Minimal Compact - Deadly Weapons

Rami Fortis, Berry Sakharof, Samy Birnbach, Max Franken, Malka Spigel  

Minimal Compact were a (mostly) Israeli band associated with the post-punk movement, especially with what is regarded as their most experimental 1984 album 'Deadly Weapons'.  I discovered this album during another recent discovery of the band Opus Kink (from Brighton), after a user-comment was made on their Youtube single for sounding similar to this band (also recommend checking that full-length debut album out, especially for the referenced single, "Come Over, Do Me Wrong" as well as "Crucify!").  After listening to the comment-linked single, "Next One Is Real" (video below), I sought out the album and discovered one of the more weirdly infectious and unique post-punk/new-wave hybrids I've heard.  "Next One Is Real" garnered them some radio play in US college radio stations and abroad, and alongside their following releases made them regarded as one of the only Israeli bands who had a successful touring career outside of Israel or "made it" during that period of the 1980's.  They however never did play a show in the USA.

They initially moved to Amsterdam early in their career (before 'Deadly Weapons'), but many moved back then and since, and have played extensive reunion shows exclusively in Israel (aside one reunion show in Poland in 2012) since 2008-2019.  The documentary on the band linked below will describe and showcase the band's history better than I can, which the title is a reference to their following 1985 album title 'Raging Souls'; with the documentary being released in 2002 after they were effectively done making studio albums (they however released 3 albums since 2003, only one of which features a new song, on their 2019 finale, 'Creation Is Perfect').  

Part of what makes the album work so well for me is the distinct output from the 3 singers: Rami Fortis (whose solo album 'Plonter' in 1978 is why he's regarded as one of the pioneers of Israeli punk -- also the majority of his solo releases were sung in Hebrew), Samy Birnbach (I believe the one member not native to Israel who moved from Sweden, and who is the primary singer on breakout track "Next One Is Real"), and Malka Spigel, the solo female singer/bass player in the band whose voice was a big reason they shifted to more pop-oriented dynamics later in their career.

I won't pick this apart track by track, and a lot of the songs on the (re-release) album feature remixes/remasters of unknown recording dates (to me, anyways), some of which were songs originally not on this album but were on others (such as "Babylonian Tower remix", with the original initially on their 1981 debut).  Remixes/remasters aside (like multiple variations of "Next One Is Real"), the original 9 tracks on this album have ear-wormed into my brain, largely because the album covers a wide dynamic range, further admirable that by this point in their career the whole band basically conceded guitarist Berry Sakharof was the only one who was a "musician" or was classically trained.  In this circumstance I think the "imperfection" of a lot of it is what gives it so much of its character, both to the punk and pop elements that make it somehow rigidly refined.  To re-iterate I really suggest watching the documentary below put together by Nathan Mandelbaum in 2002, to better understand the band and the finer details.  I'm also excited to check out some of their other albums both before and after 'Deadly Weapons' released...the only thing I'm puzzled by is their 2019 album being absent from their Bandcamp.

Bandcamp

Documentary

Sweet Megg - Massive Negroni

Sweet Megg (Meaghan Farrell) is a country/blues/jazz singer/guitarist who got her start playing shows around Brooklyn.  At 22 she moved to Paris to study jazz vocals, while also playing gigs across the city before coming back to New York.  Soon after she released her debut jazz album 'Under the Moonlight' in 2020, leading to a record deal based in Paris, after which she relocated to Nashville and released her first original album, 'Christine's Daughter' in 2022 (the majority of her work seems to be re-imaginings of older jazz/country/swing songs and standards, often swapping their respective genres around).  This led to two more albums in Nashville, and eventually to her touring globally with viral sensation Postmodern Jukebox from 2021-2023 (if you were on Youtube it's likely you saw one of their covers, eventually featuring a revolving door of featured musicians either doing renditions of old songs or turning modern songs into genre mashups).

Her (quartet) latest album, 'Massive Negroni' from May 2026 starts and ends with two original songs, "Right or Wrong pt.1&2", and the rest of it is covers ("re-imagining" might be more apt), such as Tom Waits, The Ink Spots, Duke Ellington, to deeper cuts like Kansas Joe McCoy.


Admittedly I'm a fairly opinionated person when it comes to covers for multiple reasons, both positively and negatively, but as this album was the introduction to her music (slight air quotes), I think it weighed more on the positive side, both by not attempting one-to-one covers and just the overall refinement of her band and voice.  Also because I'm a sucker for old timey tunes and jazz vocalists keeping that spirit alive in the "modern" era.  Without seemingly patronizing this any more than I am, probably the biggest praise I can give this album is that it has me excited to check out her original music.  I believe 4 of her 7 full length albums feature original songs (she's also done lots of compilations), so I'm excited to check those out, as well as more of her interpretations and renditions with her fellow musicians.

Bandcamp

 

Sparta - Cut A Silhouette

This.is.Sparta 

Sparta is from El Paso, Texas.  The band formed in 2001 after its three founding members (Jim Ward/guitar/vocals, Paul Hinojos/guitar, and Tony Hajjar/drums) split from post-hardcore group At the Drive-In, while Cedric Bixler-Zavala and Omar Rodríguez-López returned to their side-project De Facto, and shortly after formed The Mars Volta.  While many fans and members drew initial lines in the sand (*Cedric recently 'liked' an Instragram post of Jim's on the release of the new album, which was nice to see), I was always a fan of both/all projects.  As my blog title would suggest, TMV had a far bigger impact on me, but I was always rooting for Jim Ward and Sparta, who released back to back amazing albums with 'Wiretap Scars' and 'Porcelain' in 2002/2004.  While those are my favorites (also their only 2 albums including all 3 founding members), I would confidently say I think the band has been consistent in the quality of their albums -- including Ward's solo releases (which proliferated during an off/on Sparta hiatus beginning 2008 following their 3rd album, 'Threes', the last album Tony Hajjar contributed drums).

