Daisy Caplan of Lung, Shank Hall

Kate Wakefield of Lung, Shank Hall

Until now, I was not familiar with SKRT, an art-punk trio from Ohio. Their sound is loud, messy and unique noise rock. Singer Ashley Pooler (also on guitar) is ferocious, wailing over weirdly jagged rhythms courtesy of Abbie Romero on drums and Micah Kemplin on bass.  My favorite of their four tracks on the split is the excellently titled “Snowsuit for the Apocalypse.” “Black Adderall” is also really cool, really weird – lots of tempo and energy shifts, from a funky groove to a swinging melody to some dissonant piano and spoken whispery words but that only seems to be on the vinyl version, not the YouTube digital recording linked here. Like Lung’s selections, these tracks are only available on this EP (they only have one other release, a 7-song album from 2016, Toxic Schlock).

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All The King’s Horses is Lung’s second release. (I believe we picked up their brand new album at the show but we’re still decompressing from the weekend.) They played several of my favorite tracks from the LP including “Brock,” “Butcher” and “Bodies of Water,”  I’m not sure if they played “The Overgrowth” and “Horsebath” but those tracks are killer as well. They definitely did not play the sole cover on the record, David Bowie’s “I’m Afraid of Americans,” because Mile of Music has a no-cover-songs policy; only original music is allowed. I think Lung will be back in the area in a couple of months and we cannot wait to see them again.

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With a sound I can really only compare to a mashup of Devo and B-52′s on heavy hallucinogens and speed, Pink Section were composed of Judy Gittelsohn (vocals and synth), Stephen Wymore (bass, guitar, synth and vocals), Carol Detweiler (drums and vocals) and Matt Heckert (vocals, guitar, bass and sax). Gittelsohn and Detweiler went on to form Inflatable Boy Clams after Pink Section broke up. In the comments section on WFMU’s blog about Pink Section in 2008, Heckert chimed in the conversation and stated he’s done some solo musical artwork work since the early 80′s (titled Matt Heckert Mechanical Sound Orchestra, it’s so industrial that it’s just machines.)

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Marquee Moon, Television’s debut LP, has been hailed as one of the greatest records of its time and is credited with helping build the foundation of post punk and alternative music. Allmusic says about the album, “Where their predecessors in the New York punk scene, most notably the Velvet Underground, had fused blues structures with avant-garde flourishes, Television completely strip away any sense of swing or groove, even when they are playing standard three-chord changes. Marquee Moon is comprised entirely of tense garage rockers that spiral into heady intellectual territory, which is achieved through the group’s long, interweaving instrumental sections, not through Verlaine’s words. That alone made Marquee Moon a trailblazing album – it’s impossible to imagine post-punk soundscapes without it.”

“Friction” is one track that I genuinely like and can appreciate the blues-influenced hard driving guitar licks mixed though an art-rock lens. “Elevation” feels proto-goth in spots, so that’s kinda cool. It will be viewed by most post-punk fans as heretical but I find the title track “Marquee Moon” to be tiresome. Yes, the guitar work is cutting-edge and intricate, but it just goes on and on and I’m kinda reminded of some Grateful Dead jams when I would take a break from trance dance, sit down and nod off for awhile.

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Marquee Moon, Television’s debut LP, has been hailed as one of the greatest records of its time and is credited with helping build the foundation of post punk and alternative music. Allmusic says about the album, “Where their predecessors in the New York punk scene, most notably the Velvet Underground, had fused blues structures with avant-garde flourishes, Television completely strip away any sense of swing or groove, even when they are playing standard three-chord changes. Marquee Moon is comprised entirely of tense garage rockers that spiral into heady intellectual territory, which is achieved through the group’s long, interweaving instrumental sections, not through Verlaine’s words. That alone made Marquee Moon a trailblazing album – it’s impossible to imagine post-punk soundscapes without it.”

“Friction” is one track that I genuinely like and can appreciate the blues-influenced hard driving guitar licks mixed though an art-rock lens. “Elevation” feels proto-goth in spots, so that’s kinda cool. It will be viewed by most post-punk fans as heretical but I find the title track “Marquee Moon” to be tiresome. Yes, the guitar work is cutting-edge and intricate, but it just goes on and on and I’m kinda reminded of some Grateful Dead jams when I would take a break from trance dance, sit down and nod off for awhile – sorry Joe!

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“Because the Night” is a great track that veers heavily into mainstream pop-rock territory, but there are others a bit more experimental and worth noting on Easter. I especially enjoy the super-catchy “Till Victory,” “Babelogue,” which delivers Smith’s rapid-fire punk poetry prowess and merges into “Rock n Roll N*&*er,” a great shocking rocker, and “25th Floor” which merges art-rock and punk and spoken-word performance in that very Patti Smith way.

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