We’re more than halfway through the list now. Let’s not waste time.
#15: Ela Minus – Acts of Rebellion
Part-electro, part-goth, all great. Ela Minus made us move, stand up and fight, and otherwise get off our collective duffs during a year when we needed to be shaken out of our funks.
#14: October and the Eyes – Dogs and Gods
Have you ever seen Cult of the Cobra from 1955? In that movie, a woman who can turn into a cobra tracks down the men who, for kicks, infiltrated her cult’s rituals, and kills them one by one. She falls in love with one of the men, however, and you can guess the rest. This album is pretty much what the Cobra Woman would have playing on her ear buds as she stalked and seduced her victims.
#13: Falle Nioke and Ghost Culture – Youkounkoun
“Barké,” a song from this EP, stopped me in my tracks the first time I heard it. The record mixes Afrobeat and electronica in perfect amounts, resulting in slick dance tracks and hypnotic songs.
#12: Kelly Lee Owens – Inner Song
Kelly Lee Owens makes electronic music that can make you dance, sigh, relax, or meditate – all sometimes in the same track. Her second album continues to set the bar high for others behind her. I say it many times, but I don’t mind repeating it – She’s both an inspiration for me to make my own electronic music and at other times throw my digital turntables out the window due to thinking, “Damn, that’s just not fair.” after hearing her tracks.
#11: Public Practice – Gentle Grip
Trust me, this post-punk debut album is as intriguing and sexy as its cover. I’d been waiting for a full-length Public Practice album since 2019 when they released a few singles and I saw them live in Chicago. The wait was well worth it. Gentle Grip is outstanding and leaves you eager for more.
The cover art of Public Practice‘s debut full-length album, Gentle Grip, is intriguing. It’s an abstract / pop art image of a woman’s head, eyes closed, lips and teeth parted in either a breathy sigh or ready for an embrace…and there’s that hand. A right hand with fingernails painted to match the woman’s lipstick has a (gentle?) grip on the back of where her neck would be. Is it the woman’s hand, giving herself a soothing neck massage? Or is it someone else’s, pushing her forward to something she wants but was hesitant to embrace without a little help?
I might be making too much of it, but the image is as intriguing as the album. The opening synth-bass and echoed guitars of “Moon” immediately hurl you into Blade Runner territory while singer / lyricist Samantha York sings of leaving this world for better things, but thinking things might not be better in the off-world colonies after all. Drummer Scott Rosenthal mixes hypnotic floor tom beats with wild full-kit drum fills to jar you out of the mesmerism that York can expertly cast upon the unwary (or, often, more than willing) listener.
The contrasting upbeat pace of “Cities” is a delightful surprise, reflecting the bustle of city life as York sings about the dark sides of some places needing to be brought to light. “Disposable” was one of the first songs released from Public Practice (in October 2019) – and with good reason. Drew Citron‘s bass thumps in your blood and Vince McClelland‘s guitar work is like a shuriken spinning toward you with multiple points. York sings about being careful what you wish for and how “You have it or you don’t.”
The tempo of “Each Other” is wonderfully bumpy and jagged. The whole feel of “Underneath” is undeniably sexy thanks to Citron’s excellent bass line and the vocal mix she and York. Rosenthal puts down a slick Blondie-like beat and McClelland’s guitar work is deceptively tight. “See You When I Want To” is a fun track – as the whole thing, including York’s lyrics, was improvised. “My Head” would’ve been a disco classic in another era. The song’s about creating a dance club in your head to tune out the 24-hour barrage of noise coming at us, so it’s perfect.
The first single off Gentle Grip, “Compromised,” is about the rough road of moral choices. “You don’t want to live a lie, you don’t want to pick a side, you don’t want to compromise. You don’t want to live a life, but it’s easy,” York sings while the rest of the band just cooks throughout the whole track. “I thought this would all fade away. Didn’t know you would stay so angry. I thought it was just a passing phase. Sure we could crawl to an understanding,” York, puzzled, sings on “Understanding” – a sharp post-punk track with McClelland’s guitar ranting like a drunk on a street corner (and I mean that in the best possible sense – McClelland’s mini-solos sound like mini-stories within the story of York’s lyrics.).
