Category Archives: Post punk

SAILOR POON: ‘Sailor Poon’s First Album.’

The trouble with finding bands on Bandcamp, is that it can be difficult to find out much about them.

The beauty of finding bands on Bandcamp is that you have no preconceived notion of what to expect; no inflated PR description to influence your thoughts, often leaving you on the distinctly underwhelmed side.

So here’s what I’ve got:
SAILOR POON are a five-piece, all girl group from Austin, Texas. They sound to me like a really interesting, fun and vibrant amalgam of old skool punk, mixed with a growling horror-pop undercurrent.

If doing that really annoying pretentious ‘wine tasting’ thing that not-very-good-music-writers often resort to, I’d say I could hear influences such as X-Ray Spex, The Stooges, The Horrors, The Cramps. And given the excellent and manic use of saxophone at various stages, you’d have to throw into the mix, the likes of The Comet Is Coming. It’s the law, apparently.

SAILOR POON have been around a good few years, initially as all bands do, messing around in their bedrooms and garages, before graduating to the local Austin punk scene.
Not long after, their demo was picked up on by King Khan, who invited the girls to join him on tour.

In 2016, a digital EP was released, (‘Yeast Pigeon‘) and the following year saw the album CD / digital release of ‘B-sides and Rarities.’ No – I’m not sure how that works, either.

I can find no other releases until this year, when February’s ‘Moneysnake Rising‘ digital single was the precursor to the free download of the lead track to this, ‘Sailor Poon’s First Album,’ – ‘Be My Dog.’

The music throughout the album’s thirteen tracks is high energy; frantic. Only the final track, ‘Fly in the Attic,’ tops three minutes in duration, which is just perfect for their spiky delivery. This particular track does hold back slightly on the tempo compared to the others, but does still climb to frenzied peaks with the discordant sax giving a bit of early Roxy Music feel, while the swirling keyboards and pounding drums reflect shades of Inspiral Carpets. There is also still that threatening, gothic growl underpinning the whole thing.

It’s an eclectic mix, for sure, but one that works so well. And as I’m now onto my 4th listen to the album, I’d say it has become my favourite track.

Too Many Boyfriends,’ is the direct antithesis – at only fifty-eight seconds and as fast as it’s furious. ‘Neglect Attraction‘ has a cult comic book feel to it – I think perhaps because the organ and bassline sound remind me a little of the B-52s.

And maybe the comic book reference is not too far from the truth, as the girls obviously have a wicked sense of humour, with a song titles like, ‘She Farts Like A Motorcycle,’ and the fourth track, (thirty-one seconds long) ‘New York’s All Right If You Like Saxophones.’


I’m conscious that throughout this wee piece, I’ve referenced several other bands. This is not something I generally like to do. But I think it fantastically exciting that I have been able to reference some of favourites and write about a band that can meld so many different sounds into something so fresh and vibrant – and importantly, without losing that defined punk sensibility.

SAILOR POON’S FIRST ALBUM – definitely worth checking out!



SANS: ‘Aztec Drips.’

Over the past few years SANS have emerged from Bristol’s more avant-garde scene as one of the more hard-edged yet versatile bands.

The SANS sound melds post punk, experimental noise and hardcore, incorporating a maelstrom of overdriven guitars, jazz drumming and heavy breakdowns.

Their forthcoming eponymous EP, being released via Breakfast Records on 22nd May is a reflection of this, as you can hear from the lead track, ‘Aztec Drips,’ below.

THE MEMBRANES: ‘Nocturnal’ (Kitty Lectro Remix.

See – here’s the thing with remixes: I almost feel kinda guilty if I like one better than the original.

I always think a band wouldn’t have released the version they did if they felt it could be improved upon.

But I obviously tend to overthink things.

Until about ten minute before writing this post, I thought that the track ‘Nocturnal,’ from the Membranes‘ latest album (June 2019) ‘What Nature Gives … Nature Takes Away) was as good as it gets.

But I was wrong. THIS is as good as it gets!

The Kitty Lectro remix is brilliantly dark, broody and moody. It has a retro ‘goth’ feel to it and is almost like a new track entirely.

Both versions merit a play – you decide.

(Featured, header, photo by @rshashamane )

THE MEMBRANES: ‘A Murmuration of Starlings on Blackpool Pier.’

OK – I’ve got to ‘fess up – for someone so into their music, especially any that is remotely ‘punk’ related, I am ashamed to say I know very little of The Membranes’ work. Perhaps this is due to a twenty-six year hiatus before the release in 2015 of their acclaimed ‘Dark Matter / Dark Energy‘ album.

No – that’s a feeble excuse, I know. However, in my slight defense, I am a fan of bass player John Robb, his releases with Goldblade (who I have seen play, honest) and his work as TV and Radio’s ‘go to’ guy for all comment on punk music in general.

And of course for his part in one of my favourite Christmas songs, ‘City of Christmas Ghosts,‘ released with the wonderful Poly Styrene.

Well, anyway – building on their continued success these past four years, The Membranes release a new album, ‘What Nature Gives … Nature Takes Away,’ on June 7th.

The advance release ‘A Murmuration of Starlings on Blackpool Pier,’ certainly bears out the billing of the album being ‘a dark and brooding double album of psychedelic post-punk soundscapes.’

Writing the LOUD HORIZON blog these past thirteen years, on and off, has opened up to me, so many more exciting and interesting musical options.

On this evidence, I know I will now be spending some considerable time checking out The Membranes’ back catalogue.

Oh – and, “sorry John!”