropolis of Mexico City, he was practically forced to take that change of scenery and let it manifest into more chaotic, aggressive and ridiculous sounds. The new manifestation is called XENU & THE THETANS, and it’s not rock-it scientology here, gang. This is that primal punk rock madness that pours outta yer pores when you just wanna belt out some Germs / Bad Brains style ‘core and get nasty. Enter the recently-relocated-to-DF JOHNNY OTIS DAVILA aka DR. PAPI from San Juan, PR garage-psych heroes DAVILA 666, and you get equal blasts of hilarity / stupidity slapped in to the mix. And slap this album does! From the album opening anthemic tribute to dead friends “Amigos Muertos” to the more than a little bit dangerous closer “Un Poco de Peligro,” XATT exhales every syllable in swarthy Spanish, and every last beat in the universal language of rock’n’roll!
FETID – Steeping Corporeal LP
While home to fertile forests, soaring peaks and copius precipitation, the Pacific Northwest lately has also become a breeding ground for something more nefarious, more grotesque, more… Fetid. Since 2016 Fetid has steadily swelled like a venereal boil upon death metal’s infected anatomy. The band’s Sentient Pile Of Amorphous Rot demo introduced the mustiest corners of the globe to their abhorrent peculiarities. Now, having sliced into the furthest reaches of some unfortunate’s intestinal mucosa, they’ve ripped out a Steeping Corporeal Mess of festering death metal barbarity. All one needs to know is that from the opening of “Reeking Within” to the closing moments of “Draped In What Was”, Fetid consume from the inside out, tearing through flesh, liquifying and engulfing the entire host body into formless horror. “Feel it breath, feel your fear, the time is now, they are here…”
GOLDEN PELICANS – Grinding For Gruel LP
Over the course of the last 8 years, Orlando’s GOLDEN PELICANS have made a compelling case for themselves as one of the planet’s most relentlessly malevolent ensembles, both live and on record. Thankfully, however, this is not an episode of “Hot Bench” and rather than finger-pointing and tearful recriminations, I’ll offer as evidence their succession of titles for the Total Punk and Goner labels with which the quartet of vocalist ERIK GRINCEWICZ, guitarist SCOTT BARNES, bassist SAMMY MENESES and drummer RICH EVANS have made reached American punk’s apex in the 2 thousand teens more than once (like goalposts, the thing moves around a bit). On the band’s 2019 entry, Grinding For Gruel, recorded by RYAN BELL of GG King / Predator, Grinewicz’ fatalism and Barnes’ not-nearly-heralded-enough virtuosity are captured with the sort of chromatic sheen that would’ve at one time been considered unthinkable (well, before electricity was invented, anyway). Is this the finest, most fully-realized Golden Pelicans release to date?
HYGIENE – Private Sector LP
Having released a slew of singles and an LP on various DIY labels in the US and the UK at the turn of this decade, London post-punk stalwarts HYGIENE return from hiatus with their sophomore effort, Private Sector. Where their debut LP Public Sector (2011) reflected a nostalgic longing for an unrealized socialist modernist utopia, Private Sector finds them confronting the grim realities of the present, Hygiene rail against the neoliberal madness of utility cartels, tax havens, and privatized railways, seizing the moment as the current period of interregnum sees the old ideological certainties come into question. Proving nostalgia to be an inescapable trap, the band continue to hearken back to the kind of post-punk that existed before anybody knew to affix the “post” prefix. Private Sector has the signature Hygiene sound, mixing brooding melodies with a choppy, aggressive approach, and a restricted pop sensibility. However, this ever-so-slightly-more mature record finds the band taking advantage of the musicianship of their friends, mixing in the odd viola, glockenspiel, piano and keyboard. Recommended for fans of Real Ale, British Rail Class 55 Deltics, Euston station, and Jeremy Corbyn. Edition of 500.
LTD – Stop Und Fick LP
King Khan has scoured the earth to find the most rocking freaks of nature this side of the planet to form what he calls “an all-star cream of the crop rock ’n’ roll lifers association” aka Louder Than Death aka LTD—Looch Vibrato and Aggy Sonora (of the legendary Magnetix) on guitar and drums, and Fredovitch, the mighty organ surfer of the Shrines, throws out the keys and picks up the bass. King Khan assumes the position of frontman / lead shouter / effeminate cult leader (by choice). What is born is a maelstrom of pure unadulterated, unhinged, unbelievable rock ’n’ roll baptized in the salty sea water of Bordeaux, France, waterboarded with the finest wines, choked with the smelliest cheeses, dipped into a vat of oysters, octopus and shrimp. This is not just a band, its an orgy of the damned!
