The Neat, UK torchbearers for all things Post-Punk not only proudly wear their influences on their sleeve, but use them in writing some great tunes. and  With a jittery stage presence and sound to match, one can hear Gang of Four, Public Image Ltd. and even a welcome flashback to Art Brut before things went downhill. Don’t think so? Check out “Popular Music” on their Myspace player.

The Band is set to release their first single “In Youth is Pleasure” any time now on Chewing Gum Records which is run by members of the Kaiser Chiefs. With that sort of backing don’t be too surprised if these guys are the next UK band to make a splash across the Atlantic. that’s if they ever get over here to play a show!

Frog Eyes – Paul’s Tomb: A Triumph (2010) [Dead Oceans] // Grade: A

Carey Mercer, lead singer of Frog Eyes (and member of Swan Lake) is up there in my mind as one of the most interesting voices currently active in music. His chaotic ramblings delivered with a light falsetto teeter on the edge, and you’re never quite sure if he’ll jump or turn right back around and slap you in the face with a bittersweet melody. Mercer finds a natural home for his wordplay on Frog Eyes’ fifth studio album, Paul’s Tomb: A Triumph, an album of long-players, drowned in fuzz and practiced frenzy.

Mercer immediately thrusts you into unpredictability on nine-minute opener, “A Flower In A Glove”. His falsetto sweeps dramatically over ambling guitar and crackling bass, eventually disappearing into a wall of reverberating echo. It’s a track so filled with emotion that it’s almost too powerful a choice for album opener. But Mercer is not one to approach you tenderly, and Paul’s Tomb continues onward, wrapped in emotive tension. The guitarwork on “Odetta’s War” sprawls infinitely, gentle tears that build alongside Mercer’s vocals into an eventual tantrum of heartbreak. “Lear, In The Park” offers a rare, albeit short, break from the emotional overload, a vocal-less reflecting pool of swirling guitar melody. Closer, “Paul’s Tomb”, escorts you out as powerfully you were initially sucked in. Agitated guitar gives way to indiscernible cackles as Mercer’s vocals deviate ever further from melody and towards madness.

Many might claim Frog Eyes’ 2007 release, Tears of the Valedictorian their grand testament, but the long-playing format of follow-up Paul’s Tomb: A Triumph gives Mercer & Co. extra room for experimentation, taking the listener on a disorienting journey into the volatile.

Not only was this the most intense episode of the season, but I’d put this up there with the best episodes Breaking Bad has ever put out. The entire scene where Hank was circling the RV like a shark had me white-knuckled. Walt’s Saul-solution to the Hank problem was pretty shitty, even for a bastard like Walt. But now it’s not just about staying out of El Paso for Hank; now it’s personal. He’s got Jesse’s number and he’s tasted blood.

But now the Cousins also have Gus’s blessing to go after Hank. It’s funny, I never even thought about why the Cousins weren’t going after Hank. I just thought it was because the audience isn’t as invested in Hank as they are Walt, but turns out the Cartel wouldn’t let them get vengeance directly on a DEA agent – the one who actually pulled the trigger on Tuco. Gus needs Walt around at least until his new lab partner Gale can learn the Heisenberg formula, so sure, let the Cousins quench their thirst on Hank’s blood for the time being. Those moments between Walt and Gale were really cute, but the RV time with Walt and Jesse was much better and a nice season 1 throwback.

They would never admit it, but Walt and Jesse seem to be drawn to each other. They need each other. And now with the RV gone, I’m wondering if Walt is going to invite Jesse to come along to the Meth Cave. Or if Gus would even go for that.

It was great to see Badger back (and Riverdancing). I don’t know why, but I really like him. He’s such a fuck-up but I still want to have a drink with him.

Great cameo last night by Larry Hankin, aka Tom Pepper, the would-be Kramer from “The Pilot.”

Mark Todd’s “Power Fury” Now Online!

For everyone who didn’t get the chance to visit Mark Todd’s “Power Fury” show which opened a couple of week’s back at our Brooklyn shop now have the opportunity to purchase the limited run Kaiju Invades and Predator tees that Mark Todd created for exclusively for the show at our shop.

These have not only been office favorites, but fan favorite T-shirt designs! We’ve fielded many emails from people asking how to get a hold of one if they can’t make it to Brooklyn, well now you can! We’ve allotted 25 of each of these shirts for sale online…get them while you can.

