US Weekly have been lavished with faint/qualified praise from persons who think words like “young”, “interesting”, “Austin” and “underground” are in any way evocative of something worthy of your valuable time. Let’s be very clear about this — the quartet in question isn’t merely interesting, they’re nothing short of fascinating, a collision of parts-shouldn’t-fit influences with the end result being more akin to a spectacular montage than a car wreck.
Stylistically, they’re nobody’s idea of a prototypical Austin band (punk or otherwise), but if your local retailer wants to establish a bin marked “smart pop experiments that totally work”, I wish them lots of luck finding other records nearly this good to fill the space. A debut album this audacious yet artifice-free is pretty goddamn rare; whatever magician is responsible for accurately translating US Weekly’s wild onstage chemistry to the studio deserves a Merlin Awards (TM) trophy. Or perhaps something similar from a body devoted to recorded music, if one’s ever formed (though it seems a little late a in the day for that). – Gerard Cosloy
Austin, TX punk/no-wave four piece US Weekly have released their debut album.
Vocalist / songwriter Christopher Nordahl has released a statement about the record…
Our first LP marks a shift from solely looking inward, to examining the self in the context of our current larger society. Our roles up against a society that seems to be slowly or swiftly poisoning itself, depending on your point of view. And yet in the face of obvious societal ills, so many of us continue to look inward and act like reality isn’t quietly eating itself alive. iPhones, TV shows, computers, Twitter feeds, massive buildings created for big business disguised as “startups” with a foosball table in the break room and craft beer on tap from noon to five. Acting like brand integration and sponsored content isn’t based on collecting our data so larger powers can use it against us. It’s hard not to feel trapped in a machine that’s churning faster and fast every minute. Lower attention spans, higher tolerance for red dye number 3. And yet, ya gotta laugh cuz what else do we have?
Since we have access to everything, we didn’t limit ourself in the writing and recording process, but filtered a wide range of influence and source material through our own funnel. We feel like we’ve made something different, but familiar, and we hope you enjoy it.
The LP draws influence from the stranger corners of the SST catalogue, but finds the band expanding their sound to incorporate skewed new wave, krautrock, pop, and jazz/funk. Lyrically the album takes on the current political climate, human relationships through social media, gender roles, police brutality, team sports, and Disneyland with a sardonic sense of humor.
Gerard Cosloy of Matador Records fame calls the LP “nothing short of fascinating, a collision of parts-shouldn’t-fit influences with the end result being more akin to a spectacular montage than a car wreck. Stylistically, they’re nobody’s idea of a prototypical Austin band (punk or otherwise), but if your local retailer wants to establish a bin marked “smart pop experiments that totally work”, I wish them lots of luck finding other records nearly this good to fill the space.”
US Weekly will be hitting the road in support of the album from May 10 – 20th, making stops in major cities along the east coast. The band is an official performer at SXSW 2017, has previously played Austin’s Sound on Sound Festival, and has shared bills with groups like Parquet Courts, The Men, Ought, Priests, Downtown Boys, and Cherubs to name a few.