SINGLES BAR
Last updated
June 8, 2009
Are you a lonelyheart that misses the Golden Age of Plastic? Pull up a stool, wallflower, and order a drink. You might find seven inches to take home with you. We survey what's righteous in vinyl from around the world. All reviews by THE BARMAN unless otherwise noted.
LAYIN' UP WITH LINDA b/w I WANNA FUCK THE SHIT OUTTA YOU/ OUTLAW SCUMFUC - GG Allin and The Carolina Shitkickers (Zodiac Killer)
It'll be sacrilege to the ears of some but to my mind the idea of GG Allin frequently outdoes the reality, and as blurry as the line between being the most extreme performer ever and taking the piss out of same becomes, I just don't (didn't) get him or his apparent lack of irony. So if one side of sloppy cuntry & western (being the A side) where the vocals aren't in synch with the music doesn't row my boat, you'd think a punked-up jam like "I Wanna Fuck The Shit Outta You" might hit the mark. Not quite, although the self-declaration blues of "Outlaw Scumfuc" ups the ante slightly. Both sides feature members of Antiseen and the flipside songs Allin's last recordings. One for the fans.
PIECE O' ME b/w BABY I LOVE YOU - Soul Movers (Munster)
Nice statement of intent by Deniz Tek's new soul and beat band. "Piece O' Me" is not the soul stomper you might expect up-front, but a laid-back original that builds on the back of Pip Hoyle's swelling keys to a lean ''n' clean Tek solo. Props to Miss Lizzie for her mighty vocal on this one. Flip is a bigger-sounding, Memphis-ized-cover of Aretha's "Baby I Love You" (and not the Ronettes song) that's replete with horns and sassy call-and-response vocalising. Another killer lead vocal by Lizzie and doesn't the engine room of Craig Harnath (bass) and Brett Wolfendon (drums) sound like it has it together. The only question is why is Deniz asleep in the photo on the back cover? The album will be better than good on the strength of this. Grab a copy in Australia here.
LOST AT SEA Volume 2 - The Dead Rocks/The Mysterious Tape Man/The Space Agency/Stronzo Gelatino & The Boo-Men (FuzznSurf Records)
Four-track EP of super surf instros. Stronzo Gelatino and the Boo-Men hail from Germany and are propelled by frantic rhythms rather than classic surf feels. There's a flamenco tinge to their contribution, the live "King Kong Cologne." The Space Agency are from the UK and their "Sakura No Ame" is genre-true surf guitar. The Mysterious Tape Man hails from New Zealand and carves out a nice line in furious fretwork on the lo-fi "Asteroid." Who is this masked man? The boxy drums add to the ambience. The Dead Rocks are from Brazil and round things off nicely with a quiet piece, "Kalamanawa", where tasteful licks rule the roost.
1/2
ELECTRIC BABIES b/w GO HOME/LOSER'S RECIPE - Left Arm (Trouble In River City)
Unadorned guitar punk is a beautiful thing and "Electric Babies" is a prime example. This St Louis trio locks into a mean feel at the top, the guitar scurries and the singer harangues. Brad Evetts has a cutting voice and a guitar tone to match. Jim Diamond recorded it at Ghetto Recorders in Detroit so you know it sounds good."Go Home" finds Hammond organ in the mix but the song's no more relenting than the A with a nice twisted lead-break. "Loser's Recipe" is even more frantic. The band calls their music Tardcore. I ain't arguing. Grab it here and score their earlier album while you're at it.
UPSIDE DOWN b/w DOWN AND OUT - Dee Rangers (Bootleg Booze Jukebox Series)
The first in a series of "big hole" jukebox 45s from Sweden's coolest vinyl label and too much praise can't be laid on it. Dee Rangers play 60's beat-influenced music. You might have known that. What kicks them ahead of the pack is the energy overload they apply to each song. "Upside Down" rides a swell of guitar and organ all the way to a satisfying brace of choruses that book-ends a wild lead-break. The B-side is a cover of a song by Dutch freakbeat band 4PK that locks into a super groove and never lets up. A demented vocal and extremely twisted guitar break are icing on this cake. Cut yourself a big slice. - The Barman
STICKY SITUATIONS b/w SHAKIN' ALL OVER + WILD HEARTS BEAT FREE - Poison Arrows (Full Breach Kicks)
This is a great slice of powerpop punk on an EP by a four-piece from Atlanta, Georgia. It's the sort of stuff people either used to lap up via college and community radio stations or blast in record shops before they bought a copy - back in the '80s when the seven-inch single was still a genuine currency. "Shakin' All Over" isn't the '60s tune - it 's an original and sounds more like the Raspberries - while "Wild Hearts Beat Free" comes over like a paler version of the late Star Spangles. That's still OK with me.
- The Barman
1/2
CHICANE b/w DETECTOR - Ex Humans (Full Breach Kicks)
Not to be confused with the Ex Humans from Greece in the '80s, these Brooklyn old-schoolers burst out of the speakers like a tribe of barbarians sozzled to the gills on mead, pillaging a village. "Chicane" is two-and-a-thjrd minutes of chainsaw pop, falling into a breakdown before revving up again at the exit gate. "Detector" starts off all glammy and develops into a punk rock stomp. It's only a notch down the scale from the A side. No surprise to see there's a Star Spangles (R.I.P.) member on board. An album could be life-affirming, if not changing. - The Barman
MY PAL - God (Butchers Hook)You can go and get your little Frilly Knickers (I know you wear them, sirs!) in a twist again, and quit tooling round Youtube, watching (the hilariously essential Factory appearance) and go and pick this re-issue up and pretend you always had it anyway. I shouldn't be so flippant and off-the-cuff 'bout this 45, as it means more to me than I would probably let on to anyone...actually I consider it a righteous honour to spill more ink over this track (as if anyone, reading this, needs reminding of its timless quality). For anyone else, it's a totally essential slice of late '80s, teen-garage pop, straight out of Melbourne, that should have been, huge...I guess the devil just wasn't up for deals at the time...even tho' souls were cashed in later.- Tom G
DON'T ASK WHY b/w ONE MORE DANCE - The Pink Fits (Outback Records)A side is taken from their exellent "Fuzzyard Gravebox" Lp. (Off the Hip Records), from a few moons ago.The interest lies in it having a cool non-album cut, "One More Dance", which is a Sonics-style piano Pounder, which for me beats the A-side.The Fits manage to cram just enough Punk into their Rock, to ever keep its sliding into any sort of Trad Rock and Roll retread. Again a dish, best savoured live (and not enough, if you're living in Victoria), but as it's pretty much recorded that way. And there ain't too much studio trickery going down here. Increase the volume, close your eyes and you should be in Wollongong.- Tom G
TIMEBOX b/w WHAT LOVE IS FOR - Plexi 3 (Full Breach Kicks)
Mod pop-rock from Milwaukee and proof that city can produce more than weak beer and even weaker comedians (Drew Carey, are you reading this?) Vocalist-guitarist Wendy Norton has a distinctive voice (which is code for her sounding like someone I can't quite put my finger on) and "Timebox" sounds like a cartoonish version of The Creation with a female singer (that's a compliment, by the way). There's an obvious nod to the Who along the way. Bassist Adam Widener takes over vocals on the flip which is a bouncy punker that recalls the Mumps, especially when Norton adds her harmonies to the mix. The whole shebang winds up with a vaguely cowpunk outro. Pretty alluring stuff that works its way into the memory bank to prompt another spin. More of this stuff at MySpace. - The Barman
GODDAMN b/w UGLY - Knife Fight (Kato Records)
A bunch of New Zealand thugs, who throw just the right amount of "Billy" into their Brand of Punk Rock, to keep this sliding off into any sort of art territory. Sure, you have heard this racket before, from any number of In The Red type noiseniks, and they (the band themselves), may well be keen on some of the '90s, Steve Albini noise type forays (Jesus Lizard et al). Then again I could be well wrong here in trying to pin a tail on a donkey that doesnt exist. But by keeping matters underneath the two-minute mark pinning down influences proves to be rather futile (and doesn't hurt the band none). Hey, if they get any better they may well end up being called Aussies.
