Posts Tagged ‘dyi’

Muuy Biien at Burning World

A Muuy Biien track is featured on this mixtape from Burning World, along with Joanna Gruesome and some other great bands.


Muuy Biien at Jersey Beat

What makes good punk rock worth listening to is its ability to redefine what “punk” is supposed to be. Muuy Biien is one of those young bands who simply do not care about rules, expectations, guidelines, or predispositions: they simply want to create angry, intelligent, hyper punk and if you do not like it, then you were not supposed to get it anyway. D.Y.I. is a throbbing, convulsing record that stands on a ledge and dares itself to jump- a highly kinetic explosion of force and sound accented by ambient touches and the most unexpected of harmonies. After the opening ethereal rush of “Cyclothymia I” passes, vocalist Josh Evans leaps on top of the listener with “Human Error”, an violent spasm of a song in which
the words “human error/its inevitable” have never sounded so authentic. With a throbbing bass line, “She Bursts” is a riotous slice of youthful frustration married with a level of control that defies the ages of the members. This could have been a song of blind rage, but it is instead a smartly crafted anthem of gender relations set to a furious and well-defined riff. Each of the members of Muuy Biien took time to release solo ambient projects before reconvening to create D.Y.I. and the three “Cyclothymia” pieces pay homage to that interest without deterring from the overall record-they actually allow for the listener to catch a breath before being doused again with a relentless wave of animated passion of “Virus Evolves” and “Dust”. Clocking in at under one minute each, Muuy Biien say much in a brief amount of time, declaring in the latter that “It doesn’t matter to me/the people say what they think/uneducated and vain”, while a schizophrenic guitar riff swarms the track. The highlight of the record for me is the pummeling title track that precedes the closing splintered piano of “Cyclothymia III”, as Evans orders with bile rising in his throat, “Be a man/do yourself in”; a call to depart this world rather to live by the naïve and empty standards set by others. This is a call for purity rather than self-destruction and is followed by a cacophony of angst-driven liberation. The aforementioned piano that lingers only briefly concludes an exhaustive journey through the staggering progression of a gifted and incredibly exciting band. Get
these kids opening for Night Birds and you’ll have the greatest tour in the world.

Muuy Biien at Dagger

Athens, GA’s Muuy Biien have proven time and time again that they are not the kind of band you bring home to meet mom. Oh sure, their manners would be intact and all but then they’d start discussing the photographic work of Diane Arbus (or the folks of Jodorowsky) and it would be an early dessert night. In other words, they’re a real jolly bunch. On the cover of this record it shows a drawing of a guy who hung (hanged….whatever) himself, chair kicked over and cuts like opener “Cyclothtmia 1” (there’s also a II and III) all dirgey and minor chord-y. “Human Error” tells you what you’ve been doing wrong all these years while songs like “What Isn’t,” “Virus Evolves’ and “Frigid’ are sure to do you in. Seriously though there is a surprising amount of melody in these tunes(and some interesting rhythmic variation). Musically at times I hear the angriest parts of Fugazi (or Rites of Spring). These guys and Iceage should have a showdown (hey, no knives). Someone’s got to win, right?


Muuy Biien at Whisperin and Hollerin

This is the second album by Athens-based Georgia boys Muuy Biien who have been dealing with the trauma of their singer being badly injured in a skateboard accident. He has apparently been performing live from his wheelchair at recent live dates. 

This album, however, contains no pleas for sympathy. Far from it, actually, as it wants to grab you round the neck and make you think about if you want to do yourself in or not. Well, whatever you decide, make sure you listen to this album first. The sleeve features a drawing of a hanging torso with a chair beneath it to make sure you know this isn’t a happy record.

It opens with Cyclothymia I: a sustained drone intro like a shortened Glenn Branca or Wharton Tiers piece before Human Error blasts out of the speakers and into a twitchy as all hell tune that attacks with vicious shards of noise blasting at you over Wire-style vocals.

White Ego has a really cool bass intro before a great shouty, angular off kilter tune about how ego takes over some people. Melters, meanwhile, will melt your brain with its mad noises underpinned by a rumbling bass riff.

What Isn’t asks questions about what isn’t nature over an angry shouty vocal and a clattering tune that recalls some of the more obtuse parts of the Gang Of Four. She Bursts (Reprise) is another Wire-style tune with a guitar riff that seems to mimic a police siren as she blurts “oh well there goes the girlfriend!”

