ANDY HUMAN AND THE REPTOIDS
“A wobble of weird that makes the candy coating delightfully astringent…digesting Devo and Gary Numan through a faded VHS glam punk hangover and knocking the results crisply out of stacked speakers.”
MICHAEL BEACH is a Melbourne-based musician who writes, records, and performs under his own name, and as a member of Melbourne trio SHOVELS.
“A solidly-written grey area between ‘80s/’90s indie-pop (with an Aussie/NZ touch to it, for a reason), a hint of Silkworm and Prisonshake, more than a hint of Wilco’s 2006 A Ghost is Born, and on a couple of tracks, the distinct feel of Austin TX’s idiotically overlooked The Young. Michael Beach is a real human (rather than this being part of the band name = non-existent or real person’s full name trend) who also handles guitar/vocals in Melbourne’s Shovels. He splits his time between there and Oakland, where this was done with help from folks from Colossal Yes, Meercaz, and Comets on Fire. If a couple of those entities weren’t enough to quell it, don’t think the “Oakland” in (sonic) relation to Gravity/Repulsion, as this set is not culturally or chronologically identifiable, and that’s a good thing. Even the piano-dominated cuts that hover around Jackson Browne territory are excellent playing field-levelers. Clean guitar-driven killers like “You Were A Mirror,” “I Never Had Enough Time With You” and “A Vision of Modern Love” are that rarified sort of underground pop/rock (latter song has some teeth to it) that could sway the most nihilistic noisenik hearts that happen upon it (like GBV can do, tho they sound nothing alike).” – Still Single
Bathsalt Lake City RocknRoll
PREENING is a band that is literally bursting with ideas. Their music is chockablock with tension and pressure—gaskets blowing; pipes exploding; circuit boards fizzling out. A trio comprised of some of the Bay Area’s most active underground musicians, Preening are poised to cement themselves as one of their scene’s most crucial exponents of non-trad punk. Within Preening’s tumultuous music, elements careen and collide—sax bleats; bass lines access spinal nerve-spots; drums poke and pound. On this release, the trio blast through five cuts of controlled chaos, exuding a nonchalant confidence in their mission.