The band in its current iteration is a three-piece, with the newest addition being drummer Neil Hennessy in 2025 for the recently released new album, 'Cut A Silhouette', alongside Jim Ward (guitar/vocals) and Matt Miller (bass/backing vocals since 2001 following the brief tenure of bassist Erick Sanger and a constant contributor/member throughout).  

"Mouthbreather" is probably my standout favorite on the album, but the entire album is solid from front to back, and the ten tracks clocking in at 33 minutes will likely inspire repeat listens to fans new or old.

Bandcamp

H E X - II

Latest release from H E X (August 2025), the follow up to their debut album in 2018 after a 7 year gap.  This new-ish release clearly escaped my orbit, but regardless I'm happy to see more material from them.  The sound is similar but in some different directions, namely with the inclusion (& I believe replacement) of two new members: Léa Martinez (vocals) and Wladislas Marian (bass).  The album is up on Bandcamp for name-your-price featuring 4 songs (as is/was their debut), but definitely show them some love if you like what you hear (*I certainly will after I sort out my new CC).

Vinyl is available at their label Humus Records.  

You can also check out another Switzerland band featuring H E X synth player Vincent Devaud, who also contributes synth & vocals in 'Loveress', for a completely different vibe switch.

Bandcamp

Point of No Return - The Language Of Refusal

 

Point of No Return is a straight edge hardcore band from São Paulo, Brazil.  The group made waves with their debut album, 'Centelha' in 2000, followed by their 2nd full length, 'Liberdade Imposta, Liberdade Conquistada' in 2002 following a 7 month hiatus.  The band often meshes vocals in both English and Portuguese (their entire 2nd album is in Portuguese), with a prominent aspect of the band being their unique blending of three distinct singers, sometimes merging together in familiar hardcore gang vocals.  

The band played their "final" show in 2006, but has re-emerged in 2024 with their latest full-length album, 'The Language Of Refusal', a collection of songs written from 2002-2024.  They also released a new live album, 'Ao Vivo na Verdurada' in October of the same year.  The band lineup is largely the same, while adding a new vocalist & bass player in 2024 (six current members and six past members, two of which were only active during their inception in 1996).

This release was a definite unexpected surprise for me (discovering it recently), and also a good starting point for anyone looking for an oldschool hardcore itch to scratch from some very pissed off vegans.  I believe this is also the first release from them to ever be available on vinyl.

Bandcamp

Neurosis - An Undying Love For A Burning World

Neurosis have re-emerged with their first new album in 10 years, after their parting with longtime vocalist/guitarist Scott Kelly.  Some speculated (such as myself) that the band would end altogether, but instead they have shadow-dropped a new album, 'An Undying Love For A Burning World' on March 20th.  Aaron Turner (ISIS, Sumac, etc.) has filled the absence of Scott Kelly on both vocals and guitar, and the pairing not only makes sense but has expectedly delivered well (understandably as Aaron Turner has cited Neurosis as a huge influence on his music); also considering three other members contribute vocals the overall sound is much of the staple people would expect.  The album is currently in digital-only release, with physical releases slated later (May 8th for CD/Cassette and June 5th for Vinyl).

The band in its new iteration will perform live for the first time at the Fire in the Mountains festival in Montana (a non-profit on Blackfeet Nation lands dedicated to reducing youth suicide) in July.  Notably the festival is co-headlined with a reunion performance by 16 Horsepower (former band of David Eugene Edwards before Wovenhand), among an overall packed lineup.  Neurosis is known for being a great live band, and while I haven't seen them personally I can attest that ISIS put on one of the best live shows I've ever seen/heard, so I imagine they will be right as rain with the inclusion of Aaron Turner.

As for the album itself, I won't yap too much aside to say I enjoyed it, with probably the biggest takeaway being I didn't fully realize how much Steve Von Till's vocals mirrored or resembled Scott Kelly's, and overall while his presence is missed, of all the people I can think of to fill that void they found the most agreeable and obvious in Aaron Turner, both vocally and on guitar and more fundamentally his song-writing ability.  The near 17 minute closing track "Last Light" might highlight his most direct influence and possible direction of any releases in the future.

Bandcamp

 

Shintaro Sakamoto - Yoo-hoo

 

When I posted 'On-Gaku: Our Sound' in January, in a moment of synchronicity/oversight I came to realize Shintaro Sakamoto also released his newest album the same month.  'Yoo-hoo' is Shintaro's 5th full-length solo album, following 21 years of fronting Yura Yura Teikoku.

His former band had a more prevalent psych/rock aspect propelled by his guitar/singing, but much like his solo work exists a common thread of dreamy/dreary unconventional pop/surf that he continues to explore and refine.

This album sounds like lounge music in the coolest lounge in town, complete with sporadic traditional horn/wind/percussion instruments and outlier inclusions Shintaro's style is known for (e.g. whatever that little instrument is on "Is There A Place For You There?").  I won't bother dissecting this track to track, as fans of his past work will probably be onboard regardless, but for everyone else I would give it my rubber stamp of endorsement of being my favorite solo album he's released.  'Yoo-hoo' is maybe not his most experimental album, but likewise a reminder that you're always in for a surprise.  Ultimately the dreamy+dreary/surf-psych ventricle throughout much of his sound is (in my opinion) beating better than ever on 'Yoo-hoo'.

Can check out the three singles released below.  Bandcamp for prior releases (hasn't made its way there yet) and direct purchase link through his label.

Bandcamp

Purchase