The b-side opens with Cyclothymia II with the same Branca-style elements and is also a bit like the Velvet Underground’s early noise experiments like Loop and Melody Laughter but much shorter than those. Then Virus Evolves bursts out spraying us with its infectious noise. It’s a high octane punk song on way too much speed.

Dust…love a bit of dust, dust MMM dust? No it’s not a comedy sketch set to music but an urgent choppy and far too brief punk tune. Crispin Noir? Now is that posh boy noir or is it actually some Gang Of Four gone all shouty with bass parts nicked from Pylon style noir? Well, the latter obviously.

Frigid features a very short but very cool bass intro before the splenetic anger of a Gas Huffer gone awry type of thing. D.Y.I. has a bass rumble underpinning the rest of what happens around it as he tries to get through before you do yourself in. Will they save you? Well you need to hear this song as it will (I hope) affirm your need to not do yourself in.

The album fades out with Cyclothymia III: more piano-led hiss-filled drone that would be perfect to have playing as they left the stage after a good brief set. There again, no tune on this album is longer than 3 minutes 24 seconds so they are all about brevity. I hope they are somewhere near as exciting live as they are on this album Muy Bien indeed for Muuy Biien.


Muuy Biien at Red & Black

When cameras claimed the city on behalf of MTV Other’s web series “This is the Place,” punk outfit Muuy Biien was highlighted as a prime example of current Athenian music alongside local darlings Reptar and groups like Tunabunny and Manray. Since then, the band has shaken up local press for being kicked out of the 2013 Flagpole Music Awards, in true punk fashion, for continually disrupting the awards show after singer Josh Evans delivered a subversive acceptance speech for Best Punk/Hardcore artist (to the tune of “I don’t give a f*** about any of this”). Mentioned in a recent edition of CMJ for charting on WUOG 90.5 FM’s airwaves, the band first broke national press in a 2012 article by Canadian DIY news publication Vice Magazine, interviewed by Flagpole’s Gordon Lamb.

Touring for Muuy Biien’s latest album Do Yourself In was halted when Evans broke his hip skateboarding, but will resume, guitarist Xander Witt says, sometime around late or mid-July. Tour promotion for this album will be much longer and more extensive than last year’s three-day mini-tour in Florida with Custody Battle, where band members spent time off hunting for alligators on nature walks (no alligator sightings, alas). Songs on the new album are “dancey as hell,” a by-product of listening to a lot of James Brown, which Witt says will hopefully encourage people to “dance rather than punch each other.” As for maintaining a certain stage presence during performances, Witt suggests a simple formula: “Eight beers and wear all black.”



Muuy Biien on Scared to Dance

‘She Bursts’ is featured on Scared to Dance.


Eureka California and Muuy Biien at Flagpole

Eureka California: Crunch
Eureka California refuses to be jaded, bringing teenage exuberance to deceptively smart material. You hear it in the snare drum that starts off “I Bet You Like Julian Cope” like a cheer in a high school gym. The title refers to the ‘70s UK musician, but it could just as well be addressed to a crush. Propelled by Marie Uhler’s drumming, Jake Ward delivers hook after hook with the confidence of a singer who can name-drop Descartes and then laugh it off: “And I think therefore I am/ And I think like a man.” Full review |

Muuy Biien: DYI
Athens’ strongest and sharpest punk band, Muuy Biien has evolved by leaps and bounds on its second LP. It’s laser-cut, throat-throttling stuff, boiled down clean to the bone. Gone is the shambled fuzz of the debut; think more Gang of Four or even early Bauhaus. Ominous ambience weaves together the focused blasts of visceral tunes—it sounds strange, sure, but trust me, it coheres crazy well. You haven’t heard Muuy Biien, though, until you cram yourself in a tiny room with 50 other people and find yourself careening across the floor in time with the rumbling melodic bass. Full review |


Muuy Biien Vinyl of the Month at Performer

Click through to read this month’s issue of Performer online.


Bastards of Fate, Tunabunny, and Muuy Biien at Pop Rock Nation

Bastards of Fate, Vampires are Real and PalpableLoud, woozy, strange, carnivalesque, racing from one idea to another, and prone to explosions — all with crooned melodic vocals.

Muuy Biien, D.Y.I. An abrasive, churning, hostile splatter of echoey 2-minute punk-rock songs, more spoken/yelled than sung, that’s very well-played for what it is and ends up striking me as lots of fun. The surf-rock influence helps.

