On 2021’s Hot Sass, Brooklyn-via-Nashville-via-Baltimore-singer-songwriter-axe-wielder Liz Cooper conjures up a unique fusion/contusion of tight-as-a-tick's-ass-Music-City-worthy songcraft (e.g.,”Shoot the Moon”) crossed with a Brooklyn-worthy tendency to drive finely honed songcraft straight over the edge of a cliff (or better yet off the side of the Williamsburg Bridge, that is, if it wasn’t all caged in) in the process exploding/imploding traditional song structures with excursions into (for instance) nearly eight-minute epic Krautrock-style locked grooves infused with acid-fried-psych and a cappella inserts as on “Lucky Charm” or (for another instance) sexy glam rock stomp outfitted with fits of pummeling hardcore feral-freakout riffage alongside fragments of floaty musique concrète soundscapery as on the eponymous “Hot Sass” (a song which totally captures what it feel like to have a freakout episode in a Kroger parking lot and I grew up in Dallas so I oughta know).

The end product of all this musical assembly/disassembly was a compellingly schizoid album that felt highly apropos to last year and still feels it today—equal parts dreamy pop reverie and jittery anxiety dream—so that perhaps it makes sense Ms. Cooper made the move to Crooklyn when she did because some of the tracks on Hot Sass may be just a little bit too sassy for Nashville these days and it’s not a city that’s generally short on sass either even if there’s a growing sass supply shortage (RIP Katy K’s).

And now to our main attraction: the five-song live set posted yesterday on Audiotree Live (Chitown in the house!) by Liz Cooper and her current band—and lemme tell ya she’s assembled a crack band to help realize her post-Liz-Cooper-And-The-Stampede musical vision (the Stampede was also a crack band to be sure, tho’ one I hasten to add a band that was never known to take crack, a drug that doesn’t lend itself to mellifluous steel guitar infused alt-country).

Take set opener “Je T’aime” for instance (see the top of this page) which features a flinty/flirty shaker-assisted groove that brings to mind some of Lee Hazlewood and Nancy Sinatra’s classic mid-to-late ‘60s sides (not to mention how Liz can shift her voice from coyly supine, to aggressively vulpine, on a dime, and back again, not unlike Frank’s favorite daughter) a parallel that’s further enhanced by the song’s pregnant pauses and these-boots-are-gonna-walk-all-over-you lyrical message if less so by its space-alien-summoning keyboard solo and final serrated guitar chord.

So check out the full live set in the video at the top of this page and/or in audio form at the streaming platform of your choice and don’t worry I won’t spoil the other four songs for ya cuz I ain’t sassy like that. (Jason Lee)

A lot of times when I'm writing these reviews or rants or whatever they are exactly it's sometimes difficult to decide if a band’s name should be followed by a singular or a plural verb. Like most people would say “The Doors were on tour in Miami when Jim Morrison was arrested for indecent exposure” because to say “The Doors was on tour when Jimbo etc etc penis etc etc” just sounds weird. But to say “Duran Duran is a band known for their sometimes risqué music videos” versus "are a band known for..." isn’t so weird at all even though there’s at least two “Durans” in the group. It’s all darn confusing sometimes.

What’s also darn confusing sometimes, and just about as common these days, is the question of whether a “band” who’s really just a single dude or dudette or charcoal briquette (whatever!) should be treated as a singular entity or a collective identity. And to complicate/simplify matters further it’s not unusual for individuals to refer to themselves as “they” these days. So hey, why not use the plural form of verbs for these individuals-cum-bands like for instance: “St. Vincent are known for being romantically linked to Kristen Stewart” which isn't bad actually because this makes it so much easier to have sex with entire bands at once and to describe such encounters in grammatically precise terms. 

Anyway what I’m really driving at here is that Bummer Camp is/are one of those “one-man bands” that gives verb-tense fixated music blog editors headaches (and don't even get me started on one-woman bands!) but for the rest of humanity Bummer Camp is/are simply purveyors of good head music, that is, if you’re chill enough for it because Mr. Bummer has a way with entrancing songs built around looping repetitions and layer-by-layer wall-of-sound constructions like a DIY musical paper mâché project made up of Rick Rubinesque Def Jam-era drum loops, bedrock bass riffs, and circling, swirling layers of guitar (plus the occasional synth natch) pasting scraps of melody-upon-melody and texture-upon-texture but while never losing the minimalist feel of each basic building block either. And by any given song's end you may feel like you huffed a little too much Elmer's glue. 

Bummer Camp's latest single “Laugh All Day”—his/their third single in the preceding five months—provides a good case-in-point for the points above. The song also fits his/their social-media self description to a tee, i.e., “gothy folk pop from Queens” and lyrically it's either “about my life, my friends, my family, my job, [or] my car and the inadequacy it feels because it only has one headlight" because that's what Bummer Camp songs are about.