- Tom G
TELL THE WORLD EP - Vivian Girls (Woodsist)
Not the Australian troupe, which called it a day not to long ago, but three, girls outta Brooklyn, New York, who - apart from sporting some interesting ink - bang thru' three moody garage stompers with nice fuzzy guitars (think clean "fuzzy" a la '60s "Nuggets" rather than buzzsaw Ramones fuzz) with what sounds like all three gals throwing harmonies, over the top of their toons - like honey on toast. Depending on who you belive, this trio could be the next big thang (in a Jay Reatard way) and/or (like it is for me) simply a good start to the day. Oh, and if you like these three tracks , there's a full-lengther out on In the Red (or throw one at www.viviangirls.net).- Tom G
DEAF NEWS b/w IT'S SICK - Deaf Wish (Stained Circles/Idget Child)
Melbourne has a long, thick , mean streak of this sort of angular , art-thug-rock, running thru it that's as murky as our Yarra River....blame the weather, blame the Birthday Party (who dragged this sorta thing , to its logical conclusion some moons ago) but buried beneath the thick squals of guitars, the dedicated listerner could hack out some decent songs here. It only really starts making sense, the louder you crank this up, ....I don't know how far my patience would go with a long player of this sort of 'stuff. It may test my mettle if they can't put over any other solution than Noise over Noise. But for the moment, live and on a seven-inch single, this does fine, and it would be a good way to piss off your Coldplay-loving housemates and get some street cred. (I got my tounge stuck, firmly, well half anyway, in cheek) .- Tom G
PUSHIN' THE ENVELOPE b/w GOOD BOOKS - Legends of Motorsport (Torn and Frayed)
I think by the time you read this , the Legends may have done their final round, so this could well be their Swansong.The A side gives you a nice fat organ-driven stomper (don't even think '60s, Mummies, et al Farfisa) but heads off towoards more of a Coachwhips-style terrritory. So get your "garage ears" tuned into more of a stop-start, angular punk-maths-rock. Lyrics deal in matters, of the value of self-belief and bragadaccio and Im' not so sure 'bout the personnel upon this, (the Legends always had a revolving line up of local guitar slingers) it'll make yar head rotate, Googlin' em all into order while you spin this....off ya go, geeks.- Tom G
1/2
TOTAL CONTROL - Total Control (Aarght!)
Four-song cleanish-sounding "punk" single with Eddy Current folk that flashes on new wave and touches of D.C.-styled hardcore, but forget 'bout all of that as its quite original (apart from an pretty cool Swell Maps cover of “Full Moon”). I did say "flashes on" right?- Tom G
A
NICE QUIET CHAT b/w WHERE HAVE ALL THE GOOD TIMES GONE? - Hoss (Bang! Records)
Not exactly super “new', then again its still better than half the crud thats done the run in the last three years. No choruses (again) to be found here, just nice big shit-eating riffola that wouldnt leave Garage Punkers who got some love for The Real Kids or perhaps a little Cheap Trick disapointed. And if you can bring yourself to flip this over you'll get a nice workout of the Kinks' "Good Times". Can't poke holes in the playing...it's perfect, as you'd expect from a crew that's been around the block once or twice. I just wish they'd write more songs, choruses or not! - Tom G
Melbourne's rarely-sighted but often amazing Hoss re-surface with this 45
on Spanish label Bang and, yes, it's worth tracking down (which you can do
via Munster Records). "A Nice Quiet Chat" is actually a nice noisy
conversation with Joel Silbersher and Jimmy Sftesos laying some nice guitar
all over a mid-tempo strut. In case you're wondering, Hoss do justice to the
Kinks classic on the flip (no mean feat), not straying far from the original
(but who cares?) This the band's first recordings in four or five years. Sounds
like the precursor to an album. Here's hoping. - The
Barman
CAN'T COUNT b/w SOMETHING HAPPENED - Straight Arrows (Juvenile Records)
Super crude power pop punker that would leave most of you Posies, Big Star, jingly jangly "songwriters" shitting your pants. If Phil Spector set up a boombox in a junkyard and forced the Ramones to listen to a pile of "Back from the Grave" comps and fuelled em on speed and cider, ya might get within a bee's dick, of what these (S)Punks are tooling for. The aforementioned Jingly Jangly crowd should maybe check some adult Diapers, because a full-lengther just got put down on tape!!- Tom G
EP - Super Wild Horses (Aarght!)
