Scroggz Manor: CD
Scuffed-up garage rock fronted by a vocalist who switches easily between cocky crooning and blown-out shrieking (with a noted preference for the latter). “Garage” is about as worn-out and oversaturated as a genre prefix can get these days, but Fire Retarded do spice things up with some unorthodox deviations into weirdo psych rock riffage. Comparisons to The Reatards are inevitable—do you think the name’s a coincidence? This stuff is fast, frenzied, and dirty. –Indiana Laub (Big Neck)
Razorcake/Gorsky Press, Inc. just reviewed 3 of our records in issue #82. Go buy and check them out. I will post them up here, 1 a day for the next 3 days. Oddly, they have not reviewed Sonny Vincent's new album.
Trust Fun Suicide: 7”EP
Female fronted, this four piece outta DC slaps together members of Lady Cop, Electrocutions, and SWALTB. Three new garage punk songs which cast shadows of The Runaways tear off into the title track, a jangly fuck you to all the trust fund babies and their inherited swag. Sal Go, the female vocalist, spits the title like a punch to their pretty, cocaine-eaten noses. “Ice Cream vs. Gasoline” is carried by a tight guitar hook like early Bass Drum Of Death. On the flip side, “Cut by a Hog” continues the catchy guitar leading into a clear, chirping solo and Sal’s sloppy Courtney Love voice. While all of this is well and good, they sound like an opening act—there to warm up the crowd, as the material isn’t especially engaging or memorable. But the fundamentals are there and with a little time and experimentation, they’ll be headlining a dive near you. –Kristen K. (Big Neck)
Rich got around to opening some of the Big Neck Swag we sent him and reviewed a couple items. Here is the Fatal Figures Review:
Fatal Figures “Caterwaul” LP
Late Nineties Buffalo was actually a pretty happening spot in the garage scene, believe it or not. We were home to one of the best labels (Big Neck Records), the preeminent music fest of the day (Rust Belt Revolt), great record stores (Home of Hits and New World Records), great venues (and bookers) that made it easy for touring bands to stop (Sanctuary, Mohawk and others) and some of the finest bands of the era, the Blowtops being one of them. A dozen or so years later, all of those venues and stores are closed, Bart and Big Neck (along with the fest) were run out of town and relocated to Virginia and all the bands from that era have either left the city or broken up. (I should note we had another great run a couple of years ago, but that’s another story…). The Blowtops persevered through it all, closing up shop some five years ago after European and US tours, four or five full lengths and at least a dozen singles.
I remember when John Spencer Blues Explosion seemed to lead the way into something I didn’t know existed: the blown out, garage-soul, joke blues. Up until that point the blues was very serious, sad business from Robert Johnson and to combine it with wrestling ring ostentatiousness, distorted grooves and James Brown soul felt completely new. Hollywood, out of Baltimore, MD feel like an extension of that moment when you realize you don’t have to be in a band that’s trying so hard to be cool or serious or political…if you like to get drunk and listen to loud music while being a jackass, then you should do that. Just be your god damn self, that’s what’s going to work in the end. Hollywood are a bunch of jokers, blasting scuzzy distortion all over the stage and if you stop for half a second to listen to their lyrics then they’ll have you pissing your pants.