BODEGA‘s Endless Scroll is probably my favorite post-punk record of 2018 so far. Consisting of Nikki Belfiglio (vocals), Heather Elle (bass), Ben Hozie (guitar and vocals), Montana Simone (drums), and Madison Velding-Vandam (guitar), the quintet offering a sharp commentary on hipsters, the digital age, sex, masculinity, femininity, and politics.
No track better sums up their thoughts on the world of 2018 than the opener – “How Did This Happen!?” Aren’t we all asking that every day here in the U.S.? “It’s the world now, don’t discriminate. Everyone is equally a master and a slave,” Hozie sings. Preach it, brother. He name checks failing bookstores, people curating their playlists more than their relationships, and people angry for no damn reason. “Bodega Birth” shows off more of Elle’s slick bass lines as Hozie and Belfiglio sing about how the internet, which should be the greatest educational tool of all time, is now a colossally boring shopping mall.
Elle’s bass takes the lead on “Name Escape” as Hozie sings about how he can’t remember names of people he sees all the time, even though he can notice things like someone wearing different pants than the last time he saw him. Also, he doesn’t often care (“Have I heard the latest something ’bout so-and-so? / No, I have not, my son. Now I don’t want to know.”). Again, preach it, brother. “Boxes for the Move” is a story of heartbreak following a break-up as Hozie leaves his lover’s place with “fifteen soggy boxes” of stuff and wishing he had the booze that used to be in the boxes he got from the liquor store. “I Am Not a Cinephile” is a collective middle finger to movie snobs and other ultra-hipsters.
Hozie and Velding-Vandam’s squeaky guitars on “Can’t Knock the Hustle” sound like alarm klaxons or steel being hammered by a blacksmith. Belfiglio invites us all to love ourselves (if you get the drift) on “Gyrate” – even if you want to do it “in the middle of a party, in the middle of the floor.” “Jack in Titanic” is Hozie’s commentary about modern expectations of masculinity. It’s wonderfully catchy, and is currently tearing up airwaves in England. I’ve heard it on BBC 6 Music every time I listened to the station for the last three weeks. “Margot” is a tale of internet lust (ending with a computerized voice saying, “I touch myself while staring at your chat text box.”).
Elle and Simone are in perfect synch on “Bookmarks” while Hozie and Belfiglio sing about how easy it is to get distracted from work when the endless internet is in front of you. “Warhol” has the band proclaiming “Form against everything” and making fun of people thinking their fifteen minutes of fame is still in effect. “Charlie” is their latest single and a touching tribute to a friend of Hozie’s who drowned on New Year’s Eve 2007. “Williamsburg Bridge” sounds like a Velvet Underground track with Elle’s bass groove, Simone’s tribal drumming, and Hozie and Velding-Vandam’s guitars squawk in the background. “Truth Is Not Punishment” has Hozie singing about worrying about his mother and trying to convince a friend that honesty is the best policy (even when he’s not sure he believes that). The guitars in it build to near-manic levels, reflecting Hozie’s angst.
This is one of the best and catchiest albums of 2018 so far. I’m glad that post-punk is having a great revival, and bands like BODEGA are leading the charge.
Keep your mind open.
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