But that’s not all… Mark has allowed us to offer some of his painting and prints from the show in our web store! So those of you who have been salivating for a chance to own a Mark Todd original, again here is your opportunity.

The Demon and Look at the Flag pieces are two of my favorites from the show and if someone else doesn’t act quick I may just snag them both for myself! Please remember with the exception of the Galore and FF Silkscreen prints, all of the paintings are one of ones. So come on, get that art collection you’ve always wanted started!

The Goodies Magazine launch party is this Saturday May 1st and if you like free booze, dancing, giveaways and a slide show featuring some of my favorite naked lady pics then you should totally come by.

Goodies even made up some Iphone skins (pic after the break) with one of my Zoli images that they will be giving away at the party.  It should be a lot of fun and I hope to see you all there!

Saturday May 1st, 8-11pm
Goodies Launch Party
10 Jay St. Suite 206
Brooklyn, NY
RSVP to info@goodiesmag.com
Must be 21+!

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Jucifer – Throned in Blood (2010) [Nomadic Fortress] // Grade: B+

Holy fuck. Sludgy metal from a couple who lives in an RV and recorded their album in the woods of Pennsylvania in a creepy-ass mansion. Does this get anymore quaint? Don’t let this description fool you into thinking this is some folky artsy fartsy experimental project. Jucifer is world renown in metal circles for harnessing some pretty compelling live shows. Armed with a drum kit and a guitar, the duo wretches from deep within to produce some of the most captivating performances ever. Up until now, this hasn’t been conveyed in their albums, something that the band focused heavily upon for their newest studio release entitled Throned in Blood. Through various historical references, the album dwells on the atrocities of war.

In the title track, “Throned In Blood,” the band delves into the thrashy side of their angst-ridden sound. Pissed off and intense, the lead vocalist Valentine distorts her vocals into highs and lows never before captured by the band on a studio release. The emotional roller-coaster ride doesn’t stop there. What was once a violent upheaval of energy quickly withers and dies in the corner for minutes, only to be reborn in the closing seconds; audio whiplash. “Contempt,” the second track, sounds exactly as the name implies, pissed off. Once again Valentine’s commanding vocals sound like something Walls of Jericho would have been throwing down in the mid-90′s. This is by far one of my favorite tracks on the album.

If my WWII history serves me correctly, “Work Will Make Us Free” was translated from ‘Arbeit Macht Frei,’ the infamous text that the Nazis used to adorn the front gates to their concentration camps. Don’t blink for a second because you’ll miss the violent snap of this track. All of a sudden, the blast beats come out and you’re taken to some Norwegian forest where you’re running for your life. As quickly as it began, it ends, sending you into the fire. The next two tracks “Return Of The Native” and “Disciples Of An Expanding Sun” continue the methodology of the album; using sludgy doom to offset the violent bursts of thrashy energy. Compression and distortion ridden the track “Hiroshima” which practically paints the picture for you; burning and charred bodies everywhere. Nuclear holocaust. Coincidentally, “Rifles” and “Good Provider” conjure up some of that good ‘ol boy attitude; guns are good. Political doctrine straight out of boot-camp.

The longest track on the album is by far the heaviest. “Spoils To The Conqueror” really fucking hits the nail on the head; this band means business. So heavy and so fucking pissed. More blast beats, more relapses into the maniacal world of war. If you haven’t picked up on this one yet, then something’s wrong with you; this album is all about contrast. Jucifer is using this as a metaphor for war. You really feel the anguish and pain through the feminine vocals. Something I think wouldn’t come across if Jucifer had a male lead singer. Valentine’s act deserves high accolades. The closing track, “Armageddon” is a solo, banjo-tribute that seals Throned in Blood with a reminder; war is hell. Learn from the past to live a peaceful future. I highly recommend this album to any fan of metal. You’d be surprised how addicting it is.

Meyer and Ebert at the premiere of Beyond the Valley of the Dolls, 1970

Since he’s spent so much of his career on camera critiquing films, I don’t think most people know that at one point Roger Ebert was a screen writer who worked a lot with sexploitation king Russ Meyer. Ebert most famously penned Beyond the Valley of the Dolls and Up!. So while it may be hard to think of him as such, Ebert’s always been a strong supporter of the counter-culture. Plus in that early photo of him up above, he looks like he could pass as a chubby Garage and Psych record aficionado!

