• Team Dresch Release New Song and Video ‘Growing Underground’

    Portland queercore trailblazers Team Dresch’s latest call to arms, “Growing Underground” arrived today (Thurs., Aug. 8) along with its shadow puppeteered music video. Band member Kaia Wilson gets credited as one of the visual artists along with Ponyboy, Rhianna “Free” Atwood and two talents from Coraline and ParaNorman: Jason Thibodeaux and Cynthia Star. (No word yet on who drew the vegenaise jar.)

    “Boiled down to its core, ‘Growing Underground’ imagines a future rooted not in fear, but in love,” reads a statement from the band. “It’s a place of germination. It’s the root system. The mycelial network. The place where growth begins long before anyone above the surface realizes it’s happening. The music mirrors the song’s message: the Right can try to erase us, but it will never extinguish the people who believe in the inviolability of all life and our planet. The closing images become increasingly expansive: ‘We become the ocean / We become trees’ – these aren’t simply symbols of survival, they’re ecosystems. Trees provide shelter. Oceans sustain life. The song imagines shared communities becoming the very thing that nutures future life. Love is embodied through chosen families, interconnection and the networks that have always sustained one another.”

    “Growing Underground” will appear on Furthermore (out Sept. 18 via Jealous Butcher Records). It’s the first new Team Dresch album in 30 years, following 1995’s Personal Best and 1996’s Captain My Captain. In case you missed it, here’s prior single “One Song’s” music video.

    What else jumps out from the press release? A trio of California bills in November include opening support from fellow queercore icons Longstocking and The Third Sex. More on their greatness some other time.

  • Underground Excavations: Gayrilla Biscuits’ ‘The Demos’ EP (1998)

    A personal favorite suggestion from the Bored 2 Life podcast, parody band Gayrilla Biscuits epitomize mysterious gay guy hardcore of the straight edge variety. Meaning little is known about the willfully obscure group aside from a quartet of stage names (Gay Capo, HomO’ Mahoney, Mike Fudge and Zack Gay La Rocha) and a pair of short-run 7-inches.

    As for the liberating lampoons themselves, they’re as juvenile as you’d hope without running the joke into the ground. The comedy starts with the cover art, which hat-tips NYHC supergroup Project X.

    Here’s a track listing that identifies the original songs:

    • “Flaming Ass Still Burns” = “Flame Still Burns” by Youth of Today
    • “Degragaytion” = “Degradation” by Gorilla Biscuits
    • “Get Hard” = “Standing Hard” by Youth of Today
    • “No Homosexual Surrender” = “No Spiritual Surrender” by Inside Out
    • “Nailed In The Ass” = “Nailed To The X” by Bold
    • “Gay Till Death” = “True Till Death” by Chain of Strength
    • “Fags Like You” = “Friends Like You” by Sick of It All
    • “Gay Edge” = “Straight Edge” by Minor Threat

    “Standing Hard” in particular needed very little change to sound homoerotic.

    In 2006, the righteous shit-stirrers at Buddyhead Records brought us a second Gayrilla Biscuits 7-inch, the Hung Queens Can Suck It EP (a reference to Judge’s Chung King Can Suck It album). More on it separately someday because I own a copy.

  • Underground Excavations: “Crevice Tool” by BAMFF (1987)

    Here’s something delightfully peculiar from the prime decade of artsy new wave and the formative era of music videos. Singer Danice Macleod’s credentials as a classically-trained violinist add a haunting tone while pointing to the widespread influence of The Raincoats. And as modern comparisons go, a herky-jerky song about something as mundane as a vacuum cleaner’s crevice tool attachments would suit Snooper.

    “Crevice Tool” appears on the 1987 album Come Outside, which goes for cheap.

    Macleod and BAMFF co-founders Colin Griffiths and Rodney Graham previously played in another notable Vancouver new wave band: the graffiti tag- or vanity plate-worthy UJ3RK5 (“You Jerk”… The “5” is silent.). The collective of artists and other misfits included Jeff Wall, who’s gone on to become a world-renown photographer. My fellow old heads might know UJ3RK5’s “Eisenhower and the Hippies” via Man… Or Astroman’s cover.

  • Paper Jam Sign With K, Share ‘Lovely Girl’ Video

    A twee-pop-inspired band you should know from Denton, Texas received a stamp of approval from a shield you can trust. K Records announced recently that it’ll pair with its Perennial Records offshoot this fall for a reissue of Paper Jam’s self-released debut album This And That.

    Paper Jam’s jangly gems draw comparisons to Heavenly (fittingly, the band namechecked another Amelia Fletcher project in Talulah Gosh to See/Saw). Band members Natalie Winkler (vocals, guitar), Cecilia Case-Hernandez (bass, vocals), Mason Blair (guitar), Natalia De la Cruz (keys) and Taylor Rivers (drums) also bond over a shared love of one of the best by-products of UK punk: Dolly Mixture. See/hear their youthful exuberance below.

