The Red Aunts are an all-female punk band that formed in 1991 in Long Beach, California, when Terri Wahl (guitar/vocals) recruited friends Kerry Davis (guitar/vocals), Debi Martini (bass/vocals), and Lesley Ishino (drums). Their brand of unfiltered music is toxic, taking a sharp claw to every riot grrrl cliché it can shred. After five albums, several years of touring, and a huge fan base, they called it quits in 1998. Their greatest hits compilation, 'COME UP FOR A CLOSER LOOK' was released on In The Red Records in December 2014; a gatefold sleeve double album, complete with killer art and photos, and liner notes by Red Aunts fan, Sasha Frere-Jones.
Your favorite band of the 90s (maybe). Best and worst live shows of all time, depending on the night. Now angrier, hungrier, and a hell of a lot more tired – can Terri, Kerry, Lesley and Debi get it together in time? Only one way to find out! Party in the pit, punker!
"...once Red Aunts began their set, there was no going back. I don't think anyone expected it - the girls seemed nervous beforehand and for good reason since this was their first show in 20+ years, but as soon as they started playing these girls put on one of the best Rock n Roll shows I'd seen in a while." Foxes Magazine (ITR 25th Anniversary 2016)
"The Red Aunts were nothing to mess with....wonderfully reckless rock." LA Times
"No punk, quasi-punk or fellow traveler should be without this bracing viciousness." LA Record
"To my surprise this next band was the best of the fest in my opinion, The Red Aunts. I walked into the Echo for a moment and got scared, thinking I had stepped into a den of cougars. But no, it was just the Red Aunts, four hot older chicks about to tear it up. This was their first show in twenty years, the last time they played there was no internet. They had spent the last seven weeks relearning their songs and when they got on stage, they absolutely KILLED IT. They were amazing! And I could see on their faces that they almost forgot how hard they rocked. They played good music to dance to, great music to rumble to." Janky Smooth (ITR 25th Anniversary 2016)
…a fucking PUNK BAND” Noisey (album stream)
This is Lamps’ third album and since the last one was called 'Lamps Lamps', they missed a hell of a chance to call this one 'Lamps Lamps Lamps'. Instead, they’d like to call it 'Under the Water Under the Ground', which implies a depth unimaginable by anyone but scientists. Do they get there? You bet. A look at the structural components of a rock trio reveals some hidden logic, resolved by concepts related to physics: if you plot three points (one per band member, if you want), and put the musical concepts of power, precision and melody into each of those slots, and you move the point where melody exists closer to the axis on which the other two points reside, you get something resembling an icepick. It’s still a triangle, but it’s long and wide, and its bottom angles are like knives. If they lived anywhere but Los Angeles (or Austin, or the nowhere in between), they might need a device that employs angles much like those to scrape the ice off their car windshields, or as a shiv. There are some catchy hooks here—some of the catchiest Lamps have written to date, and vastly improved by an industrial strength recording by Chris Woodhouse—but they compress that element of their sound into a dynamic that favors power and precision as its most acute points, amplified / distorted / corroded to the point where it only knows how to hurt. The rhythm section is straight-up gorilla goon shit; muscular surf beats by Josh Erkman and a leveling counterpoint on bass by Thee Jimmy Hole. And Mr. Montgomery Buckles’s formidable arsenal of effects strangle his guitar blue. Every song’s a winner, the sight and sound of some crowd surfer hitting the floor, one more punisher out of the frame.
— Doug Mosurock
California sonic bobby-socks rockers, Des Roar, have become an anchor throughout Manhattan and Brooklyn, headlining with a host of tomorrow’s brightest since 2006. With their malt of surf rock and bubblegum dance hooks, narratives and noise, they manage to incorporate Brooklyn’s electro leanings into the vibrations of a West Coast garage band, keeping it raw and playing seamless.