Showing posts with label Shellshag. Show all posts
Showing posts with label Shellshag. Show all posts

Wednesday, March 10, 2010

Shellshag at Kopec's (Sun. Mar. 7, 2010); live review


My friend Sarah and I killed time at the Sharp Edge Emporium in Friendship; enjoying some feta, black olives, and sun-dried tomato pizza. We had driven up to the original venue, a house located on Kincaid Street in Garfield, only to be told that the show got moved to a bar on Penn Avenue called Kopec's. With the later start time of 9pm, a friendly passerby told us, we were in good shape to grab a beer and a bite before heading down to see Shellshag.

Shellshag was added to an already existing lineup, seemingly unaware to show-goers out for the other bands that evening. After three blistering local sets (spanning in length from eight minutes to 40 minutes apiece), Johnny Shell and Jen Shag graced the stage. 'Shellhead', donning his Wonder Woman tee, was celebrating a birthday and reaped the benefits of gifted whiskey shots in between commotive punk selections. Featuring "Resilient Bastard" and "1984" from their hot new LP Rumors In Disguise, the six-to-seven song set met new dumbfounded happen-to-be-there's and seeking followers with bombastic joy as the crowd lipped out words and gazed bewilderingly up at the duo.

Drummer Jen pounded away behind the distortion like a cannonade. Whether it was Shag sometimes knocking over toms or Shell's amp jumps, the beer-fueled band kept the audience totaled and amused. Despite the lacking quality of good vocal-to-guitar mixing, everyone was still at Shell's sleeve with each word. He knocked off Recess Records' band, The Underground Railroad to Candyland, toward the end of their set accompanied by the onlookers' droning singalong. Shell closed things down, slinging his axe above the drop ceiling and stacking up Jen's three-piece drum kit. Everything fell before Shell cut the amplifier switch. I still had a little bit of that feedback ringing in my ears.

Saturday, February 20, 2010

Shellshag - Rumors In Disguise



Shellshag
Rumors In Disguise
(Don Giovanni)
Rating: 3.6 of 5


I had the opportunity to see this band open for The Slits at the Andy Warhol Museum in Pittsburgh the spring before last. Touring with the material off of Destroy Me I’m Yours, the Brooklyn-based duo tore proper through their set of hooky pop-punk dressed with lurching feedback and kitschy deadbeat swagger. Shellshag, no doubt, is a gripping live act. The head-bobbing dance party that ensued brought old-heads, acolytes of post-punk and younger revivalists together with each repeated two-and-a-half minute sing-along.

Fresh off their recent consummation with Don Giovanni Records, Shellshag is ready to put their second album, Rumors In Disguise, out on new release shelves across the states. After exhausting themselves on sixteen straight dates last summer with burgeoning scenesters and labelmates, the Screaming Females, Johnny Shell and Jen Shag entered the studio to scribble down fifteen songs of mid-tempo minimalist punk.

The feel of the album is a little dragging, but turn up the volume and you get the fuzz-drone snottiness and DIY brandish in full effect. Johnny’s riffing comes straight out of Ramones academia with a good taste of late-80s American Underground to go with it. Jen plays the kit standing up with about as much tit for tat as needed to propel the songs onward. The two forces come together in such exemplary moments as the vocal interplay on “Means That Much” and the mucky goofiness of “Get Right”.

‘Can’t fix it with just one pill’, Jen proclaims over a J Mascis-sounding rhythm guitar on “1984”. With the exception of the poppy uplift of “Resilient Bastard”, the cuts that Jen carries steal the allure behind the record. Frenzied and maniacal titles like “Wake Up” and “Dirty Looks” stick to the basics and deliver with raw innovation. It surely helps to make up for a few of Johnny’s more lackluster contributions.

Rumors In Disguise is, both, the latest benchmark for progress in communicative punk rock and the blueprint for things to come from this brazen two-piece. Keep one ear to the ground.