    The reissue arrives on Oct. 23.

    READ MORE: ‘Dream Come True’ by Cola Cubes

  • Underground Excavations: ‘Erection’ by Mag & The Suspects (1981)

    Mag & The Suspects (sometimes styled Mag and The Suspects or Meg and The Suspects (and even Mac and The Suspects via a label misprint)) begin our roundup of obscurities found online or in record bins.

    Details remain scant about the (French?) minimalist band and its 1981 pairing of the glibly delivered “Thousands Dead” with should-be synth-pop and post-punk classic “Erection.” The latter’s a personal favorite that’s comparable to Delta 5’s “Anticipation” in both topic and tone. Those who know know– and in one case made a fan video.

    If Discogs is to be trusted, Suspects member Ruth Failure played on everything from an album by French-Irish singer-songwriter Guy Maxwell to a low-fidelity French disco 7-inch by Casta Blitz. Otherwise, there’s no easy-to-find info about her or her bandmates Mag Morley and Fabrice Dusapin (which is also the name of a celebrated architect).

    The Suspects’ second dance came in 1984 via the CBS 7-inch “Meg and The Suspects” B/W “Fascination Tango!” It’s more polished and new wave than its delightfully low-budget predecessor (and still worth a digital spin).

    There’s at least one “Erection” cover of note. Montreal-based synth-pop artist Jef Barbara interpreted it for the 2013 album Soft to the Touch.

  • 2024 Playlist Update: Dollhouse, Femcel + More

    2024 Playlist Update: Dollhouse, Femcel + More

    5/23 Playlist Update: Dollhouse, Femcel + More

    “Time Suck(s) (Single Version),” DANA

    Columbus’ DANA reside on the artsier end of the punk spectrum, alongside their fellow Ohioans Fruit Looops. The single version of “Time Suck(s)” crosses post-punk ingenuity with egg punk quirkiness and garage-punk grime– all for a song about the mundanity of working a less-than-glamorous job just to barely scrape by.

    “Nobodys Favorite,” Dollhouse

    A personal favorite for reasons disclosed below, Dollhouse matched the quality of their previous work (“The Shadow Baby” included) throughout the new EP I Hate You Dont Leave Me (Toxic State Records). On “Nobodys Favorite,’ singer Michelle Caiazzo vents about body dysmorphia in a way that might make you feel less alone. (Would being in a rad punk band make you feel pretty and gorgeous all the time? Not necessarily.)

    Dollhouse has a more mind-blowing “ex-members of” situation than our beloved Warp. Drummer Hank Wood needs no introduction if you’ve followed the New York punk scene since 2012. On guitar you’ve got Sasha Stroud (80HD, Church Clothes, Firewalker) and Tye Miller (L.O.T.I.O.N. (and Michelle’s bandmate in Mommy)). (Experimental artist Pharmakon has (or still does?) play(ed) with the band, as well, but she isn’t listed on our Discogs cheat sheet. Record collector dads might have dropped the ball here.)

    They’re also the raddest because of the whole black-eyed doll aesthetic. This time, she’s got her own overpriced, undersized bedroom in NYC, complete with tiny and empty pill bottles and a very limited wardrobe– an image that fits the tones and topics of the record.

    P.S. Dollhouse’s 2022 tour date in Nashville with Twompsax fell just weeks before I came out as trans (not that the inevitable wouldn’t have happened anyway). Always remember that you never know who needs to see or hear your art at a pivotal moment in their life.

    Chunks,” Femcel

    A new band that’s been playing shows for less than a year, Femcel excels at three-chord, feminist, budget-rock-on-a-budget punk on “Chunks.” It’s lo-fi in the sort of way that leaves you convinced that this Brooklyn-based trio –their Lilith-tier bassist in particular– brings the exact same energy when seen live and in living color. (Tour if you can, please! <3)

    The entire album it’s from, Piss Baby, can be downloaded on Bandcamp at a price of your own choosing. It opens with a cover of Splendora’s theme song for Daria and never lets up, with “Heart Shaped Sunglasses” and “Cat Ass” furthering our Femcel fascination.

    “Turn to Love,” Parsnip

    Yet another Australian act worth a go as one of your special interests, Parsnip solidified their place in the garage-punk space with Behold, their sophomore album. “Turn to Love” captures the spirit of both the dreamy, harmony-driven soundscapes of Grass Widow and the ‘60s-flavored songwriting of Gringo Star. Plus, it’s built around some of the best organ accompaniment we’ve heard in ages.

    “No Means No,” Radical Kitten

    In the spirit of Huggy Bear, Toulouse, France’s Radical Kitten share inclusive feminist messages through sonically abrasive means. A selection from the album Uppercat, “No Means No” is a groove-driven, chant-along scorcher that ropes you in with slightly surfy riffs and an impeccable rhythm section. Those musical elements heighten the sense of urgency in such lines as “No means no/ Patriarchy fuck off.”