Six songs on a 45 would suggest economy, even to a lost maths soul like me. Whats the sound? Two girl, fuck you 'tude, cheapo organ-drum-guitar workouts that I can't really put my finger on (which I can only sugest is a good thing). The whole thing reminds me of listening to a noisy pissed-off agrage jam while sitting in some of those drains in Hawthorn. A nice cacophony... misplaced noise is what its is and what I love.- Tom G
THAT TIME OF THE DAY - Eddy Current Supression Ring (Nervous Jerk)
The Currency pack out halls, quicker than you can snap your greasy "Denny Burger Fingers" these days (probably got to do with the fact that they write good songs, are a little more selective bout the (good) Shows which they puton, and the fact that a certain 'Youth Network Radio- Station” gives them airtime). But I digress. This 45 sees them head back to a more 'Garage' sound , than last years 'Primary Colours' lp, which kicked up a fair amount of Dust with its dare I say 'clean-new-wave-stylings. This has ,one of my fave E.C.S.R tunes "Noise In My Head"...which nods nicely (to my ears anyway) to "Psychotic Reaction". Anyway if you found last year's Long Player not grimy enough, hunt this one down, and wig out for it's more Paisley shirts than skinny ties. - Tom G
THE WORLD'S LOUSY WITH IDEAS VII - The Super Wild Horses + The U.V Race + Eddy Current Suppression Ring + Straight Arrows (Aarght! Records)
An EP as such, showcasing one (exclusive to this 45) song each by The Super Wild Horses, The U.V Race, The Straight Arrows, and Eddy Current Supression Ring. Essential? Yes very much so, if you want a feel of what's going on right now in Melbourne-town in terms of good new music, this is a good baromoter. The Straight Arrows sound their most Psychadelic and fuzzed out, probably their best sounding track that I've heard. As for the UV Race, its probably the best thing on this bit of wax (today) anyway. The lyrics would fit onto the back of a Postage stamp. As for all you Collector Scum, theres 'bout five different covers so good luck chasing em all down. For those simply wanting a nice overview of whats going down, and are curious bout the Noise, start here. - Tom G
EP-45 - Bill Shankly (KOP 12/ INSTANT 4 Records)
Eleven Tracks on a 45, NECROS T-shirts and shout-outs to Negative Aproach, Faith and Void should make matters, quite clear, very quickly, as to where you're heading before the needle even hits the vinyl. So I'm stroking my chin, wondering why not go and just pull out "First Four Years", "Pay to Cum" and maybe some Sick Things? Well I can't quite put my finger on it but I quess colloquialism and brevity - and above all all a thick streak (seemingly) of fun kept me flipping it over and over again for another round... Sure these things all got taken to their logical nadir (seemingly) along time ago, but like I all of the above...colloquialism and brevity,that is, and no, definitely no to nostalgia. I don't go in for that. - Tom G
FUCK OFF AND DIE b/w ZOE IS A WEIRDO/SAVED BY THE BELL (PIANO VERSION) - Backyard Babies (Bootleg Booze)
If the Hellacopters are vacating the throne there's probably a place for the Backyard Babies with their brand of histrionic, gritty glam rock. Truth be told, I was bracing myself for a Guns n' Roses outtake when the needle dropped, but the A side is a bit worthier than that. Catchy and of course the use of the f-word will please the kids in the moshpit and celebrity chefs alike. When it's all said and done, the guitar playing's still a bit metal for my tastes. Of the B side songs, "Zoe" is a cool and concise slice of punk-metal. While the ballad that follows is better left unmentioned, I'm sure there's an American teen soap soundtrack it can end up on.
DIRTWEED b/w DON'T LOOK DOWN - The Live Ones (Striped Zebra)
A former Fuzztone, drummer-vocalist Mike Czekaj, heads this grizzled New York City power/sleaze trio whose sound recalls Dead Moon or DMZ rather than a '60s punk crew. The dull roar of Jon Czekaj's guitar struggles to cut through the muffled mix on the A side but the quality of the song shines through. Mike Czekaj's rumbling vocal sounds like Mono Man with a hangover. Great stuff. "Don't Look Down" is an angry, slow burn with an idiosyncratic Czekaj guitar solo that positively sears. I wasn't initially sold on this one but it grew with a few spins. I'd love to hear a full-length album. It sounds like The Live Ones have an appreciation for three chords and a rock-solid beat that comes with experience. Age before beauty and all that.
THE BATTLE OF BEING IN LOVE/MY INNER CLOUD - The Movements (self released)
The first of a series of limited edition, analogue-recorded 45s from the band's own studio to promote forthcoming tours by the ace Gothernberg garage-psych kings. It's magic stuff. Run, don't run, to your keyboard and order a copy here because they will become scarce. The A is a breakneck collision of agitated keyboards and spiraling guitar, a vamping explosion of sound that holds up against anything similar that'll cross your path. Think the Music Machine with a gun. Scarifying guitar introduces the flipside before a quirky keyboard line kicks in and a strong chorus hits its stride. This is too good to only be heard by a few European '60s punk fans and festival folk. Can't wait to hear the album, due in late February '08. These songs won't be on it but it threatens to be a monster, regardless.
COMING AROUND AGAIN b/w I FEEL HIGH -M Baby Woodrose (Bad Afro)
I had a dream that mainstream radio actually cared about what they played. And what they played was righteous garage-psych rock-pop like Copenhagen's Baby Woodrose. Then I woke up. The A side was originally intended for the last album, "Chasing Rainbows", and would have slotted in easily with its chugging rhythms and twangy guitar. "I Feel High" kicks in like an early Died Pretty song with static yielding to a swelling keyboard line. Acoustic guitar underpins a measured tune about excess. Nice song with some neat studio tweaks. Sludgy but sweet like hot fudge. Limited to 1000 copies and neither song will be on the next album so take that as a warning. Buy or die.
FACTORY LINE/TALK TO JANE - Gun Crazy b/w CRASH AND BURN KIDS/DILEMMA DOLL - Teen Cool (Cutthroat Records)
I-94 Bar regular Ken Shimamoto gave me the heads-up on Gun Crazy nearly a decade ago and it's taken this long to hear something of theirs. These days there's some cross-pollination with their ranks including members of Born Liars and Bad Rackets. This split EP from a Houston label pits these two no-nonsense bands against each other, both within the confines of Austin's semi-legendary The Bubble studio. Neither disgrace themselves. Teen Cool existed from 1993-2003 and play(ed) a tuneful strain of Killed By Death punk.The vocalist-guitarist sounds a bit like Bob Mould and thre best song, "Dilemma Doll", sounds like a punked-up Dictators. Gun Crazy is an apt name for a Texan band. Vocalist Jimmy Sanchez does a nice line in whine and the rhythms are a bit more measured than Teen Cool but, what the hell, it's still very good. Twin guitars buzz around like flies on a mixed drink in summer on "Talk to Jane". Production is by Mike Mariconda (Raunch Hands) and Frenchie Smith (Young Heart Attack), both well-regarded Austin hands to have behind a sound desk.
BANDOLERO MEXICANO - Chuck Violence (Shit In Can Records)
Some strange things come out of France (and I don't just mean Johnny Halliday.) This four-song EP of hillbilly swing might be the weirdest. Compounding things is the fact that Chuck Violence is a one-man band from Brazil. One-man "band" might be a bit misleading as there's a shortage of multi-instrumentation. Chuck's a bit of a minimalist. Cleanly-recorded with steel string guitar prominent and the percussion limited to foot stomps, it's inoffensive and slightly demented when Chuck breaks into one of his funny voices. Brazil is as valid a place for cowboys to come from with no shortage of pampas.
(I'VE GOT TO) LEAVE YOU WAY BEHIND b/w TAKE ME TO YOUR HONEYPOT - The Stems (Freshwater Records)
It's pretty clear from offline discussions with those close tot he action that a few good tracks didn't make the cut for the new-ish Stems album and if you needed hard evidence you need look no further than this limited release single on a Japanese label. "Leave You Way Behind" is a seriously great album track that grows an extra leg in the live context. Let's now note that its studio version sounds mighty fine on a 45. The flip is a tub-thumpin' churner, keys doing battle with a spiraling guitar solo while the engine room cooks up a stormy backbeat. This goes right to top of the I-94 Bar jukebox playlist. The 45 was released to coincide with The Stems' visit to Japan so if you need a copy, go here.
