10 Songs

EDITORS’ NOTES

Pop. 1280 are one of a clutch of likeminded Brooklyn contemporaries who’ve discarded the wide-eyed, faux-naïve optimism of the late-‘00s psychedelic revival and traded it for the far murkier, more misanthropic aesthetic perfected at the dawn of the ‘80s by doom-obsessed acts like The Birthday Party, Jesus Lizard, and Swans. Pop. 1280 distinguished itself early on with the scary intensity of its frenetic live shows and the uniquely damaged sounds of early efforts like “The Grid” and “Bedbugs,” a maniacal, first-person account of psychosis and infestation. The group’s debut full-length, The Horror, is even more laden with vitriol and misanthropy than its predecessors. “Bodies in the Dunes” is the album’s most immediately arresting track. It rides a frenetic, clanging rhythm provided by no less than two drum kits and an array of stray percussion effects that sound like pieces of salvaged scrap metal banged against one another. Not every track here recaptures the visceral intensity of “Bodies in the Dunes,” but The Horror stands as one of 2012’s most unrepentantly unsettling and abrasive releases.

EDITORS’ NOTES

Pop. 1280 are one of a clutch of likeminded Brooklyn contemporaries who’ve discarded the wide-eyed, faux-naïve optimism of the late-‘00s psychedelic revival and traded it for the far murkier, more misanthropic aesthetic perfected at the dawn of the ‘80s by doom-obsessed acts like The Birthday Party, Jesus Lizard, and Swans. Pop. 1280 distinguished itself early on with the scary intensity of its frenetic live shows and the uniquely damaged sounds of early efforts like “The Grid” and “Bedbugs,” a maniacal, first-person account of psychosis and infestation. The group’s debut full-length, The Horror, is even more laden with vitriol and misanthropy than its predecessors. “Bodies in the Dunes” is the album’s most immediately arresting track. It rides a frenetic, clanging rhythm provided by no less than two drum kits and an array of stray percussion effects that sound like pieces of salvaged scrap metal banged against one another. Not every track here recaptures the visceral intensity of “Bodies in the Dunes,” but The Horror stands as one of 2012’s most unrepentantly unsettling and abrasive releases.

TITLE TIME
3:32
2:47
4:14
4:48
5:22
5:57
5:07
2:06
3:56
5:31

About Pop. 1280

Indebted to no wave and post-punk, and named for one of noir novelist Jim Thompson's bleakest tales, Brooklyn's Pop. 1280 was started by Chris Bug and Ivan Lip in 2009. Their first single, a creepy song about the bedbug epidemic in New York, set the stage for their follow-up EP, The Grid. Sacred Bones signed the band, and Bug and Lip expanded the group with bassist Pascal Ludet and drummer Zach Ziemann of Twin Stumps. Three months later, after an East Coast tour, Pop. 1280 returned to the studio to record their full-length debut, The Horror, which was released in early 2012. For 2013's Imps of Perversion, the band worked with producer Martin Bisi (who also worked with Cop Shoot Cop and Swans), who helped them focus their fury into more cohesive songs. By the time Pop. 1280 reconvened to record their next full-length album, Ludet and Ziemann were out of the lineup, and Bug and Lip brought Allegra Sauvage (synthesizer and cello) and Andy Chugg (drums) on board for the sessions for Paradise, released in January 2016. ~ Jason Lymangrover

  • ORIGIN
    Brooklyn, NY
  • FORMED
    2009

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