Ex-Cult, a menacing gang of Memphis rockers led by former Vile Nation frontman Chris Shaw, blisters paint on “Midnight Passenger,” the noisy, dirt-caked title track off its sophomore album. “I'm the voice from the sewer,” Shaw barks as his mates lay down an urgent, muddy squall that appears to emanate from the same grimy locale.
In a 2013 interview with Bullett, Drowners described its sound as “friendly post-punk,” which is a pretty apt synopsis of its self-titled debut, a shimmering, Brit-pop influenced effort that gives off a warm, autumnal glow.
With her large eyes, petite frame and shock of dyed hair, St. Vincent, born Annie Clark, resembles a villainess drawn by Walt Disney in recent press photos. Her music has occasionally adopted similarly animated qualities in recent years as she’s progressed from the anxious, guitar-driven tunes populating Actor, released in 2009, to the rhythmic, outsized numbers she delivered alongside head Talking Head David Byrne on Love This Giant in 2012.
In the Brooklyn punk-rock crew’s earliest days, its frenzied music could be every bit as immature and mindless as its controversy-courting name (witness get-messed-up anthems like “Puke Song” and “Drug Myself Dumb,” both off its 2011 debut).
In the midst of Vis-à-Vis’ late afternoon set at Independents’ Day, the quartet, which favors big, sweeping, guitar-driven anthems, introduced a cover of Fugazi’s “Reclamation,” dedicating it to the fest’s new digs in the gentrifying ’hood of Franklinton.