MAD EVIL WOMAN b/w NO RULES/SINCE I MET YOU - Four Flamingos (Bootleg Booze)
Debut recording for a Swedish four-piece. The A side rocks along on the back of a guitar riff that's more jagged than the wreckage of a four-car-pile-up on a German autobahn. Lead vocalist Manne Olander has a fine set of lungs when working hard in the upper register and the twin-guitar outbursts are up to matching him.The short "No Rules" works similar hi-energy territory to devastating effect, dropping its payload and moving off before the smoke has a chance to clear. Instrumentally, it sounds a little like like early Hitmen. "Since I Met You" eases the pace back a couple of notches and shows a band with shade as well as white light heat in its armoury. Nice closer.
OUTLAW RACER/TIME'S UP- Black Radio b/w BORN TO KILL/LAST OF A DYING BREED - The Ruling Class (Bootleg Booze)
Bootleg Booze is good at setting up these knock 'em down match-ups over the course of a split-single, this time pitting English trucker cap rockers Black Radio against Swedish trash speedrock quartet The Ruling Class. I hate to sit on the fence with this (it gives you splinters in the arse) but it really is a dishonorable draw. The Ruling Class have a frenetic balls-out relentlessness that's every bit as intense as the dirty runaway steamroller that Black Radio set in motion. It's an exhausting trip but if you're into the Eurotrash stash peddled by, say The Backyard Babies, this will sit well on your turntable.
PEARL - Powertrane b/w SHE MESSED UP MY MIND - The Solution (Electrophonic Records)
Get in fast 'cos this one won't last long. "Pearl" is honest-to-goodness rockin' soul from Scott Morgan's fabulous but under-appreciated Michigan band Powertrane. Easily the most commercial song on their "Beyond The Sound" album with organ and female backing vocals filling out the sound and complementing Robert Gillespie's clean guitar tones and Morgan's compelling voice, it's being released on New Hampshire label Electrophonic with a limited run on gold vinyl with hand-numbered sleeves. The careful mastering's paid off because it sounds superb. The Solution is Morgan's back-to-his-roots Swedish-based soul band, whose second album has been oddly under-promoted by their Euro label. This song's from the first one that charted its head off and it's an unreleased live version that shows off an already great song to even better effect. Order from Scott Morgan Music or the label Myspace.
I KNOW WHAT YOU DID LAST SUMMER/MEMORY LINE b/w ON A NIGHT LIKE THIS/THE BALLAD OF WILL-O-THE-WISP - The Cheeks (Beyond Your Mind)
This German five-piece employs a near perfect blend of organ, skewed pop harmonies and guitar to come up with a killer EP. Apparently their last album on the same label was a psych-pop thing but this updates the '60s beat genre with their own stamp. Singer Rono has a warm vocal that sits perfectly with their sound. They sound like an agreeable cross between The Strollers and The Stems. How they stayed under my wire so long (their first long-player was on Screaming Apple in 1997) I don't know but I want to hear more. You should know that Lana Loveland of The Fuzztones guested on organ and the black vinyl they pressed it on is thick enough to be a manhole cover.
1/2
THE SAME LAME STORY b/w IT'S ALL MOVING FASTER The Hellacopters (Bootleg Booze/Psychout)
Not lame at all. Having announced they're hanging up the boots and going out with a final album and a lap of honour in 2008, Sweden's 'Copters mark the beginning of their end with a single on ultra-cool Bootleg Booze. The A side's a grittier effort than most of the material on the last album,"Rock and Roll Is Dead", and it's a little unassuming in spite of itself but still worthy of jukebox time. The flip builds from Kenny's bassline and bursts out into the light, more raucous and in the vein of "By The Grace of God". If it's a dead horse it doesn't sound like it's getting flogged.
WIRED FROR THE LAST MOVE b/w BASEMENT STAR - Crimson Sweet (Slow Gold Zebra)
Bitterly sweet, new wave-ish punk rock from New York City. Polly Watson's dirty and vulnerable vocal strains to nail the chorus (adding to therough-hewn charm) as her three bandmates kick up a storm behind her on "Wired...". Nice twin guitar attack. "Basement Star" is a rabid split personality tune that draws a line down the middle of poppy UK punk (a la Buzzocks) and glammy new wave. Clever lyrics too. Watch out, this stuff may be infectious. Bad luck they've broken up.
YOU ARE DEFEATED b/w LOLLYSHOP INSIDE MY HEAD/KARATE KID II - The DangerMen (Swashbuckling Hobo Records)A reminder that one of Brisbane's best punk rock bands is still around, kicking them out, and a good way to launch that city's newest label. This is also notable for the fact that Mad Macka (The Onyas/Cosmic Psychos/The Egos) is along for the ride on guitar (presumably just foir this release.) "...Defeated" is a six-pack of punk raunch that'll probablky grow on me but at the moment I don't like it as much as the album. "Lollyshop" sounds like a companion piece to the A but "Karate Kid II" lifts the variation with some furious guitar from Macka and Rock. Is it imagination or is Muchos Larmos playing twice as many drum fills as he used to?
TROPICAL MEDS/GOOD INTENTIONS - 1-800-Band b/w FAKEYED HEARTSCREW - Snakes (Slow Gold Zebra)
Maybe it's the off-kilter vocals and sparse arrangements but 1-800-BAND sound for all the world like a candy-coated Television playing bent pop songs. Of course this isn't some Klaatu-inspired copycat stunt - the femme vocal isn't as likely to result in calls to the RSPCA as Verlaine's - and the liner insert reveals 1-800-BAND to be the members of snotty NY punk-popsters Crimson Sweet in moonlighting mode. Pretty off-beat and pretty good stuff. No idea who Snakes are but there's a strong suspicion there may be some Crimson Sweets laying it on thick. "Fakeyed Heartscrew" is a plodding piece of maudlin downtime that's not so inspiring.
CITY SLANG b/w ELECTROPHONIC - Sonic's Rendezvous Band (Devil's Jukebox Records)
High-time this that the Godhead of songs was officially re-released as a single. "City Slang" is simply one of the top three or four rock and roll songs of all time. No argument. Obscuro UK label Devil's Jukebox licensed this from Easy Action for a numbered run of 666 copies. Of course the incredibly underrated "Electrophonic Tonic" should have been the B side of the original seven-inch (the flip was a mono "Slang") so Devil's Jukebox have righted a wrong brought about by a tiff between band members all those years ago. My only issue is that "Slang" is at 33rpm and "Electro" is a 45 so only the latter will play on the jukebox, but a compromise would have rendered things sounding sonically inferior.
ARMA LARJANA/BESTA-FERA split EP - Arma Larjana/Besta-Fera (Cafe & Raiva)
If there was a one-sheet with this it's been misplaced. Maybe it's a good thing because I'm sick of press releases citing influences that tend to prejudice all-important first impressions. Both bands are from Brazil (I think) and are fronted by female singers. They both get three songs a side. Arma Larjana are a trio with Bianca handling vocals and guitar - with aplomb on both counts. These guys (and gal) sound like a Ramoniac speed metal band with some loose bits around the edge. It's relentless and bruising - so much so that the songs tend to blur into one after a while. Besta-Fera go for the throat too but their fury's moderated by Renatha's taut but melodic basslines and Podrinho's inventive guitar. The call-and-response vocals in "Camhinos Cinzentos" are ragged enough to keep it interesting with the descending chord pattern and of "Pulo Do Coyote" putting it in the punk-pop zone. Almost.
