I can’t make heads or tails of post-genres sometimes. It gets especially troublesome when talking about a band like Cloak Of Organs. They could comfortably be listed under whatever post- genre tag you could rattle off. Post-metal, post-hardcore, post-punk, post-whatever.
Fuck it. Cloak Of Organs is a band that is not beholden to a specific scene or genre. They make music that is very melodic and airy in some places, but also very heavy in others. They’re self titled EP is the kind of record that would be at home in a metal collection as much as a shoegaze collection. It is an example of crafting atmosphere and texture.
The music is slow and brooding, and the vocals hit all the right “ethereal” hallmarks. This record sounds great in all aspects, musically and vocally. But, y’know, of course it does. This band is made up of Denver music veterans, and the combined experience means great things. The Nervous, Wovenhand, Planes Mistaken for Stars, and Slim Cessna’s Auto Club are all represented.
This is the perfect kind of record for fall. The music and the lyrical content both skew towards more dark topics. There are themes of body horror. There are themes of desolation. It’s not necessarily a “fun” record, but it sure is a great one. It’s definitely a great fall release.
Cloak Of Organs
Bandcamp / Buy It
Hey, remember when I wrote about Sad Blood back in November? No? Well, here is a refresher. I ended the review being kind of a snarky and saying:
“Will Sad Blood be another one of those one-and-done bands that flooded my inbox a few years ago? I hope not. I’d like to hear a lot more from them, because Ultimate Worrier is a hell of an introduction.”
Past me can stop worrying though. There is a new EP from Sad Blood. I would have talked about it back in May, but I’m the worst. Anyway. It’s really good. Legion Of Gloom is the logical next step after Ultimate Worrier. It’s still a Doomsday Device of emo music loaded with pop hooks. There is still a lot of Dowsing and Pet Symmetry going on here, but Sad Blood are making it theirs. They sound more comfortable and have really found their feet.
If anything, the music has gotten more on the power pop side of things. It’s actually very interesting to see the band start making those moves. There is almost a dissonance between how the music sounds and what the lyrics are. The music has only gotten poppier and more melodic. The lyrics remain ever in bummer territory. I like that kind of thing though, so it definitely works for me. They add lighthearted humor behind it though. It certainly helps when they are talking about feeling nothing.
Also, the handclap gimmick on “Ten More Years” is my favorite thing.
Bandcamp / Buy It
My favorite punk rock records are the ones that sound like everyone in the band just said “fuck it” and just went as hard as they could regardless of the consequences. Punk rock is built on that energy. A lot of bands who try that end up playing fast, sloppy, amateur hour type shit. They mistake energy for speed. Good punk rock isn’t just stuff that is loud and fast. Good punk rock is something you can feel.
Slow Bloom is a band full of energy and heart. They play post-hardcore, but are still very aware of their punk rock roots. The songs sound gritty and dirty. It’s super welcome in a world where most punk rock bands have rounded of the jagged edges. They are also deceptively melodic and catchy. Underneath the screaming and distortion on “Phantom Tantrum” is a really great early 90s alternative rock song. “Veriforms” and “Deep Space” are what I think At The Drive-In would sound like if they weren’t too pompous and cool to be punk.
I don’t want to wax philosophically about a punk rock record. It’s on Bandcamp, it’s on Spotify. You can find it. My notes when I listened to this EP started with the phrase “dope as fuck.” Let’s just leave it there.
I appreciate bands like Sick Days. Specifically, I appreciate bands that aren’t afraid to throw things against the wall and see what sticks. Stay Warm is an EP that covers three distinct sounds, but never sounds like it was just thrown together. It’s a punk rock record at it’s core, but there are some outside moments, and interesting style choices.
The EP starts with the song “Crickets.” This song exemplifies the whole nature of what would come later. It starts of with vocals and a faint, delicate guitar. Then it shifts to really muscular, start-stop riffs with yelled vocals. It eventually transitions into a fucking killer punk rock song. It tracks something like indie to emo/post-hardcore to melodic punk rock.
The next two songs, “My Old School” and “Stay Afloat,” are generally straight forward punk rock songs. The former giving me a bit of a Jawbreaker vibe, think the “With Or Without U2” medley. The last song, “DeKalb,” is just guitar and vocals for most of the song, save for the full band picking up in the last 30 seconds or so. It stays very calm and indie sounding.
What does this all mean? Well, it means that Sick Days have a whole lot going for them. They are adept at playing multiple styles, and could logically branch off further. On the other hand, they could also pick one style and run with it. They seem to have it covered either way.