In a clever twist, the song “Leave Me Alone” might be the sexiest song on the record. The groove of it slinks around the room like a femme fatale convincing a hard-boiled detective to take the case of her missing husband. It’s the album cover in aural form. McClelland saves some of this wildest guitar work for “How I Like It” – which he also sings. It sounds like he stuck a Tesla coil in his guitar. “Hesitation,” the album’s closer, on the other hand, repeats the same three notes and creates a post-punk (and slightly goth?) banger.
There aren’t a lot of bands out there willing to experiment like Public Practice, which is a shame because the time is ripe for experimentation. We need intriguing records like Gentle Grip that nudge us toward things we want (not material things, mind you, but things like healthy relationships, self-care, and joy) when we need that guidance the most.
On their debut full length, Gentle Grip, Public Practice reanimate the spirit of late ‘70s New York with their playfully angular yet thoughtful brand of no wave-meets-funk and dark disco.
Magnetic singer and lyricist Sam York and guitarist and principal sonic architect Vince McClelland (who previously played together as members of the meteoric yet short-lived NYC post-punk outfit WALL) come to the table with an anarchic perspective that aims to eradicate creative barriers by challenging the very idea of what a song can be. Paradoxically, Drew Citron, on bass/vocals/synth, and drummer/producer Scott Rosenthal (both previously of Brooklyn indie-pop favorites Beverly) are uncannily adept at working within the framework of classic pop structures. But instead of clashing, these contrasting styles challenge and complement one another, resulting in an album full of spiraling tensions and unexpected turns.
Lyrically, York explores the complexities and contradictions of modern life overtop dance-inducing rhythms and choruses that disarmingly open up the doors to self-reflection. “You don’t want to live a lie / But it’s easy” York sings on “Compromised,” the record’s brisk, gyrating lead single. As York puts it, “No one’s moral compass reads truth north at all times. We all want to be our best green recycling selves, but still want to buy the shiny new shoes — how do you emotionally navigate through that? How do you balance material desires with the desire to be seen as morally good?” Towards the slinkier end of the album’s aural spectrum, songs like the supremely danceable “My Head” — which is about tuning out the incessant influx of external noise and finding your own internal groove — are more personally political while still hearkening the last days of disco.
But whether they are poking holes in commonly held ideas centered around relationships, creativity, or capitalism, Public Practice never lose sight of the fact that they want to have fun, and they want you to have fun too. After all, who wants to stand on top of a soapbox when there’s a dark, sweaty dancefloor out there with room on it for all of us?
Keep your mind open.
[Get a grip on the subscription box while you’re here.]
We’re almost to the halfway point. Who’s in the top 15?
#15 – Sisters of Your Sunshine Vapor – “Godshe”
Detroit’s Sisters of Your Sunshine Vapor released four singles this year, and this was my favorite. It’s bright, trippy, and moves along like a sports car set on cruise control.
#14 – Diagonal – “Negatives”
I’m calling it now. These Chicago shoe gazers are on track to be one of the Next Big Things. This cut blends psychedelia with shoe gaze and we’re all better for it.
#13 – Claude Fontaine – “Pretending He Was You”
Half of this album is dub, and the other half is bossa nova. All of it is good, and this was the first song I heard from it. I swooned.
#12 – Shopping – “Initiative”
Post-punkers Shopping slipped into the end of 2019 with one of the best singles of the year, poking fun at the rat race and The Man with a ripping bass line, typewriter-precise drumming, and that skittering guitar work only they can seem to play.
#11 – Public Practice – “Disposable”
Speaking of post-punk, Public Practice do it very, very well indeed. This single was a delightful treat in the latter half of 2019 and bodes well for hopefully a full album ahead.
#25: Protomartyr – Consolation – This EP from these garage punks is solid and intriguing. Sporting two tracks with the Breeders’ Kim Deal as well, the record hits hard but knows when to be soft.
#24: Steve Hauschildt – Dissolvi – I hadn’t heard of Steve Hauschildt until this album somewhat fell into my lap. It’s intriguing electro that reveals more layers with each listen.
#23: Bev Rage and the Drinks – Cockeyed – Besides having the naughtiest album name on this list, Cockeyed is also one of the best punk records I’ve heard in a long while. Queercore punk is back in business, bitches!
#22: Public Practice – Distance Is a Mirror – This post-punk EP from prior members of WALL was a welcome addition to my collection of post-punk records. It’s full of razor sharp lyrics and equally sharp guitars, bass, and beats.