16 FOREVER b/w STAY WITH ME - The Dictators (Norton)
Long overdue airing for the shoulda-been-a-hit-single-showstopper "16 Forever" and the similarly fab "Stay With Me" - which you must know from the "Bloodbrothers" LP or (if you're an Aussie) from the live version the Screaming Tribesmen made their own back in the '80s. It took the Nomads to get there first with "16 Forever" but thank the gods that now you can hear the original in all its sublime rock-pop glory. Andy Shernoff takes the vocal on a mix that for some reason was never finished. Manitoba is back behind the mic on "Stay With Me", a demo version of the track that made it to LP. Apparently these are tasters for the retrospective compilation of demos and rarities Norton should have out on CD by now.
MAKIN' EYES b/w DON'T SLANDER ME - The Double Agents (In-Fidelity)
They're snake's eyes, he's makin', sho'nuff. Great country-twinged shuffle from Melbourne's kings of tumbleweeds and tombstones and Australia's answer top the Gun Club. Miss Kim's slightly rough-edged vocal sits gun-in-holster with the rusty spur accompaniment. Fans of The Hangmen of the Supersuckers will love it and it's beautifully packaged. The flip is Sir Roky's '90s comeback classic and if it doesn't match the manic abandon of the original, it's still purty damn good anyway. Y'all can never have too much Roky. Wonderful stuff if it's a taster for the album.
1/2
DESTROY b/w LOST/ I'M FED UP (Bootleg Booze)
Mary's Kids are Mary Currie (ex-Mensen) and three boys and this is their debut release. No better way to make a mark, either, with three slices of wholesomely loud and melodic rock and roll. "Destroy" gets along on a catchy guitar line and Mary's appealing vocal. If you're Australian, think Gazoonga Attack with lotsa Ramones. If you're not, buy it anyway. There's a rare crunch in the guitars and Mary's voice is exceptional. On the flip, "Lost" spotlights Ramblin' Roy's fine fretwork and "I'm Fed Up" isn't quite in the same league but who cares, I wanna hear a full album. Maybe they can call it "Mary's Kids Are Alright?"
S.E.P.U. - The Phenons b/w ROCK N ROLL DESTRUCTION MACHINE - It Burns (Beer Can Records)
Straight-up punk rawk from a now defunct Midwestern band called It Burns, and it does. Their song is delivered with a grim intensity that would give Lemmy a run for his beer money. There's a little element that reminds me of feedtime but it's otherwise orthodox punk. Funnily enough, Chicago's The Phenons have a lot of Motorhead in them as well and their cut "S.E.P.U." sounds like it's driving off a cliff (meant in the best possible way.) A nice split single of lo-fi punk blurt and on clear vinyl. Roll your mouse over the cover at right and you'll see that my pre-school son appears to be due royalties for the artwork.
1/2
THE UNDERTAKER CANCELLED b/w FIGHTING OF THE EVIL EYE - Tijuana Hercules (Black Pisces Records)
Yet another stripped-down duo, surely a sign of global hard times and thus an ideal mode for playing Da Blues.
The A is a rattling good lament, all roosty punk blues wailin' in the style of the Captain, if you get the Beefheart drift. These guys don't play your usual fucked up punk blues; this is more rustic. The flip is a thing on National steel guitar that didn't really pique my interest as much. My copy included a hand-drawn cartoon by vocalist-guitarist John Vernon Forbes. Yours will too. Email for a copy.
DANGEROUS BLUE b/w SISTER ANNE + SHIT LIST - The Dynaminds (A Better Sleeve)
MC5-stylised Dee-troit rawk is only shitty when it's too derivative for its own good and/or sucks, and there's no suggestion these Germans are either. "Dangerous Blue" is all driving bottom end, swirling keyboard wash and Motor City attitude with the octane-propelled guitar only cutting in at the death. The "Sister Anne" cover is faithful largely to the Five's original but mixes it up in the Mosrites to apply some different window dressing. I like it, as well as the closer "Shit List" which has an echo of latter day Sonic Smith and his jazz chording circa "Gold" and is catchy as a cold. My only complaint is that it's 33rpm both sides (and thus not jukebox fodder.) One question, however: Did someone leave something off the front artwork?
NOT PSYCHO ENOUGH? Vol 3 - Hell Crab City/Meatbeaters/Interstater/Gazzonga Attack (Dull City Records)
NOT PSYCHO ENOUGH? Vol 2 - Loathar/Jerry Spider Gang/Spank My Jones/The Dry Retch (Dull City Records)
Australia volume first (that'd be 3) and the home-towners do their countrymen proud on the latest vinyl E.P. in the series of tributes to the Cosmic Psychos on Norwegian label Dull City. Honours to Hell Crab City from Sydney for\ the way they've nailed "Pub" although it has to be said that it's a split match between Gazoonga Attack (the polite "Come On Cunt"), Meatbeaters (the menacing "Back In Town") and the lighter but still substantial Interstater ("David Lee Roth".)
On volume 2, France's Jerry Spider Gang is a band I'm really warming to, especially on the back of a magnificently dirty and searing "Can't Come In". It's all careering guitars and extreme energy. Spank My Jones is one of those Norwegian bands most of the world never hears about and their "Crazy Woman" takes on a psychedelic/psycho Stooges edge. The Dry Retch is a little bit of Australian Detroit in England and do a fine job on "Rain On You". Lothar are from Finland and their "Supervixen" crosses over into new wave territory with cheesy keyboards cutting through. Bet the Psychos never considered that augmentation. Nice variation, though, as the danger with tributes is that they can stay too close to the original.
PLAYTHING b/w CANDY/MAMA'S BOY - Thee Minks (Steel Cage)
What's not to like about the latest single from Philadelphia's coolest punk trio? The A side sounds like the B-52s on steroids with demented punk rock chick vocals and guitars instead of dinky keyboards. "Plaything" is apparently a song about their drummer (who's lucky enough to go by that same name) and it's a riot from go to whoa. The flipside is more of the same and, yes, "Mama's Boy" is a Ramones cover from "Too Tough To Die", a maxim you could apply to Thee Minks without hesitation. Bump and grind with amps on 11.
BUTT PIRATE LUV b/w F U IN THE A - Blowfly (Steel Cage)
The founder of X-rated funk-punk comes through. More anally-fixated than pre-rehab Turbonegro, the self-confessed fudge-packers that make up this Florida four-piece probably do wear the wrestling masks they sport on the cover in real life, if only to keep their identities a secret. The A side is a spirited and smutty take on the Heartbreakers classic and it's a no-brainer that if Blowfly (the vocalist and/or the band) could dig up Johnny and Jerry they'd give them both a public skullfucking. The B side doesn't hold the attention as much as sneak in the back door, if you get the drift. The accompanying one-sheet says this is Blowfly's first single since their landmark X-rated rap song of 1979. Why doesn't that surprise? Rumour has it that the second pressing will come with a tube of lube. See for yourself when Blowlfy tours Australia in February and March '07.