Today, Ebert opened his vault and posted the transcript for his would-be screenplay about the Sex Pistols called Who Killed Bambi? The film was set to be directed by Russ Meyers and produced by Malcolm McLaren. The film obviously was never made, and it was this article shortly after McLaren’s death that prompted Ebert to post his screenplay earlier today.

You may remember last week we posted about Dan Orosco AKA D-LuX entering the illustrious Keep Watch Tattoo Club. Well, it seems like Dan wasn’t just done with having one Мишка tattoo. One wee after getting the Keep Watch, Dan is a member of the Bear Mop Tattoo Club!

But Dan didn’t just get any old regular Bear Mop on his body, he went with one of our most bad ass Bear Mop designs to date, the Bike Chain Mop.

Like his Keep Watch eyeball, this was also done by the very talented Shawn Finley over at Ageless Image Tattoo. Dan says it looks about 100 times better in person, but I think it looks pretty amazing from the picture he sent in if you ask me!

If you have or plan on getting a Мишка inspired tattoo, email us at bloglin@mishkanyc.com. If you need a larger/clearer image of something for your tattoo artist, don’t be shy to ask!

Tarek over at Monkey Bizz just clued me in that this three pronged collaboration between us, them and ShitxFaced is about to drop. So who the hell are ShitxFaced and why should you care? Well they’re a bunch of Swedish hipsters who know how to party, skateboard, make graphics and I have to assume regularly get shit faced. Plus as with everything Swedish, we grew rather fond of one of their rank when he came over to the US and interned for us.

To celebrate the release Monkey Bizz is holding a release reception in-store on Thursday, April 29th followed by an after-party around the corner at Babajan. And unless they were just putting on a good show for us the last time we were over there, the one thing I can assure you to is those Swedes know how to do is throw  a good party. That and smoke a mean fish!

Music for the evening will be provided by Lights (Feed Records), Kool DJ Dust and the crews from Top Nice and Drifter STHLM. There will also be complimentary Red Stripe served at the store reception. Hooray Sweden!

Trans Am – Thing (2010) [Thrill Jockey] // Grade: B

My relationship with Trans Am is fraught with complication. On the one hand: they’re momentous. Have been for 20 years. Many say the single best band when it comes to merging rock and electro into one graceful heap. But then the other: that synth sound. One of many Trans Am touchstones, the dread sawtooth hybrid buzzing low as hell, then flying up an octave for a one note blip of an accent. It’s been used and overused by everyone from The Faint to Adult., even Justice for Christ’s sake, and those are just the appropriate examples. Consider the heap of early 00s, low-level punk bands copping that sound—and that playing style—as instant vernacular: we love keyboards, but we’re not pussies. This shit is aggressive.*

Then there’s the overwhelming jam-bandiness of them, the vocoded vocals, so many drums careening and echoing into what ultimately amounts to reconstructed jazz: these aren’t bad things, but things that have become common to the point of grating in the years since Trans Am’s mid-90s intro. It’s difficult to hear any Trans Am record without being reminded of the people you knew who loved Trans Am, and the people who went on to form bands a lot like Trans Am—which is why Thing is such an involved, and personal, affair. Rest assured on at least this: it’s a true follow-up to 2007′s Sex Change, another solid bit of backpedaling to their best years. And it’s seriously good, classic Trans Am, stocked with disjointed melodies and amped-up analogue noise over the hardest, heaviest beats. But it also harkens all the stuff that followed them; you know, of course, that Trans Am was the precursor, but the ears still grow sore.

Or, on the fraught-with-complication tip, we could look at it another way: a breath of fresh air. Prodigal sons returning to school anyone who’s ever tried to ape their jams—tracks like “Silent Star”, with its huge arena drums and manic panting, and the dystopian disco of “Arcadia” definitely carry that sort of what now?! swagger. Or “Apparent Horizon”, the gently poppy, vocoded answer to new new-wave; it trumps whatever Trans Am analogue you used to fill the void during the band’s mid-00s excursion into…well, whatever T.A. was. And on that count, Thing is a complete success; the return of Sex Change set in stone, an official welcome back, boys, you were missed. Unless you’ve enjoyed Trans Am merely in passing, in which case, put it on shuffle with Futureworld or The Red Line and go about your day—it doesn’t break ground the band hasn’t already pummeled, but it definitely sates. Sawtooth and all.

*Full disclosure: I was in one of those bands, and therefore have little room to gripe. Still.