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Crooked Bangs - II LP

Crooked Bangs - II LP

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Crooked Bangs are from Austin, and are proud purveyors of a distinct musical form of the freakiness for which that city is so well-noted. Crooked Bangs could be described as dark punk noir, with brooding guitar and bass lines, Phillip Gonzalez' relentlessly powerful drumming, and smoky French/English hybrid style vocals from Leda Ginestra - but the energy and overall vibe delve deep into the a distinctive sonic playing field and atmosphere akin to early Sub Pop singles club releases. Samantha (guitarist) has a distinct guitar style that is reminiscent of the more-innovative second-wave Crass Records bands such as Rudimentary Peni, 90's heavy-but-melodic noise rock like Babes In Toyland, and the noisier side of UK82 HC, while the whole band's sound remains resolutely modern and compatible with the dark garage ouvre from stalwarts such as Lost Sounds.

Crooked Bangs' new album is called II. It was recorded by Ian Rundell (Ghetto Ghouls) and mastered at Enormous Door by Jack Control (Severed Head of State)

"Crooked Bangs are an Austin trio that plays brooding, multi-lingual post-punk with a noisy bent — think Savages by way of the Melvins, after a long Parisian vacation. Their powerhouse is bandleader / bassist Leda Ginestra, a versatile vocalist who plays deft games of hopscotch with language (English and French) and dynamics (caustic screams and mumbled deadpans); guitarist Samantha Wedndel and drummer Phillip Gonzalez buttress these performances with aplomb, resulting in a sound that’s as hellish as it is hypnotic." - Zoe Camp, CLRVYNT

"[Crooked Bangs] make you want to run, not walk to the nearest, sweatiest, and darkest basement or club show" --She Shreds magazine

"There’s something inherently cinematic about II. It busts wide open with “We Are Gold,” a forceful and infernal track best paired with a car chase scene. Track two, “Rabbit Hole,” positions Leda Ginestra’s vocals as the driving force of the record, elevating it to avant-punk. Ginestra’s low register manifests into a hellish Wiccan chant, with a gothic vibrato similar to Chelsea Wolfe and Siouxsie Sioux (“Out”). And for good measure, her monotony is punctuated by killer '70s punk screeches (“Baudelaire”). Wendell and Gonzalez provide the score for Ginestra’s bilingual singing (she howls in both French and English), supplying gritty, industrial bass lines (“Le Phenix”) and frenetic cymbals (“Suspendu”) to help keep us uneasy. “Blood Tableau” is a distorted send-off that tapers off into a cloud of feedback, much like quickening your pace on a dark street until you sigh in relief that you've made it home safe." --Taylor Silver, Le Sigh