HUNGRY CANNIBALS (Non Intro Version) b/w ROCK BOTTOM - Radio Birdman (Steel Cage)
Yes, you read right. The first Radio Birdman seven-inch since, oh, the "Aloha" re-issue. Grab it now 'cos it won't be around forever. This is an edited version (sans Jim Dickson's expansive intro) of one of the best songs from the "Zeno Beach" album, plus a non-album B side, the slow-burn Masuak/Younger composition "Rock Bottom". Strangely vetoed from the CD by most members of the band, it's by no means deserving of orphan status and stomps around like it means business. Nice Mazaphonic lead break too. If you don't know "Cannibals", it's a garage-tuned romp with a stinging turn of lyrical phrase and a knowing Younger vocal. Nice double-sided, foil-styled cover when you slip the red vinyl out of the plastic sleeve and the pressing is suitably loud. Nice package, all up. To order, drop Steel Cage a line, god bless 'em.
RSVP/FUTURE NOW - The Holy Curse b/w TREATIN' ME KIND/ROY THE BOY - Johnny Casino's Easy Action (Turborock Records)
Double dose of full-bore rock and roll that would have snapped up Single of the Year around these parts if not for Radio Birdman's return to the seven-inch racks. We might even score it a draw, such is the quality of this. France's best real rock band, The Holy Curse, sets the bar high with their own "RSVP", a frantic shot of adrenalin committed to tape during their 2005 Australian tour. Producer Deniz Tek adds guitar to the second track, a righteous MC5 cover. Johnny Casino's Easy Action shows the same impeccable rock leanings with their side of the platter, two originals that'll pass muster any day of the week. Spittles the Younger never sang so well. The single's on a little French label. Order it here, you'll kick yourself if you don't.
NOBODY LIKES THE HULK b/w TAKE IT OFF - The Maggots (Bootleg
Booze)
More Bootleg Booze goodness, this time from the always interesting Maggots,
whose condition (ie. devotion to cool garage sounds) is still incurable.
Both songs are covers. The A side is a 1969 song by an obscuro band called
The Traits and would do as a theme for a remake of the Hollywood remake,
with tinkling piano a nice addition. The flip is a medium tempo frat-surf
rocker by The Genteels and unless I miss my guess it turned up on one of
those Las Vegas Grind compilations about a decade ago. Not as fab as the
A but still pretty happening, as is much of what these guys do.
3/4
JET SET GYPSY EP - The Cinders (Pop the Balloon)
Straight from the Paris kitchen-cum-recording-studio of co-leader Laurent
Ciron comes this four-track EP of rather fantastic rock-pop. If you've
read the album review you'll know that these guy have made one of the albums
of 2006 (I'd prematurely say it was THE best, but there's some heavy
competition coming down the turnpike) and since this one plucks three
of the best from the long-player, you know how it's going to be received.
The title tune's a soulful rocker, "My
Favourite Audience" the reflective pop piece and "Girl Crazy" the
irresistible singalong. Surprise addition is a steaming cover of "I'm
Crying" (a non album track) and if The Cinders don't scale the Burdon-led
vocal heights of the original they add a different dimension with some
on-the-money guitar. Now we can enjoy The Cinders on the CD player and
the jukebox. It's become a permanent fixture on the latter.
VISION EXPRESS EP - The Incubators (Bootleg
Booze)
Two ex-Gluecefiers on bass and lead guitar team with a vocalist-guitarist-organist
and drummer from the Tip Tops to cook up a monstrous slab of rock and roll.
There's a wicked groove at the bottom of this and Sindre Matre is a singer
with more than a passing resemblance to Roky Erickson (a conclusion I swear
I reached before laying eyes on Dave Champion's erudite liners). "Tough
Night" is a song so hard it wears a kevlar jacket, yet doesn't rely
on brute force or flat-out pace to make its point. "Parasite Paradise" is
just as sharp and you can lay the credit on Rolf Uggen's stinging lead
guitar playing.
TRIBUTE
TO DEL b/w GOING BACK TO MEXICO - The Hekawis (Corduroy)
An oldie which was recently bequeathed by a grannie with a garageful
of strange black things called vinyl singles. I'm not sure of the status
of The Hekawis, who may have gone the way of this record label or could
be having a sabbatical, but this is another seven-incher well worth tracking
down. "Tribute to Del" might contain Screamin' Stevie's clearest
vocal moment ever and is a positively mainstream radio-friendly ballad
(meant in the finest possible way) by comparison to most Hekawis tuneage.
The flip is a rocker is a return to more familiar turf and was recorded
by an entirely different line-up. Yes, there have been a lot of Hekawis
and Stevie now leads an outfit called The Credit Cards. Yours is not to
reason why, just lay your hands on a copy of the thing.
VEX ME HEX ME b/w GANGLAND - Adam West (Bootleg
Booze)
These Washington DC cats spend enough time on the road in Europe to qualify
as members of Dubbya's Diplomatic Corps (and they'd probably do a better
job than some of the genuine article guys - I bet they have bigger balls
than Condie). They might be too metal for some around these parts but I've
always had a high regard for the way they throttle a song, and Jake Starr
has one of the best throats in the biz. The A side burns with a supple
bass line propelling it forward like an overladen cement truck in fifth.
Dan-O Deckelman jumps into Eddie Van Halen territory with his guitarwork
on the flip, a cover of a Tygers of Pan Tang song. Metal meets the pedal.
Love to hear them bump heads with a Rose Tattoo tune.
2/3
FOR CHICAGO GIRLS b/w STREETS OF THIS TOWN/RED LIGHT VALENTINE - The Born
Losers (Scarey Records)
Rough and tumble punk rock from Portland, Orgeon, via a label in Italy. While
lo-fi is more a way of life than an art form and it's nice to be a nihilist
(the band name's a dead giveaway), it helps if the rhythm guitar doesn't
sound like it was recorded in a coal mine. This is fairly straight-up school
of '77 stuff done well, in the vein of the Angry Samoans. The pick is the
slowest tune, "Red Light Valentine". All up, a little unassuming.
1/2
THEE FROM PARTS UNKNOWN EP - Antiseen (Scarey
Records)
Trash-punk's leading exponents liberate four of their songs from whatever
rehearsal room they were briefly held hostage in, blow their heads off
with a sawn-off and dump their bodies in a garbage can. There's no use
in forensically examining the remains; far better to let the maggots eat
'em out from the inside. I don't know if these guys rock my boat as much
as kick a fucking hole in the bottom of it and send it to the bottom. It's
greasy, hairy punk rock with sweat that smells of cheap meth and sour mash. "Mad,
Bad & Dangerous To Know" sums up side one, while chick vocals
(courtesy Kelly Kisses Canipe) in the breakdown make the B side's stand-out, "From
Parts Unknown", this week's best rock and roll wrestling song.