Tunabunny, Kingdom Technology. A very strange amalgam of vocal-harmony-driven rock’n’roll, drone/ambient, and Fall/Wire-ish post-punk.


Muuy Biien at Red & Black

You wouldn’t be blamed for assuming a group like Muuy Biien is full of pretentious pricks. Their general persona is built around a now infamous incident of vocalist Joshua Evans blatantly denouncing the band’s recognition for “Best Punk/Hardcore” band at the 2013 Flagpole Athens Music Awards. Its new release’s artwork even features a lifeless, hanging body. In fact, the general consensus on Muuy Biien is so apparent that the group itself is aware of its burdensome presence.

“People see you on stage and they don’t know what you’re really like,” says drummer Jacob Lake. “People would think that Josh was a dick head or something and then meet him and be like, ‘You’re the sweetest boy I know.’”

“Sweet” isn’t exactly an adjective one would affiliate with the leader of a punk group, but Evans, along with the rest of the band, is surprisingly polite and in no way hostile. The lead singer of Muuy Biien you’ll meet on the street isn’t the lead singer of Muuy Biien many saw “accept” an accolade at Flagpole’s last ceremony. Unlike the general public, Evans knows the episode was nothing more than a nonsensical stunt.

“I was just bored,” he says. “I got drunk, that’s obvious. It was totally just me being silly and ridiculous.”

His castigation of the ordinance may have been a gag, but don’t get the wrong idea — Evans hopes it at least acted as a weeding process for people who wouldn’t appreciate his music.

“I feel like anyone who would hear that and think that was a dick move or ‘f*** that’ probably shouldn’t be listening to it anyway,” says Evans.

You wouldn’t guess a group like Muuy Biien to have such a sense of humor, whose new album, D.Y.I, is overtly aggressive before the music even begins. In fact, the album’s title is only a half-trenchant suggestion to “do yourself in.” Such a dark proclamation may be easy to associate with guitarist Xander Witt’s all black, all the time wardrobe, but the message becomes confused when paired with bassist Parks Miller’s vivid tank tops and cut-off jeans or Lake’s multicolored fingernails. Their individual choices of personal apparel are defiant of the stereotypical image associated with the punk genre in general — showing a group unconcerned with maintaining any type of intimidating image.

Upon release, D.Y.I immediately climbed the ranks in Athens music. According to vital tastemakers such as Flagpole Magazine and WUOG 90.5 FM, the University of Georgia’s student radio station, the release is Muuy Biien’s strongest effort to date. Flagpole gave D.Y.I. a perfect rating, and it received a solid amount of airtime from WUOG, topping its charts for two weeks over more widely renowned artists such as Mac DeMarco and Cloud Nothings. Praise for the album has extended even further than its home city thanks to mentions from blogs such as AllMusic and respected music journalist Chris Ott.

D.Y.I is a sonically wider advancement from its predecessor, This Is What Your Mind Imagines — thanks in part to Muuy Biien’s progression from a solo act with a backing band into a collaborative effort.

“When I joined, we were all just learning the parts” says guitarist Robbie Rapp. “When we recorded the first album, it was mainly all the songs he [Evans] had already written. But for D.Y.I, it was definitely everybody bringing ideas.”

The contrast is easy to decipher after Witt’s realization that “after doing D.Y.I, I feel like the first one was pretty rushed” puts both approaches into perspective.

While both feature violent sketches as the cover art, D.Y.I’s bright blue and white palette is a bold departure from TIWYMI’s black and white color scheme. Evans claims this move was simply to avoid repetition and is looked into more than it should be. The group’s lack of underlying intention was further cemented when Lake joked that “the CD itself is like bubblegum” because of its radiant coloration.

Both albums feature a tio of ambient tracks, something not necessarily expected from a band lumped into the punk genre.

“It just allows us to not be pigeonholed,” Evans says regarding the inclusion of these musical curveballs, a statement that reveals a group conscience of what they could be: a mere punk band.

Although the immediacy of touring was postponed after Evans faced a serious hip injury, it appears that personal shifts are on the horizon for the group’s leader who is using this bed-ridden time to “clean up and get my head together.”

If their artistic trajectory continues to be as drastic as that between their two albums, Muuy Biien will soon and finally be seen for what they truly are — not just a notable punk act, but a notable band in general.