"Laugh All Day" opens with a chugging chord progression that would do Paul Westerberg proud with its restrained “aging punk rocker aging gracefully” raggedy folksy vibe but accompanied by a primitive drum machine and catchy as hell to boot. Then about half a minute in there’s a lead part that enters with this distinctive mid-tempo-contemplative-melodic-goth feel to it where you just know that if Molly Ringwald were in detention she'd go up onto the library's stairwell landing and do her preppie anarchy dance, a mood that's intensified further by the swampy echo on the vocals sung with a Richard Butler-esque sunglasses-at-night insouciance. Ergo, gothy folk pop from Queens. 

“Laugh All Day” bops along contentedly but it also keeps slipping in these subtly spectral moments too—like how the guitar line mimics the vocal melody at first but then starts to detach until it spins off into its own curlicue melodic figures finally reaching escape velocity about halfway through the song, and then dissolving into a shimmering halo of sound, and then a plucky palm-muted surf’s up section, and then a rhythmic drop and a cascading guitar line soaring over the top, and then a wordless vocal croon soaring over the top of the soaring guitar line, with the end effect something like a chorus of cicadas on a still summer night. 

So with these recent single releases who knows if Bummer Camp is building up to full EP or an LP or a fold-out-gatefold-triple-album concept record that'll come with a full set of van decal stickers illustrated by Roger Dean. But wherever it all ends up I'd say it’s a safe to say this one-man band will keep us oscillating wildly (or oscillating mellowly) until we reach the end of the ride. (Jason Lee)

Guerilla Toss is a band that specializes in dance-punk-acid-house-party-rock anthems that sound like they’ve been beamed to this planet straight from the Big Red Spot of Jupiter because much like that celestial “beauty mark” (actually a raging centuries-old storm bigger than the entire planet Earth) their music is a swirling sonic vortex that pulls in all manner of sonic space junk from the surrounding atmosphere which gets all mashed up and mutated in the eye of the storm re-emerging as a molten musical liquid metal that gets shot back into space via electromagnetic waves audible through this planet’s primitive stereo receivers and equalizers and discontinued iPods. 

Granted, this may sound like a crackpot analogy but it’s supported by the band’s own lyrical exegesis on songs like “Meteorological” (from 2018’s Twisted Crystal), “Can I Get the Real Stuff” (from 2017’s GT Ultra), and “367 Equalizer” (from 2014’s Infinity Cat Series). And you can hear the interplanetary vibes with your own ears just by putting on Guerilla Toss’s latest single “Cannibal Capital” (music video directed by Lisa Schatz) from their upcoming Sub Pop debut full-length Famously Alive due out on 3/25, a song that seems to mix and mutate the various stages of the band’s own musical history—from the noisy experimentalism of their early releases to the mutant funk of their more recent DFA releases—a song that by their own account “makes everything sensory.”

The song opens with a sound-collage intro that appears to incorporate the sounds of a Merzbow cassette being eaten by malfunctioning tape deck, a leaky toilet, an air rifle, and a cat suffering from intestinal distress—all in the first 15 seconds or so. It just goes to show how much Guerilla Toss takes making everything sensory very seriously indeed. 

Meanwhile a twitchy-tail-shaking-percolating-mid-tempo groove emerges from the sonic murk and while it seems to vanquish it at first the sonic murk keeps seeping back in around the edges with squelching synths and blasts of power chords and so forth thus setting up a disintegration/reintegration dialectic that fits perfectly with the song’s opening lyric (“you need help / melt in every dimension”) and it’s not the only case of lyrical/musical synchronicity either like later where vocalist Kassie Carlson poses the question “can I escape gracefully?” and the vocals veer out of time on cue escaping the rhythm of the tightly wound groove for a few moments.

Closing arguments: On “Cannibal Capital” Guerilla Toss have proven once again that pop will eat itself and and that there's a cultural capital to cannibals just as Brazilian poet Oswald de Andrade observed back in 1928 when he wrote the Cannibalist Manifesto which advocated the notion that “Brazil’s history of cannibalizing other cultures was its greatest strength and had been the nation’s way of asserting independence over European colonial culture” a notion that went on to inspire the late ‘60s art and music movement movement called Tropicália—whose best-known proponents were Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, and Os Mutantes which literally means The Mutants—likewise frooted in a collage aesthetic where the "sacred enemy" is disgested and transformed, and with all this in mind I'd say it’s fair to say that Guerilla Toss are our modern-day tropicalistas, i.e. modern primitives, likely transplanted from outer space no less, or Boston, one or the other, sent to Earth/NYC to absorb our musical traditions "body snatchers style" and spit 'em back out in capitvatingly mutated form. (Jason Lee)

Michelles have released the first single, "Illusions", from their forthcoming album, The Empty Promises of Rock and Roll, which is due out on March 8th.

This primarily the work of Michael Daly who is joined on this album by Ryan Farnham on drums.

When asked about this first single Daly had this to say; "“Illusions” was one of the last songs written for the album. Lyrically, it dances around the idea of the masks we wear, literally and metaphorically, the desire to transcend these disguises, and how on some days it really does feel like the sky is falling, but you have to have some lingering faith in the universe just to get up and do it all again.”