Part Time Punks

Brooklyn -via- San Francisco's post-punk trio Weekend will release their highly-anticipated sophomore LP Jinx (due out July 23rd) on Slumberland Records.

A Timeline:


Shaun Durkan (vocalist/bassist/guitarist) and Kevin Johnson (guitarist) first met and joined creative forces when they were just 12 years old, as bassists in the middle school band. Durkan's father, the singer in post-punk band Half Church, had exposed Shaun to venerable likes of Killing Joke and the Cure (evidence that both are heavy influences on this forthcoming release.)

Years later, Durkan and Johnson attended the San Francisco Art Institute, where drummer Abe Pedroza was Durkan's roommate. Known within their inner circles for having a near-machine-like drumming ability and love for all primarily obscure bands, Pedroza was quickly enlisted into what would become Weekend (serving as the band's second drummer, replacing Taylor Valentino who departed the band following the recording of the band's debut album, Sports)


Weekend officially formed in 2009 and recorded the Sports LP throughout the year at Ruminator Audio, which belongs to long-time friend and producer/engineer Monte Vallier (formerly of Jet Black Crayon, Swell, and Half Church- with Durkan's father). "When we wrote Sports it was an explosion of energy and ideas," Johnson says. "We'd been talking about doing the band for 10 years, so when we finally got together it was a cathartic release of energy and songs."

Throughout the next two years, the band found itself touring internationally with the Kills (Europe) and Wire (UK and US) and in Japan in support of the 2011's "Red" EP, which marked a sonic departure from the band's initial signature addiction to noise over clarity. "Red" (which was also produced by Monte Vallier) saw the band embrace sweeter melodies that encouraged Shaun to display his vocal abilities free from any distortion overlap.


The band spent most of 2012 writing, recording, and painstakingly mixing the 10 songs that comprise the album once again with Monte Vallier at Ruminator. As Monte was in Half Church and a close family friend of Shaun's, he had long ago offered his recording services since the very beginnings of the band. Despite the all-too-familiar time lapse of the recording and mixing process Durkan recounts the Jinx sessions as "the most trying though rewarding experience so far."

During this time, Weekend relocated cross-country to the already heavily saturated Brooklyn music scene. The trio had collectively grown weary of the trappings of home. Durkan states, "Feeling at home is evidence of stagnation and so I'm happy to say New York still feels alien to me." Despite the drastic change of scenery, he maintains "Geographically-based music scenes are for the most part defunct due to the internet but I don't think we'll ever be part of any scene. We stand on our own."

When asked to describe the album in 3 adjectives, Durkan stated, "Volatile. Cathartic. Bittersweet. The record is a collage of inspiration and ideas from each member of the band. Shards of experiences, images, smells, sounds molded into something we can collectively call ours." The album visually represents the music as well, through personal possessions of each band member that "had singular and emotional connections to and democratize it through a physical process. Painting the objects black adds a new, collective ownership over the previous personal meaning. [There is] the coalescence of our individual art to make something new, stark, and powerful." That Stark black visual sheen is compliments the songs that embody Jinx. Memories and experiences have been reinterpreted and recalled into existence from haunting, beautiful places. Each song on the album charges through a polarizing emotion through an ebb and flow of sounds both ominous and soothing. Lastly, the LP's presumably superstitious title compliments this body of work thematically. Shaun recalls his father nicknaming him "Jinx" as a boy. That name, like all the inspirations, emotions and experiences has returned to haunt the band - this time delivered with a lustrous and magnificent black sheen.

Tennis System

The promise of L.A. may well lie in Tennis System, who have thundered their way through their adopted city with a reverb-drenched ferocity that has, in short order, made the East Coast transplants the city’s band to watch.

One listen is all it takes to comprehend why: Tennis System are masters of unhinged, lo-fi psychedelia, laced with the inescapably pop DNA of Jesus and Mary Chain, Nirvana and Ride. Behind the sweat-drenched performances, behind the Orange amps and squalling anthems is a coolly leather-clad trio, composed of front man Matty Taylor, drummer Hector Gomez, and bassist Zach Bilson. Arriving at the current lineup, however, was spirit quest that took Tennis System from one coast to the other: It was in gritty Washington, D.C. that a young Taylor steeped like tea in the music of Fugazi and Bad Brains, Black Tambourine and Nation of Ulysses. He decamped for Los Angeles, where denizens Gomez and Bilson joined the band, propelling the band forward as a full-fledged L.A. band.

Though Tennis System has shared bills with the likes of Ty Segall, Wavves, Japandroids, Pains of Being Pure at Heart, Mark Gardner and Beach Fossils, and worked with Jeff Zeigler of Uniform Recording (Kurt Vile, War on Drugs, Nothing) and Fred Kevorkian (White Stripes, Pavement, Sonic Youth, the National) since its founding in 2009, life on the best coast has only served to raise its profile: In the past year, crowds at Filter Magazine’s Culture Collide festival, Austin Psych Fest, L.A.’s iconic Part-Time Punks showcase and South by Southwest have begun to bear witness to Tennis System’s slash-and-burn live shows.

After 2011’s much blogged-about self-released album, “Teenagers” (and its stunner of a single, “Hey We Tried”), the band returns in the fall of 2014 with “Technicolour Blind,” the appropriately named, heady fever-dream of a new album that has been a year in the making for Tennis System. Its tracks, including “Technicolour Blind” “Memories & Broken Dreams” and the sparkling, anthemic “Dead Honey” are melodic departures from the gritty, fuzz-washed tunes of yore; rather, Los Angeles life, with its thrilling beauty and starkly menacing underbelly, has left Tennis System sun-bleached and wary, and left their music imbued with the peculiar patina of a rough-and-tumble circumstance. The guitars still squeal, but listen closely: Taylor’s lyricism bears unexpected wisdom and woe. Recorded with Ulysses Noriega (The Wedding Present, Ben Folds, The Offspring) mixed by Drew Fisher (The Melvins, Bleached, Babies) and mastered by John Greenham (Ice Cube, Aesop Rock, Chuck Prophet), “Technicolour Blind” is poised to be Tennis System’s breakout effort, even if fans knew it all along.

SURF CLUB return to Lost Angeles celebrating the release of their new split 7" with Slumberland Records' Manatee. Their new sounds fuse the shoegaze dreamscape of MBV and Slowdive with Sarah Records' sounds like The Field Mice and Another Sunny Day. The band features former members of Craft Spells, and the very best in contemporary dreamgaze bands like Beach Fossils, Wild Nothing and Catwalk should also be invoked here!



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