#21: All Them Witches – ATW – These Nashville psychedelic blues rockers upped the volume and fuzz and became a three-piece to get back to basics and melt faces.
We’e halfway through the list now. Who made it? Read on and find out, my friend.
#15: Public Practice at Chicago’s Hideout – This was probably the closest I’ll get to seeing WALL live, and it was well worth the trip and risking the snowstorm on the ride home. Public Practice played their entire debut EP, Distance Is a Mirror, and sounded like they’d been playing together for years.
#14: MIEN at Levitation Austin – This was the first live show of the psychedelic supergroup, and bass / sitar player Rishi Dhir told my wife and I earlier in the day that they were nervous about premiering the material from their debut record. He had nothing to worry about, because they nailed it. Their set was one of the highlights of the festival for us.
#12: Radar Men from the Moon at Levitation France – This was the last set we saw in Angers, and it was a solid set of psychedelic electro from a band that normally plays guitars and drums. We weren’t sure what to expect from them, and they about floored us.
#11: Flamingods at Levitation France – These guys swapped instruments so many times on stage that we lost track of what normally played what. They unloaded a fierce, funky set of Middle Eastern-twinged psychedelia that was top-notch.
Up next, the top 10!
Keep your mind open.
[Zip over to the subscription box before you head out, please.]
As soon as I saw Flasher, Public Practice, and Gong Gong Gongwere playing at Chicago’s Hideout (a great small venue with an appropriate name, as it is concealed in an industrial area), I knew it was going to be a good show. All three are creating post-punk rock that’s clever, timely, and powerful.
Gong Gong Gong
Gong Gong Gong opened the show, and you could immediately tell there was a buzz about them in the crowd. I met one woman who specifically came to see them because she’d read a write-up about them in the Chicago Reader and wanted to hear these two guys from Beijing who didn’t have or need a drummer. They don’t need one because there’s enough percussion between the guitar and bass riffs to support an industrial band. It was a fascinating set full of songs that sound like they belong in a David Lynch film. I’m calling it now – Look for Gong Gong Gong to be on the bill for the 2019 Pitchfork Music Festival.
Public Practice
Public Practice came out and gave everyone a lesson on how you own a stage. They played their entire Distance Is a Mirror EP (one of the best releases of the year, in my opinion) and a couple tracks I hadn’t heard yet. They left you hungry for more, much more. I hope this tour gives them plenty of ideas for new tracks. I was delighted to see them selling WALL records at their table, too. Everyone needs WALL records.
Flasher
Flasher threw down an energetic set that warmed you up from the chill outside. The tracks they played off their great debut, Constant Image, were almost double speed. They weren’t screwing around up there. It was definitely the most punk of the three post-punk sets. Unfortunately for my wife and I, we had to leave early during their set due to a long drive home and a predicted storm of freezing rain heading for our route. As you might’ve guessed from reading this, we made it home safe.
As I figured, this was / is a great lineup for a tour. Don’t miss it if it comes near you.
Keep your mind open.
[If you wondering what to get me for Christmas, I always like subscriptions to my blog.]
Rising from the ashes of post-punk bands WALL and Beverly, Public Practice (Drew Citron – synths, bass, vocals, Vince McClelland – guitars, Scott Rosenthal – drums and programming, Sam York – vocals) have brought us a sharp EP – Distance Is a Mirror – in these weird times where truth and perception are openly warped by media, politicians, news pundits, the guy on the street corner, your drunk uncle, and everyone else it seems.
“Fate / Glory” starts out with jagged guitar and cocksure bass before York’s sultry, assured (and playfully weary, it seems) vocals saunter into the room. “Lies make lovers of us all,” she states. She’s right. Once we accept a lie, we’re all in bed together with it. I love the way the song ramps up in speed in the last third.
“Bad Girl(s)” is the band’s anthem / middle finger to misogynists. “I won’t play your game, I don’t need your shame,” she yells as McClelland pounds his guitar and Rosenthal taps out a near Morse code message on his hi-hat. McClelland’s guitar opening of “Foundation” reminds me of an anime theme song I can’t place. Citron’s bass on it reminds me of a Talking Heads riff I can’t place either. You can practically see York owning a stage as she struts across it to Rosenthal’s snappy beats on it. The crumbling house referred to in the track could be a metaphor for the country as a whole to a relationship from York’s past.
