Los Angeles’ ENTRANCE has just released a timely new protest song “Not Gonna Say Your Name” targeted right at Donald Trump. All proceeds from sales of the song will benefit Planned Parenthood directly. ENTRANCE’s new album Book of Changes, the first in nearly a decade releases 24 February via Thrill Jockey.
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Paul Carr: This is an artifact from the origins of punk that still sounds as vital and alive as it did then. The song is a powerful, spit and vinegar, aural assault, full of genuine working class angst. Chords are torn and shredded with the words hurtling past at a furious pace. A testament to the powers of youth, yet as important now as it ever has been. This is punk. Nothing held back. No thought of tomorrow. No pauses. No rest. No future. [9/10]
Audacious and knotty as it is viewer-friendly, Greek filmmaker George Lazopolous’ first and (seemingly) only film mines a territory at once strange and familiar. A wry tale which takes in Greek mythology, punk-rock rebellion and the influences of the American suspense-drama, Medousa is an effective and curious little thriller about myth and obsession. For such a low-budget effort, it shouldn’t be nearly as entertaining as it really is. Lazopolous, however, manages a fine balance with the many disparate elements he has at his disposal.
Los Angeles’ pop artist MILCK (a.k.a. Connie Lim) started out playing the pop game and trying to conform to gender and racial stereotypes, but’s she too smart and creative to have kept that up for long. Renaming herself MILCK, she cast off the expectations of others and decided to focus on developing her unique voice. In doing so, MILCK has become an artist to watch for her truth to power approach to her new music.
Paul Carr: Over rudimentary beats and the barest of bass lines, Sleaford Mods address the collapse of one of the UK’s oldest and most famous department store chains. Rather than a furious protest anthem for the 99% or a rousing anthem against the fat cats that get rich at the expense of the little man, it is delivered as a pithy statement of fact. A tacit acknowledgment that there is no fairness in society and the rich man is, inevitably always going to win, leaving the vultures to pick over the carcasses they leave behind. Moreover, the band maintains their ability to describe the grubby mundanity of everyday British life. There is no grandeur or attempt to explore life’s big questions. No real stylistic “growth”. This is what Sleaford Mods do, and it is what it is. Just don’t come looking for answers. [7/10]
// Moving Pixels
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