Black Ends\u2019 self-described gunk-pop is about as sweet as that wad of asphalt-crusted bubblegum
you found stuck on the bottom of your favorite boots. Much like the legendary grunge bands that
influenced the Seattle trio, Black Ends is artfully adept at smothering catchy pop and rock structures
with toxic levels of grime; but please don\u2019t call them \u201cpost-grunge\u201d, the term used to describe the
major label wave of flannel-clad bands trying to capitalize on grunge\u2019s aesthetic. If you must,
\u201cpost-post-grunge\u201d may be more apt at capturing Black Ends\u2019 reaction against this type of<\/p>\n\n\n\n
commercialization.<\/p>\n\n\n\n
Further cementing this connection to the city\u2019s rich musical history, the band\u2019s sophomore EP of
surrealist grunge, Stay Evil, was mixed and mastered by influential Seattle engineer Jack Endino
(Nirvana\u2019s Bleach, Mudhoney), whose thoughtful treatments emphasize the dynamics and clarity of
the basement-recorded tracks without smoothing over their raw energy. Bandleader Nicolle Swims
takes charge with commanding guitar playing, channeling catchy riffs and bluesy sensibilities
through warped effects, scuzzy tones, and math rock joltiness. Beloved radio station KEXP, who
describes the release as \u201ca four-song foray into dark alternative rock, art-folk, and the contours of
our minds when we are faced with treachery,\u201d exclaims that \u201cSwims\u2019 instantly recognizable voice
cuts through the din and grabs you, holding you into place while they sing their words — rubbed raw,
cut deep, sometimes willfully obfuscated — in your face.\u201d The recurring lyrical theme of social
alienation is enhanced by Swims\u2019 unique and cryptic vocal delivery that embraces their outsider<\/p>\n\n\n\n
status.<\/p>\n\n\n\n