Early Show! Pink Flag / Wojcik / Eros and the Eschaton

Pink Flag

Pink Flag came together in a tin box in December of 2007, almost 30 years to the day after their namesake album was released, and is currently comprised of Lucky Flag, Sick Flag and Drunk Flag (Betsy Shane, Jessica Caesar and Steve Jones). Pink Flag is more cult than band, more spice than sugar, more shout than whimper, but like the album, displays a method to its chaos, a virtuosity in its noisiness and a keen ear for hooks and subversive song structure. Their earnest approach to all subject matter and unbridled live performances have been infectious for audiences.


"...reminiscent of The White Stripes and Blood Red Shoes in their bare bones garage-rock aesthetic, and also evoke memories of Sonic Youth. Wojcik flexes her voice in that very erotic, sultry, rock 'n roll way that so few female rock vocalists seem to get right."

Eros and the Eschaton

As of this writing, the following statement is the entirety of the bio for the Greensboro-based Eros and the Eschaton: “Met, fell in love, had a baby, went on tour.” You can even hear that baby offer a gurgle at the beginning of one of their recordings.

For an up-and-coming group that’s still working on their debut album, that kind of brevity is refreshing; in today’s musical environment, many performers try to make more hay with a lot less under their belt. Given the quality of the handful of songs they’ve released over the past year (conveniently available on their Bandcamp page), however, they’re not going to be able to get away with skimping on the details for much longer.

The husband-wife duo of Adam Hawkins and Kate Perdoni (joined by friends when they play out) aren’t shy about paying tribute to their influences; songs like the propulsive “Terence McKenna” (named after the counter-cultural philosopher that inspired their band name) and the shimmering “20 Different Days” revel in My Bloody Valentine-like ambiance. Meanwhile, the roiling drums and humming organ in “Carry The Water” show their love of Yo La Tengo’s particularly dreamy brand of pop music.

But they’re not offering carbon copies of what’s preceded them. Eros and the Eschaton’s knack for writing songs that sound familiar without regurgitating what they love is what separates them from the bevy of shoegazer-come-latelys. It is a heartening sign of this group’s great future. —David Raposa



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