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One of Austin’s latest noise-rock bands, Suspirians, has dropped the new raucous track, “Nocturne.” For the all-woman trio of Lisa Cameron, Marisa Pool, and Stephanie Demopulos, “Nocturne” registers as an earth shaking, punk-inspired anthem that will play on loop in your head after it ends.
Formed in 2012, the band releases music on Austin label Super Secret Records, and it sounds like the group has found the perfect home amongst the local punk and underground bands on the label’s roster. While Suspirians’ loud, aggressive style is common among Austin rockers, it doesn’t feel like they are trying to overdo things. This group has a natural flow and they stick to playing music that they know Austinites will enjoy.
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Suspirians is a US garage-psychedelia trio.Suspirians
Hazy flows of winding guitar steadily streams through the room in their latest LP Ti Bon Ange, which was released this month, (available digitally on bandcamp directly from themselves or as a limited edition cassette also on bandcamp through the Russian label Pomogite Community) with the audience creating their own kaleidoscopic visual imagination.
Suspirians however, do not send the mind in to an extended acid trip as the garagey distortion leaves the music with an enthralling rawness as the pulsing bass and active drum-kit combine with a veiled vocal and the listener is left wanting even more than the approximately forty minutes, six tracks (digital) or seven tracks with a thirty six second bonus track (Cassette), has in store.
As this is an album best heard in its entirety, less a ‘pick of a the album’ rather an indicator of the sound, the second track – Nocturne.
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A dead-eyed visage staring out grimly from the cover of last year’s triumphant double album My Life in Steel and Concrete quick-sketched an instant portrait of Quin Galavis, Dead Space/False Idol member and young, tortured artist. The Battery Line opener “Garden Wall” churns grimier than anything on Steel and Concrete or the lo-fi twang of solo bow Should Have Known You in 2011, dirty guitars punctuated by fuzz bursts that quickly indulge a Nineties alt-rock manic depression built on a muted, minor key verse with a louder, major key chorus. And yet, once the electric folk of “No Return” jangles the Byrds on antidepressants, it’s clear Galavis’ third disc shakes a delightfully mixed bag. Full-on punk rock as reimagined by a Smiths fan (“Any Head”), a few attempts at following up the Velvet Underground’s “Black Angel’s Death Song” (“Paul’s Phone Is Dead,” “Bleed With Me”), and guest appearances from local luminaries ranging from A Giant Dog’s Sabrina Ellis and Graham Low to avant percussion hero Thor Harris all rally the broad rockist ambitions of The Battery Line. If misery loves company, it’ll adore Quin Galavis.
Maintaining an affinity for crunchy guitars and an attention to tonal textures, Quin Galavis (The Dead Space, Nazi Gold) tempers some of his experimental and acerbic musical tendencies on his newest solo effort, The Battery Line. Such restraint allows melodies and clean, driving guitars At one time or a different we have all knowledgeable worry; a natural reaction to particular stressors in tadalafil canada mastercard our lives. Hence, you don’t need to carry your viagra online no rx system to the market. This condition when becomes an enduring issue it starts hampering self-esteem of men and also have adverse effect on health.Consuming kamagra 100mg:For the most efficient results of kamagra cheap cialis pdxcommercial.com 100mg take it 1 hour past carrying out the sexual activity between the two of them make love. But sometime a dull sexual life creates a lot generic levitra online of stress and the condition lowers self-confidence and self-esteem due to his bad sexual performance and it affects his professional and social life. to provide sonic buoyancy on gems like “Garden Wall” and “Question.” Despite the newfound levity, these songs still wrestle with themes of social anxiety and a general existential ennui. Fans of ’90s rock aesthetics and bands like the Smashing Pumpkins or early Radiohead will find much to like in the guitar
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The Battery Line
Let’s say a few nice words about mile stones if you don’t mind my going off on a small tangent before we get into the meat of this review.
It doesn’t seem all that long ago when a band first had two album reviews here, but that was nearly five years ago.
Today, Quin Galavis becomes the first artist to get the vinyl treatment for a second time. (Confidentially, there’s another one in the kitty though.)
Glacially Musical is rapidly closing in on our 1000th post. In fact, this is post number 997. In my life, there’s been a lot of t hings I’ve done, but this one is certainly among the longest, most successful, and very satisfying. You may have noticed that for the past two weeks I was a bit off the grid, just because, a break from this behemoth was required. As a small site that we do on the side, it’s hard to keep up all of the content.
Thank you for enjoying the ride with us.
Quin Galavis
Here at Glacially Musical, we do not presume, but we do interpret, at least when the mood hits.
What makes great art is the ability for the consumer to be enveloped by it. The truly great works have no real meaning, because we all get out of them what we will.
Galavis’s previous album felt like the soundtrack in my head during my episodes.
Now hopefully it didn’t come across that my personal issues were horribly crippling. Mine is very minor compared to what others have had to deal with. With safe spaces and some therapy, my life has really changed.
So, Galavis creates one album that’s full of rage, anger, and strings. It speaks to the me that cannot get enough Slayer, Carcass, Coffin Dust, and Morbid Slaughter.
My Life In Steel and Concrete was a tough listen because it hit very close to my home, but it was cathartic.
The follow up, The Battery Line, hits just as close to home. By talking, by living, by seeing that the what happened to me in the past doesn’t mean it’s going to return, my mind has become….sunnier?
It’s not a perfect place, but the roof’s only leaking in two or three places rather than the downpour.
How is it this man is able to write albums that hit me so hard? Part of me wishes he would stop and the rest of me is salivating over his next record.
To be more specific to those who don’t feel the same way as me….The Battery Line is a vast departure from My Life In Steel and Concrete. What the predecessor was to Metallica, the current is to Quiet Hollers.
Where there was dark, crunchy rock, there is now hook laden, jangle pop. There’s nary a distorted guitar on this album. Now, where there were strings before, well, there are still strings. Thank the maker, because the usage of strings on this and the previous album were magnificent.
The music portion of the review has to stop here, because if it doesn’t, it’s going to be true confession time and frankly, I’m not ready to divulge all of my secrets.
The record is pressed onto a slab of 180 gram black vinyl and it’s sturdy. Much like Construct, Playkool records have nothing on this.
The artwork is far more avant-garde. The circle melting into the nothingness.
As with every Super Secret Records release we’ve reviewed thus far, there is a download coded included with record.
This is another stellar release from both the artist and the label.
Release: 6/16/17 Genre; ??? Label: Super Secret Records Facebook Order
A trio of ladies, Marisa, Stephanie and Lisa (for the record, drummer Lisa is Lisa Cameron has played with both Roky Erickson and ST37 as well), who call Austin, TX home. They offer up this 7-song (6 listed but there’s a hidden track and it totals 40 minutes) record, their sophomore effort, that will rearrange your thinkin’ but good. And if they took their name from that horror flick Suspiria well, they’re now making me rethink my whole existence. From song number one, “Fortune Spider” it’s dark, heavy and a bit mysterious too (again, you’ve gotta see that movie) and I was initially reminded of the holy/unholy swill created by masters like Sonic Youth and the Butthole Surfers but they really knock it out of the park on menacing monsters like “Nocturne” and “Moonwave.” On the other side of the record (we in the industry like to call it side B) “Black Holes” grunts n’ groans and never really lets up as it does until the side of the record ends. Guitarist/vocalist Marisa Pool stated that while recording they would “end up getting lost in the songs together in a sort of epic fever dream.” There you go, an “epic fever dream”, I can’t describe it any better than that. Ti Bon Angeis worth your time and then some. www.supersecretrecords.comwww.suspirians.bandcamp.com
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