Posts Tagged ‘dynamite hemorrhage’

Tunabunny at Dynamite Hemorrhage

Previous Tunabunny albums have always been marked by the occasional detours away from their Pylon-accented noise-pop blueprint & into more experimental sound collage territory, but on Kingdom Technology, they’ve fully given themselves over to those once-brief shortcuts toward non-linearity & the off-kilter sound glitches resulting from their choice to record this latest LP on an imperfect sound input device apparently liberated from a dumpster at the University of Georgia. They’ve also been eating some serious dub for breakfast & it shows, like during the six opening minutes of “Airless Spaces,” with its repetitive mutant disco bass/drums groove & submerged spectral vocals (from guitarists Brigette Adair Herron & Mary Jane Hassell), or “Save it Up,” with a decidedly warped & wobbly early-80s ZE Records-style electronic pulse. I think their greatest successes come when they take their stabs at short & sweet fuzzed-out pop songs & there’s a few such gems scattered amongst the musique concrete manipulations here – namely “Coming For You,” with the sort of sharp hook & sublime harmonies that most power-pop bands would kill for & “Canaries in Mineshafts,” which is barely over a minute long & sounds kind of like a female-fronted Chairs Missing-era Wire wrapped around some gloriously messy Sonic Youth guitar noise. That being said, I’m still curious what they’ll dig out of the trash for their next album. (Happy Happy Birthday to Me –


Joanna Gruesome at Dynamite Hemorrhage

UK noise-pop battle royale of sorts with three songs each from Joanna Gruesome (Cardiff) & Trust Fund (Bristol). Joanna Gruesome continue to display more than a passing familiarity with the early 90s Slumberland Records catalog, mixing syrupy sweet female vocals with blasts of mega-fuzzed guitar much like Velocity Girl or Black Tambourine before them on “Coffee Implosion” & “Jerome (Liar).” Those two tracks are essentially pages ripped from the same book as last year’s Weird Sister LP, but “Satan (Desire Edition)” is a literal revision of that album’s closing number, slightly toughened-up in the fidelity department but otherwise not drastically transformed. Meanwhile, two of Trust Fund’s three contributions, “Reading the Wrappers” & “Scared,” owe some heavy debts to the sort of helium-voiced poppy punk (but a little too well-mannered to be pop-punk) for which the world has Superchunk to either thank or blame. There’s a charmingly scrappy, homespun quality in their sugary boy/girl trade-offs that probably would have hit me right in the heart when I was a sad teenager spending too much time in my bedroom making mixtapes with “Driveway to Driveway” on them, or listening to college radio shows dominated by the likes of Sarge & Rainer Maria (so basically, fifteen years ago). Do you have a secret desire to relive the state of all-ages indie rock scene of 1998 all over again? Trust Fund can potentially make this happen for you. (Reeks of Effort/Happy Happy Birthday to Me; /