“Into the Ring” has another great groove that goes from stand-offish to a full sexy embrace when it kicks into gear. York sings about a sexy dalliance that resembles a battle she’s not sure she’s ready for. “We entered this fight, thinking we knew who was going to win,” she says, possibly also referring to the last presidential election. “No, you can’t it back now,” she repeats at one point, again obscuring the secret meaning of her lyrics.
I was crushed when WALL broke up before their first full album was released, but this EP is a great follow-up to that record.
Public Practice Shares New Single “Foundation” Listen Here
Distance Is A Mirror, Debut EP Out October 26th Via Wharf Cat Records
[“Foundation” artwork]
Last month, Public Practice announced their debut EP, Distance Is A Mirror, to be released October 26th via Wharf Cat Records and shared lead single “Fate/Glory.” Today, they’re back with another new single, “Foundation.” The song deep fries Beach Boys guitars in ice-cold-but-somehow-funky Scritti Politti grooves. Add a dead pan David Byrney vocal, and Public Practice remind us again how integral it is to use honesty and self-reflection to bring some of life’s double standards to light.
The four members of Public Practice—singer Sam York, guitarist Vince McClelland, synth/bassist and vocalist Drew Citron, and drummer/programmer and producer Scott Rosenthal—are no strangers to songwriting. A Brooklyn DIY super group of sorts, Public Practice combines members of freshly-dead punk project WALL and local pop band Beverly. Public Practice backs their ambitious songwriting with serious chops, their live shows already pulling them into the sharp foreground of a scene growing all too warm and fuzzy.
Distance is a Mirror is a confident, juried testimony of love steeped in dark optimism. By the end of the short and bittersweet 4-song EP, Public Practice anchors themselves as a new band with wisdom like their influences, bringing songs distinctly fresh as they are familiar. Public Practice will privately change your mind about where guitar music is going.
Public Practice Live:
Fri. Oct. 5 – Brooklyn, NY @ Music Hall of Williamsburg (w/ Shame, BODEGA)
Fri. Oct. 26 – Brooklyn, NY @ Alphaville (Record Release Party)
Fri. Nov. 30 – Washington, DC @ Black Cat (w/ Flasher, Gong Gong Gong)
Mon. Dec. 3 – Cleveland, OH @ Beachland Tavern (w/ Flasher, Gong Gong Gong)
Tue. Dec. 4 – Chicago, IL @ Hideout (w/ Flasher, Gong Gong Gong)
Wed. Dec. 5 – Columbus, OH @ Ace of Cups (w/ Flasher, Gong Gong Gong)
Thu. Dec. 6 – Paterson, NJ @ A Red Wheelbarrow (w/ Flasher, Gong Gong Gong)
DARK OPTIMISM IN DEADPAN VOCALS AND FUNK GROOVES – STEREOGUM
Wharf Cat Records is pleased to introduce Public Practice – a Brooklyn DIY supergroup of sorts, featuring members of freshly-dead punk project WALL and local pop band Beverly. Comprised of singer Sam York, guitarist Vince McClelland, synth/bassist and vocalist Drew Citron, and drummer/programmer and producer Scott Rosenthal, their serious chops and dance-inducing live set are already pulling them into the sharp foreground of a scene growing all too warm-and-fuzzy.
Public Practice’s debut EP, Distance is a Mirror, is a confident, juried testimony of love steeped in dark optimism. Dry, deadpan vocals chant over skittish guitar and danceable 70s grooves—songs snapping like rubber bands—seesawing between post-punk and its insomniac twin sister disco. With contradicting references as overt as Talking Heads (without the shoulders), but as specific as Haruomi Hosono of Yellow Magic Orchestra (with some polka dots), the band is carrying a funky torch that does not get lit too often.
By the end of the short and bitter-sweet 4-song EP, punctuated by Sam York’s sign-off of “no you can’t take it back now,” Public Practice anchors themselves as a new band with wisdom like their influences, bringing songs distinctly fresh as they are familiar. Public Practice will privately change your mind about where guitar music is going. Tired of the familiar? Seeing dots? Wake up!
TBR 10/26 // First 150 EP’s Hand-Numbered // Special Edition EP’s (limited to 250) Feature Flexi-Disc w/Remixes by Austin Brown (Parquet Courts) and House of Feelings // All LP’s Include Insert w/Lyrics // Also Available on CD