    READ MORE: Song of the Day: “Millions of Dead Proud Boys/ Panty Line From the 317” by Panty Line

  • 2024 Playlist Update: Angel Guts, Pleaser + More

    2024 Playlist Update: Angel Guts, Pleaser + More

    Playlist Update: Angel Guts, Pleaser + More

    Every Wednesday, No Spectators will expand our Song of the Day playlist with a multi-tune set of reviews. We’re typically drawn to new-ish punk and post-punk songs from bands with women or nonbinary folx as members. The updated Spotify playlist’s embedded at the end.

    “The Red and Lavender Scare,” Angel Guts

    San Diego’s Angel Guts describe themselves as “false powerviolence/ bubblegum crust/power bottom violence/ sillygoosecore.” How great is it that like Brat, they have a sense of humor about not fitting an established (if not overly traveled) hardcore lane? Love it.

    With that out of the way, “The Red and Lavender Scare” begins with an impassioned speech about trans rights before launching into a growling, vicious venting of the life-or-death frustrations faced globally by our community. It’s a throwback (unintentionally?) to The Decemrists’ (the queercore band, not the band that sings about whales or whatever) similarly-structured “Heterosexual Panic.”

    “The Red and Lavender Scare” is from the five-song EP Failure By Default.

    “Oh My God,” Ming City Rockers

    A band that’s been around for over a decade now, England’s Ming City Rockers’ latest tune strikes an ideal balance between melodic ease and full-volume punk unease, à la Big Eyes. The superior MCR (hurhurhur) make great use of vocal interplay, which is always a plus when we’re scouring the internet for playlist additions. The lyrics sum up the insecurities that leave some of us on the verge of tantrums in public spaces (fortunately, hearing others scream about it does temper the pain a little bit).

    Side note: Ming City Rockers is on the long list of bands we dig that’ve worked with Steve Albini.

    “Rabbit Punch,” Plain Bizarre

    The Netherlands-based Plain Bizarre’s Simply Absurd EP, which arrived in December, seamlessly blends the low-tempo DIY ethos of The Splinters with traces of ‘90s slacker rock guitar slinging and a large serving of Courtney Barnett-style prose. “Rabbit Punch” is our pick from a six-song collection without a dud because it leans into the nostalgic yet novel riffage of La Luz.

    “Plunge,” Pleaser

    “Plunge” by Copenhagen, Denmark’s Pleaser stands out in large part because the layered, echoey vocals sound a little like those of Chin-Chin– a production choice that should be hat-tipped way more often. A sense of gloom surrounds a uniquely Pleaser mix of punk and post-punk reference points, comparable (yet not identical) to what made Arctic Flowers memorable. It’s from Pleaser’s self-titled debut album, which reached our ears back in September.

    “Crush on You,” Smalltown Tigers

    In just under two minutes, Smalltown Tigers’ “Crush on You” nails the core tenets of fast-driving, straightforward garage-punk. The pogo-’til-you-puke singalong was surely a crowd pleaser when the Italian trio shared stages in Europe with the likes of The Baby Shakes and The Damned.

    It’s the title track from an album issued in February. With 10 songs that clock in at a total of 25 minutes, Smalltown Tigers score an A+ on their Punk Rock 101 final project.

    READ MORE: Song of the Day: “Dysphurious” by Gender Chores

  • Song of the Day: “Dysphurious” by Gender Chores

    Song of the Day: “Dysphurious” by Gender Chores

    Song of the Day: “Dysphurious” by Gender Chores

    If anything justifies busting out the “emotional roller coaster” cliche, it’s gender dysphoria– a crushing feeling that doesn’t necessarily go away when you come out. (Of course, it’s not only felt by trans folx. Some conclude that they’re cis yet no less miserable because of the patriarchal expectations that fuck us all over.)

    So… On “Dysphurious,” Northern Ireland’s Gender Chores join us on board the emotional roller coaster that is gender dysphoria.

    Lyrically, the song begins with a frustratingly familiar question: “Do I have dysphoria?/ Or do I just not feel cute today?” Though a lot of the queercore we love around here’s tongue in cheek, Gender Chores stay deadly serious for the most part. However, the musically serene stretch of this driving indie-punk stunner does conclude on a playful note.

    Overall, it fits perfectly under the transcore umbrella alongside the songs we’ve reviewed by Doll Chaser, Gaydar, Bodyfarm and Panty Line.

    Note: We’re changing up the format from daily reviews to weekly playlist updates that’ll cover multiple songs. That’ll debut on Friday (April 26). Twenty-seven reviews in as many days was a fun exercise, but at this point, we’re in “quantity over quality” territory (with our writing, not the caliber of songs and bands). Plus, it’ll free up more time for interviews and other types of features.

    READ MORE: Song of the Day: “Breastpump” by Coco Cocaine