1/2
LOST AT SEA VOLUME 1 - The Invisible Surfers/The Supersonicos/Pozor Vlak/The
Tommys (Fuzznsurf)
Props to Robert Lastdrager from Melbourne band The Tommys for passing this
on. It's the first volume of a planned series and features surf tunes from
four globally diverse bands. If you think you've heard all that this genre
can offer, this is more fun that it sounds. You can sense the ghostly hand
of the late Link Wray on all of these songs, to some degree. "Pipemind" is
from Uruguay's The Supersonicos and it's short and slight.The two best
tracks are the opening "Cobra Snake Neck Tie" by The Invisible
Surfers (USA) and the closer, "Grow Fins" by The
Tommys. The Australians actually do what lots of their local forebears did
in the '60s and employ (shaky) vocals,also making the most of Ollie Laurie's
always sharp guitarwork. If you ever wondered what became of original Died
Pretty bassplayer Jonathan Lickliter, The Tommys are your answer. It's a
long way from "Landsakes" to
St Kilda Beach. Score a copy here.
GATO NEGRO - Supersuckers b/w CHINATOWN - Zeke (Bootleg
Booze)
If you're Australian and still lamenting the cancellation of Zeke's planned
2006 tour, maybe this split single will provide solace. "Chinatown" is
1min39sec of what you could term fairly typical Zeke rock action i.e. no
need for niceties,now get the fuck out of my way. The Supersuckers song
will pummel your eardrums into next week and probably takes the points
in a split decision. A near run thing but when it's this close, who cares.
Flip from one to the other. It's all good.
2/3
BOOM BOOM A ZOOM ZOOM b/w RAMBLIN' MAN - Bob Urh and The Bare Bones (self
released)
Slippery slide guitar, off-hand vocals and six strings being shredded in
the background lend a sense of strangeness to what's essentially a slice
of walking blues on the A side of this self-released effort from transplanted
New Yorker Bob Urh, now working out of N'orleans. Compelling enough stuff.
The flip puts Hank Williams through the wringer and what comes out isn't
pretty.
READY
TO GO b/w LOVES THE RAIN - Hugo Race & The True
Spirit (Bang! Records)
I lost trace of Hugo Race after Citadel put out The
Wreckery album (which is showing my age) and although he was also a Bad Seed,
Nick and Co weren't really big on mya radar. Loads of Europeans are more
up to speed and think he and his revolving cast of band members are the best
thing since the single Euro currency. Old Hugo doesn't grace his home country
with many shows these days which is why Spain's Bang! Records jumped
at the opportunity to have him on their roster and playing locally. "Ready
To Go" is
atmospheric blues carried along by a subtle rock undertow. It must be pretty
old because it was recorded live at The Greyhound in Melbourne which is no
more. The flip is a studio effort and puts me in mind of some of Ed Kuepper's "Honey
Steel's Gold" songs. Jew's harp and the swell of a Hammond round it
off. It's on Bang! so you know it's packaged better than a wedding
present (speaking of which, congrats to label co-owner Juan and his new bride).
1/2
GOING
FAR AWAY - Trixie and the Merch Girls b/w SHAKES/HEAVEN KNOWS - The Jim-Jims
(Wee Rock Records)There I was, about to pass comment that the A side was of this split single as far removed as what passes for a playlist in the I-94 Bar as you could get, writing it off as a maudlin, lo-energy dirge. Then I realised the turntable had been out of commission for so long that the speed setting was on 33. Anyway, played at the correct speed, "Going Far Away" is pleasant, skeletal pop (so it's not so close to what we play here) carried by an interesting female vocal. Like a Midwestern Frente. The Jim-Jims are angst-tinged vocals riding a nice, trashy twin-guitar sound. "Shakes" meanders along but "She Knows How" picks up the pace and is all the better for it.
1/2
BOX
LUNCH EP - The Jim-Jims (Wee Rock
Records)
I spent a night looking for rock and roll in Springfield, Missouri, and ended
up seeing some vile Murph and the Magic Tones pastiche in the basement of
what passed for a Holiday Inn. Irrelevant, but for the fact that these guys
are on a Springfield label that wasn't around in those days. Pity. (Doesn't
Homer come from there? Wrong Springfield). There's nothing Simpsons-esque
about these four tunes. Tim Springfield's quirky vocals are a cross between
Jello and Mark Mothersbaugh and the rest of the band ain't too bad either.
"Slow Bang" is a Big Rock Song by a punk band, replete with Angus
Young trilling. "Fucked Up Again" and the title track are powertrips
with nice, full-throated guitars. The closing "Goober Peas" is the
sort of novelty song a band trots out as an encore when everybody's mindlessly
drunk (them included). Bequeath it to the Magic Tones, guys. The front cover
pic should be worth a Budweiser sponsorship (I think I'd skip the box lunch
in that case - it really is cat's piss). And that could be a contemporary
Ron Asheton on the back cover, holding a lighter.
1/2
LET'S
GET BROKEN b/w NEW YORK PAWNSHOP/I HAVE SEEN THE DEVIL - The Jet Set (Wee
Rock Records)
Minimalist production matches a line-up of drums, Farfisa and guitar-vocals.
The A side is all over the shop, with stop-start rhythms and Adam Widener's
tightly-wound vox both grating. More like a jam than a song. The band comes
into its own on the flip, however, with Trisha Padasch's vamping Farfisa coming
up hard against Joel Kopp's powerful, rolling drums and Widener's redeemed
vox. "New York Pawnshop" rides a surf rhythm all the way to Coney
Island, I'd guess. "I Have Seen the Devil" is a trashy whodunit
pulp novel, but in colour.
GET
DOWN! EP - Sonic Negroes (It's
Not About Music Records)
More Swedish Rock Action, this time from a Stockholm five-piece. Hard to see
how fans of the 'Copters et al wouldn't take to this like a battery hen to
genetically modified seed. "Liquid Inspiration" is the brutal pick
of the barnyard with Bassmangus' driving basslines and Hellman's wrought vocals
real stand-outs. The guitarists get some nice things going but flounder in
the mix at times. "Sonic Young Boy" is solid enough and "You
Say Yeah!" poppy, in the heaviest sort of way. Promising but not overly
memorable, in the end.
SEE
YOU TONIGHT b/w COLOUR ME IMPRESSED/MYSTERY - Brother Brick (Bang Records)
One of Sydney's best bands of the '90s get the Bang Records treatment
on a 7" and it's a reminder of what made Stew Cunningham's band great,
in its various incarnations. It's an all-star line-up with ex-Tumbleweeder
Jay Curley on bass being joined by Celibate Rifles/New Christs drummer Nik
Rieth and everywhere man Bill (The Eastern Dark) Gibson lending a hand on
backing vocals. "See You Tonight" was a highlight of the band's
latter-day sets and stands up well on record. The flip are covers of songs
by The Replacements and The Wipers respectively (the former for a tribute
album) and they're done outstandingly well. Colour us impressed. Nice reminder
that there's a retrospective CD on the way in 2006.
