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Formed from the ashes of bands such as Fergus & Geronimo and Teenage Cool Kids, Parquet Courts are a glorious encapsulation of everything NYC punk should be; a frenzied and frantic ramraid on the history of garage rock but with more whip smart intelligence, cutting humour and – crucial to the band – emotional honesty than most other bands muster.

Parquet Courts initially released their debut LP “Light Up Gold” on their own label Dull Tools, but the resultant buzz and excitement (with the tastemaking likes of Spin, Pitchfork, Village Voice and many others joining the ranks of the converted) has seen the album get an official release in the US in January and in the UK. From start to finish, this is a full throttle experience which you have no choice but to dive in to headfirst, with ridiculously infectious melodies and propulsive guitars which grab you as Brown and Savage (with assist from Max Savage and Sean Yeaton) spin their short, sharp tales of quarter-life ennui (“Borrowed Time”), weed-induced inertia (“Stoned and Starving”) and job anxiety (“Careers in Combat”) with concise, laserlike precision.

‘The best critique is self-critique’ is the mantra of Brooklyn art rock unit BODEGA. With wild minimalism and sharp wit, they revitalize the rock and roll vocabulary under the influence of post punk, contemporary pop, hip-hop, kraut rock, and folk-derived narrative songwriting.

BODEGA’s debut LP ‘ENDLESS SCROLL’ is a collective dialogue with the machine and the public. Ping-ponging vocals are set to Ben’s deconstructed guitar, Nikki’s samples of old and new technology, the driving minimalism of standing drummer Montana Simone (IDIO Gallery), the angular spasms of lead guitar Madison Velding-Vandam (The Wants) and the tight, hypnotic bass lines of Heather Elle (Please No Radio).

"ENDLESS SCROLL" was recorded and produced by Austin Brown (Parquet Courts) on the same Tascam 388 tape machine used for their LP "Light Up Gold". It was mixed and mastered by Jonathan Schenke (Eaters) at Dr. Wu's. The LP's fourteen songs offer a high-energy, humorous but earnest thirty-four minutes.

Beginning as a solo project for musician Jason Henn, Honey Radar’s previous output could probably fill up a small pallet of cardboard boxes. His debut album (2014’s ‘Chain Smoking On Easter’) topped out at a whopping 250 copies, leaving in its wake a steady trickle of CD-Rs and handmade, lathe-cut 7” EPs with release quantities of no greater than 50 apiece and often a great deal less.

Henn practices the stick-and-move philosophy of songwriting and on ‘Blank Cartoon’ Honey Radar continues to emphasize the merits of short songs and intricate, homespun production, lasting just long enough to get lodged permanently in your head before the next one comes along.

One can hear the hooks and craftsmanship of Guided By Voices, the atmosphere of Flying Saucer Attack and the authenticity of a carton of deadstock paisley oxfords stowed away since the 1960s, laced with injokes and references only about four or five people would understand. However, ‘Blank Cartoon’ is far from a joke - it’s essentially the first chance for Henn to get out in front of a wider audience, with a winning collection of new material ready to convert fresh minds to his cause.

For fans of Crystal Stilts, The Birds, ‘Rubble’ compilations, Nick Nicely.

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