Sick Days @ Bandcamp
There are a million genre, sub genres, and sub sub genres in the world. Everyone likes to talk about them, and everyone likes to see bands fit into narrower and narrower categories. Trial Of Early Men are one of those bands that could probably be slotted into a wide array of sub genres, but let’s not muddy the water. This is a punk rock band making engaging music that throws its weight around.
Attachments, as a whole, is a record that is jagged, distorted, and loud. There is a lot of early emo and post-hardcore influence throughout the record, but it doesn’t really become a genre record in either of those ways specifically. There is edge, but there are also round corners. “Of Youth” is an example of the band mixing the more jagged sound with pop influence. “Nil Nil” falls the fuck apart towards the end in a really great way. It turns chaotic before pulling back together. It’s this split that makes Trials Of Early Man stand out.
They do the fuck out of the quiet/LOUD dynamic, both instrumentally and vocally. The music has muscle behind it. The vocals definitely highlight that by providing a great accent of their own. Gruff, but not in a boring beard-punk way. Aggressive and yelled, but not in a screamo way. It kind of makes me think of Guy Picciotto or Rick Froberg.
I have to admit, I am a bit out of my element here. Not because of the genre or sound, but because there is history behind this band. It isn’t a band of rookie kids who are just bashing things out. Trials Of Early Man is made up of members of Caretaker, Action and Action, CircusAct and The Good Wife. I have a huge blindspot when it comes to UK bands, and this is one of those times where it is super noticeable. I’m not really familiar with any of those bands. I’m an asshole from Chicago, I don’t know any better.
That is kind of a roundabout way of saying that this record lives or dies based on it’s own merit rather than past nostalgia. The good news is that is stands on it’s own feet. Definitely a record worth checking out for fans of punk rock, and the million offshoot post- genres it birthed.
Trials Of Early Man
Bandcamp / Buy It
Perennial really could have played it safe. They have a pedigree, being made up of members of Lion Cub and Aeroplane, 1929. It would have been easy to stick within the basic indie/indie pop framework. It probably would have sounded really good too. Perennial, to their credit, decided to forgo that. They decided to experiment with their sound. And it seems that they are all the better for it. Early Sounds For Night Owls is a record full of energy and aggression. It’s rough around the edges, and doesn’t hesitate to show teeth. Perennial would probably best be described as a punk rooted post-hardcore band. And Early Sounds For Night Owls has all things you would want from that genre.
The band wastes no time in showing what they have to offer. “La Fugue Pour Béton brut” sets a great tone. It comes in with high energy. It also has a very solid groove to it. It’s melodic, but not poppy. That is a phrase that came to mind a few times while listening to this EP. “Massachusetts Scenic Byways” is a definitely a rager, but never devolves into discordant, hardcore barking.
One of my favorite things on this EP is the transition from “Circle/Pivot/Circle” to “Early Sounds For Night Owls.” The former is a short, melodic interlude. Definitely a more delicate sound than is present on the rest of the record. It really feels like an extended intro to the latter than anything else. It helps build to a great payoff when “Early Sounds For Night Owls” breaks through.
There isn’t a whole lot more to say about this record. It’s a great combination of punk rock melody and driving post-hardcore. If that appeals to you, this is a total no brainer.
Bandcamp / Buy It
Cork, Ireland’s Kelly Doherty makes some pretty great music under the name Gadget and the Cloud. October 31st is a hell of an EP, and is definitely worth checking out. It is a great instrumental electronic/ambient type sound. Strong influences from post-rock and electronic indie.
Things fluctuate between delicate and ambient and noisy and jarring. Everything has it’s own flavor. “Grove,” clocking in at just under three minutes, sets the tone perfectly. It is very chill, and almost droney. It transitions perfectly into “Flake,” which has a larger sound to it. It’s more cinematic, I suppose.
“Trace” serves as an interesting transition. It has a similar energy to the aforementioned songs, but has a darker sound to it overall. It works to ease into the darker sounding “October 30th” and “October 31st.” The former is very quiet, with a static sound throughout. It has an almost foreboding sound to it. “October 31st” kicks that up even higher.
Gadget and the Cloud is a very interesting project overall. There are bits and pieces of stuff like Boards Of Canada, Ricky Eat Acid, and Coma Cinema. Doherty never leans too heavily on any particular influence, and has a definite voice of her own. I can’t wait to hear more
Gadget and the Cloud (Soundcloud)
PS: This is on Bandcamp, but more recent songs are already up on Soundcloud.