Tuesday 29 Jul

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0
Home · Articles · Music · Music · Brush with noise

Brush with noise

All Paintscratcher wants is for Oklahoma City to take a whiff of its hardcore coat.

Joshua Boydston May 2nd, 2012

Paintscratcher with Weekend Nachos, Dead in the Dirt and Viduus
8 p.m. Friday
The Conservatory
8911 N. Western

Ross Adams

James Hammontree, singer/guitarist for Paintscratcher, took a bad habit and twisted it into the perfect name for his then-fledging, Oklahoma City-based hardcore group.

“The thing I used to do when I was nervous was scratch the paint of a windowsill furiously fast. I thought, ‘That’s a pretty good name for how I want the attitude of the band to feel,’” he said. “I try to keep everything as visceral, vague and ambiguous as possible so people can get their own feeling for it, but it definitely stemmed out of nervous habits and wanting the music to feel like the explosion of nerves everyone has at some point in their lives.”

Hammontree and bandmates Jamie Schnetzler (guitar) and Colin Ferguson (drums) had played in metro hardcore acts before joining in 2010.

“It seems like for a while, hardcore got popular around here and turned into a widely known thing, but it was more metal-tinged. There was less of an old-school punk perspective and more ’80s-metal side to it,” Hammontree said. “I just wanted to play hardcore that was based in punk and noise … less of a tough and intimidating mood, rather a mysterious and surreal attitude to it. I’m not trying to scare anyone; I want to bring an emotion different than wanting to fight.”

Two years of experience have found Paintscratcher as something of a thinking man’s hardcore band, bringing into the fold post-punk heavyweights Gang of Four and Wire, along with modern noise acts like Lightning Bolt.

“If you can juxtapose an outside influence with a certain style of music you are doing, you might have a chance at coming up with something creative,” Hammontree said.

The group recently released a split 7-inch with like-minded Oklahoma act Chud and wants to do another in the coming months. The songs — often clocking in at two minutes or less — demand a listen, all while accommodating ever-shortening attention spans.

“You can reach a higher level of intensity when you make something shorter. To give the most energy you can, it’s kind of got to come in a short burst,” he said. “I work the songs in a fashion that I can only physically play some of those songs for that long. There’s a certain intensity that way. When it’s passing through time so fast, it has a level of importance, because it’s going to end really soon.”

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