Here’s their new single.

It’s from their February 18 EP, “Smite.”

See them on tour:
February 18 – Philadelphia PA @ Kung Fu Necktie
February 19 – Trenton NJ @ Millhill Basement
February 20 – Brooklyn NY @ Shea Stadium
February 21 – New Haven CT @ Anna Liffey’s Pub
February 22 – Cambridge MA @ Tasty Burger
February 28 – Guelph ON @ Jimmy Jazz
March 2 – Sudbury ON @ Grace Hall
March 6 – London ON @ Call The Office
March 21 – Toronto ON @ Silver Dollar
March 28 – Saint Catharines ON @ Detour Music Hall
March 29 – Hamilton ON @ The Spice Factory

Check out their bandcamp

This band reminds me of a bunch of bands I loved in the 1990s, who were able to combine a classic rock and garage punk sound with that “alternative music” feel that ran through so many killer albums of that era. They recall L7, PJ Harvey, 4 Non Blondes, Ethyl Meatplow–the smarter grrrl bands who themselves were influenced by archetypes like Patty Smith and The Pretenders.

Yeah, I’m comparing Arcadian Playground to a lot of great bands. With good reason.

This record kicks ass.

Today I’m going to do an A/B–a bandcamp band versus a band that is on a genuine indie record label. First, the Fair Ohs, on Lefse Records. It’s garage rock with great music and tight, funky riffs. Second, Bandcamp band The Dead Ghosts, whose album can be streamed in full below. This, also, is garage rock.

Why am I writing about them together? Because it’s almost like The Dead Ghosts’ strong record is a demo for The Fair Ohs’ release.

If you compare them, and The Fair Ohs offer two mpfrees, below, you will hear similarities, but you’ll also hear the difference between a band that has a producer and has taken risks, and a band just starting out. It’s not that either are better, it’s that listening to The Fair Ohs album might actually be helpful to a crew like Dead Ghosts.

Both bands rely too much on vocal effects, but with Dead Ghosts the effects (fuzz, reverb, etc.) are so extreme as to be distracting. It feels as if the lead singer is embarrassed or afraid or for some whatever reason doesn’t really want to be heard. Take it from Bob Dylan or Sting: You don’t have to have a great voice to sing rock and roll. All you need is swagger and confidence. As I said, The Fair Ohs could use a bit more vocal risk-taking as well–but the problem isn’t as bad on their record.

Also, The Fair Ohs musically offer greater variety, and appear to have been playing together much longer. Their album offers very interesting time changes, style changes…It’s a lot like some earlier Clash records in that respect. And I do love The Clash.

In fact, The Fair Ohs album grows on me more with each listen. They’re definitely a band to watch, and this is a great record.

As for Dead Ghosts, this, too, is a very solid collection of songs. The band needs some direction and needs to play together more to develop a more cohesive sound–a sense for who they are–but there’s a lot of potential there.

A word on marketing: Bandcamp is a great way to get your music out there, and I love that I can post a stream of an entire album. True, the Fair Ohs have given you two free songs for you to keep (i.e., not stream), but there are several cuts from their album (Ya Mustafa and Salt Flats) that I find way more interesting than the two singles below. If I could share those with you, even as streams, I would. On the other hand, Bandcamp can tempt a band to release too much before all the songs are ready. There has to be a balance, and we’re all finding our way in this relatively new method of music distribution in which reaching ears is more important than reaching eyes: It’s not the record jacket or the promotional materials that drive people to spend money at shows or online, it’s the music.

Bravo to both bands. Dead Ghosts, I hope you go far. Fair Ohs, I hope you stay close. =

“Summer Lake”
“Eden Rock”

Say what you want about Portland’s screaming and yelling, kicking and screaming, drum bashing and guitar thrashing trio Big Black Cloud: They’re brash, they wear their Sex Pistols influences on their ragged sleeves…I dig the way they mash a ’90s hardcore sound into a garage, toss in the sloppy, muscular sound of the Stooges, and scratch and slash their way through each cut.

Here’s an mpfree, and you can stream it below. Cities of the Red Night (direct link mpfree)

TOUR DATES:

07/02 Portland, OR @ TBA (album release party) *
07/03 Seattle, WA @ The Comet *
07/05 Missoula, MT @ The Ole Beck *
07/06 Boise, ID @ Sammie’s *
07/07 Salt Lake City, UT @ Burt’s Tiki Lounge *
07/08 Denver, CO @ Lost Lake *
07/11 San Diego, CA @ Til Two Club *
07/12 Los Angeles, CA @ The Smell *
07/13 San Francisco, CA @ The Knockout *
07/14 Oakland, CA @ The Night Light *
07/15 Davis, CA @ Davis Bike Collective *
* w/ Drunk Dad

Dirty Nil are still one of the greatest unsigned wonders out there. Where the fuck is their record deal?

This time, it’s covers.

Last Caress originally by The Misfits.
Neighborhood Threat originally by Iggy Pop.
Game Of Pricks originally by Guided By Voices.
Mama Tried originally by Merle Haggard.

Listen to it, get it free and Bandcamp, and rock the fuck out.