FANTASMA
EP: GOODBYE TO RYE/SEANY BEAN'S SNAKE/DESPERATE BLUES b/w HARDCORE/45 SPECIAL/FRYIN'
BRAINS - Los Raw Gospels (Dull City Records)
With more than a nod of the head to Billy Childish, Los Raw Gospels come clattering
out of the dark recesses of some sodden English bolthole of a studio and unleash
six lo-fi explosions. These guys are a three-piece (two guitars and drums)
populated by a Pom, a Finn and a Spaniard. Their coming together could spell
the end of the European Union. Tommy Nortis does for vocalising what coke
did to Kate Moss' modeling career. He launches "Hardcore" with one
of his shrieks and it's all downhill from there. Fans of the Mummies will
approve. If Norway's best little label doesn't want to break out of the vinyl
format and do an album I suggest Voodoo Rhythm send out a smoke signal.
1/2
AUTOLUMINSECENT
b/w OCEAN - Rowland S Howard with The Devastations (Bang Records)
Rowland S. Howard doesn't get out much these days (but was sighted playing
a show in Brisbane recently), so the availability of a single with well-credentialed
accompanists The Devastations in tow should make some fans ears prick up.
The title track - born out of "10 days of plague-level sickness",
the liners say - is pretty dark and probably not something that'll get a regular
airing around here. The man's more rabid fans would disagree. To my mind the
guy's guitar playing is one of the most distinctive styles around, but it's
low-key here. The B side is a Velvets cover and delivered in a rockier vein
than the A. It builds and peaks superbly. Really worthy for that aspect alone.
1/2
THE
SPANISH SHUTDOWN (66 vs 69) EP - Dr Explosion/Shutdown 66 (Corduroy)
One of a plethora of singles from the venerable and apparently scaled-back
Melbourne label Corduroy Records. (They've sold their vinyl press
so who knows what the future holds?) You ought to be on first-name terms with
Shutdown 66 who, with The Crusaders, jointly hold the title of Australia's
best garage punk band. Dr ExpLosion is, I'm guessing, a Spanish band mining
a similar vein and land some heavyweight punches on their side. "Let's
Go in 69" is powered by an irresistible beat and some sharp guitar, and
"Outside" is only slightly behind. The Shutdowns' "Welcome
to Dumpsville" is known around the world (or should be) and the title
tune leads off their side with a Snot Quotient of 6 on a scale of 7. "Slow
Train To Rajahstan" is no slouch either. All-up, I'd score it a draw.
Find a copy and you'll be the winner.
IN
VINO VERITAS/I'VE NEVER KNOWN THIS 'TIL NOW - The Sewergrooves b/w LA RUTA
INTERIOR/EL BLUES DE LA LLANTA - Senior No (GP Records)
Double single in a chunky gatefold cover with each band sharing its own slice
of seven-inch goodness. The Sewergrooves are simply one of the best meeting
places of hi-energy and melodic rock and roll and this is a stong effort.
"In Vino Veritas" is almost an archetypal Sewergrooves song, with
Kurt's plaintive vox and his and Packe's sharp guitarwork while resisting
the excesses of some Scandi bands. Spanish band Senor No sing in their native
tongue but deliver a hefty punch that transcends language barriers. MC5 metaphors
should never be used lightly but "La Ruta Interior" sounds like
"Back in the USA" should have if Jon Landau hadn't had his ears
packed with cotton wool. "El Blues De La Lanta" works it way up
to an irresistible wall of six-strings with a monster groove, winding up with
more Sonic and Wayne-styled rave-ups and a great vocal. Best lesser-known
band I've heard in ages and not afraid to mix it up with touches of sitar
and piano. Do they have any albums?
1/2
SPILLED
YOUR PINT b/w SIXTY NINE- The Flaming Stars (Bang! Records)
A bunch of English veterans that I haven't heard much from despite their six
albums since 1994, and their single on a Spanish label showcases two very
different aspects of their act. "Spilled Your Pint" weaves a jungle-surf
beat with a massive bassline and Max Decharne's understatedly cool vocal to
come up with something entirely unique. Bears up under repeated plays. The
garage rocks to a suave beat. "Sixty Nine" is a quiet and gentle
piece of world-weary introspection with a steel cap boot kicking at its tail.
Don't let the thought of a ballad scare you off. It's very cool.
YOU'LL
NEVER WALK ALONE b/w I REMEMBER/MIND CONTROL - Street
Brats (Full Breach
Kicks)
It's 1977 again and everyone (these guys, at least) are determined to out-Clash
the Clash. Street Brats are a four-piece from Chicago and if they haven't
been within a stone's throw of an English football terrace it doesn't show.
Mind you, on a song like "Mind Control" they do it well (and almost
had me singing along, even though i got over Pommy punk an eon ago). It's
all well-produced with the eyes on the prize. A word for Liverpudlians: The
A side is not the Gerry and the Pacemakers song (Judging by the look of him
on Aussie morning TV about six months ago, old Gerry would need a pacemaker
to keep up). It even has a Clash-like skankin' breakdown. Not my pint of bitter
but you may disagree. At least they're not Rancid.
1/2
EVIL
PICNIC EP - The Stabilisers (Nicotine)
A bunch of geezers from Rochester, England, have put this out on an Italian
label and I've heard of worse ways to line up a holiday in the sun. They crank
up a feisty mess of noise over these four songs. They sound like Graduates
of the Class of '77, having drunk deep from the well of the Buzzcocks, but
there's enough of a garage streak here to keep them clear of dog collar cliches.
The presence of former Headcoats bassplayer Alan Crockford would assure that.
Four strong songs and a frenetic delivery. "Taking the Piss" seems
to be doing just that, and "Plastic Love" reveals an equally strong
sense of humour. I could handle hearing more from these guys.
1/2
BOULEVARD
b/w BLOOD TRANSFUSION/WASTE YOU, TASTE YOU - Crimson Sweet (Shake
It)
Tough as a dockside bar and with a sound as thick as a Jersey Shore fog, this
New York City trio are led by vocalist-guitarist Polly Watson, a singer on
the Wendy Case (Paybacks) level of greatness. Punk rock with a dash of glam
in the guitars and enough attitude to turn around a Gulf Coast hurricane,
Polly stretches those pipes to the max on the closing "Waste You, Taste
You". Best moment is "Boulevard" with its thick guitars and
killer feel. I've a funny feeling this release only scratches the surface.
3/4
TURNOMATICS/TRES
DELICIAS Split EP - (Evil Baby Records)Strangeness from Spain. The Turnomatics side of this (featuring four songs) had me thinking the turntable was on the wrong setting, so strangulated are the singer's vocals. A large cylinder of helium may have been on hand when they recorded this. One song, "Do It Yourself", expires more than ends, with a gasp from the, er, vocalist. Swirling organ underpins "No Ilorare". Tres Delicias play fairly rote garage and fill their side with three songs. Their rhythm section sounds a bit clunky.