King Khan summons the punk rock demons buried in his bodacious brown back side, lathers up the listeners in his mystical oils and leaves the audience thirsty, horny, riled up, ready to dance upon the apocalypse and punch it in the face all in one mighty fell swoop. King Khan on the other players: “I once saw Looch Vibrato take a pair of glasses off someone’s face and stick them in his mouth and crunch them into dust, all because he warned him not to drink a warm can of beer filled with his own piss. Aggy Sonora, is the love child of Peggy from the Gories and Anaïs Nin. She beats her drums as senselessly as sensually. The sound of lust and labour rammed into one mystical inauguration of the pleasure dome. Fredovitch (aka Freddie Rococco) was once mistaken for the son of Roky Erickson by Japanese music magazines. He is in fact a son of a gun and the greatest bass player since sliced brie. When he isn’t playing bass he is conducting orchestras in his mind and preparing to take over the world of classical music. His motto is : you slap my bass, I’ll slap yo’ face… and fuck your mom.”
Tired of the smoke and mirrors of the modern music world? Then trust in this Union of Lifers. They chose the path to enlighten lives with simple, pure, decadent ordering of chaos. They found the beat in the slow death of the human race, and they have come to save your uncool niece.
MATT GIMMICK – Detroit Renaissance 7″
“Behold, another classic gem from the Detroit punk underbelly of the late 1970s, the elusive MATT GIMMICK ‘Detroit Renaissance ’79’ EP, which rose to notoriety in its second wind via the Year of the Rats LP compilation, one of the first ‘raw & rare KBD-style’ comps released just a few years ahead of the Killed By Death and Bloodstains compilations series. It’s slash and burn at it’s core, but anchored heavily into a punked up Stooges template, and as much as the EP rules on it’s own merit, with one slow-burn “Gimme Danger”-style original throbber, and the smoking hot title track oozing with enough factory grime to choke any Asheton on sight, this EP has come to stand as a bit of historical anomaly in the Detroit punk timeline. Two of the four tracks included here are/were actual unreleased Stooges songs the band learned from a late 1970 performance they had witnessed and recorded onto cassette. A few years earlier, the Matt Gimmick band was known as THE PUNKS, another heavily-Stooges influenced band that never had any releases during their time, yet made their name around town and luckily stayed busy in the studio (checkout their 1974-era LP on Rave Up) despite the lack of label action. Both “Rag” and “Ya Don’t Want My Name” were the unreleased Stooges originals, performed during the band’s 1971 post-Funhouse era with both Ron Asheton and James Williamson on guitar, and Jimmy Recca on bass. It wouldn’t be until 2010 that the Stooges original rough live versions would surface on their The Electric Circus live LP, albeit much lower in fidelity than the oily & slithering Matt Gimmick studio versions from 1979. All in all, a rare piece of Detroit punk history is finally accessible again, and a filthy reminder of seedier times and harder crimes that our ancestors took all in stride.”
OUT COLD – Living is Killing Me LP
Sorry State is pleased to release Out Cold’s Living Is Killing Me, the band’s final statement in their legacy of pure, unadulterated hardcore punk. For the uninitiated, Out Cold is hardcore’s greatest cult band. They flew under the radar for most of their 20-year run, but for those who understand the band’s importance, Out Cold were a truth, and a benchmark for quality. During the tail-end of the 80s, there wasn’t much activity in the world of fast and raging American hardcore. Out Cold was the big exception. Out Cold’s aggression was unwavering, presaging the 80s American Hardcore obsession that flooded the US in the mid-00’s. Formed in 1989 in the town of Dracut, MA, about 30 miles northwest of Boston, Out Cold would stay true to their formula for tried-and-true 80s-style hardcore until they disbanded in 2010. While they’ve undergone several lineup changes, Out Cold’s foundation has always been drummer John Evicci and guitarist/vocalist Mark Sheehan. Following 2005’s Goodbye Cruel World, John and Mark recorded drum and guitar tracks for two full-lengths worth of material before Mark’s untimely and unfortunate passing in 2010. Rather than letting these new songs fall by the wayside, the band rescued the session from the abyss with Kevin Mertens, Out Cold’s original frontman, coming in to complete the tracks. Half of these songs became 2013’s A Heated Display, the remaining half comprising Living Is Killing Me.
RICHARD ROSE – Self Titled LP
Richard Rose is a band—not a person. They are a brand new southern Californian based outfit who have just recently started playing out live. They are fronted by Lawrence Rose (aka Chris Shaw—vocalist of Ex-Cult and GØGGS) and Thomas Rose (aka Orville Neeley—guitarist of OBN III’s and Bad Sports) and play a pummeling, Stoogeoid-brand of rock ’n’ roll that’s not afraid to stretch out and go long. This is Richard Rose’s debut release—a four song 12-inch slab of vinyl that is designed to melt faces.
DARTS – I Like You But LP
The Darts (US) have exploded onto the scene with a fiercely classic sound that invests deeply in late ’60s garage, while incorporating tones of horror-punk and psych-rock. Live, they hurtle through their songs with the reckless abandon of a freight train about to run off the rails, while their calculated musicianship sets a seamless trajectory of grooving hooks and danceable boogie back beats. If Elvira and Wednesday Adams consumed the flesh of man, drank shots of snake venom, started a garage rock band, and played a sweet sixteen party for Rob Zombie’s daughter, it would probably sound exactly like The Darts.