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)
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Review of Cheap Freaks - "Play Four Songs" from 7inches blog
"Caesar The Deceiver" recalls The Makeup, blowing out a straight, bubblegum rock with shades of blues emotion. Solid and driving 4/4 rhythm with blown out distorted vocals, really shot into the stratosphere. Give into this head bashing, smart solo that’s not even garage so much as an RnB rock and soul sound. Lifting right from the heavy rock blues, they briefly start this track and then stop about four times …the god damn tape is rolling, but you have to build up to this. It might take a few tries to nail it and then there’s no stopping this. "1984" moves on to spazz punk with a hillbilly Cramps vibe, something about a sex toy? Screaming in the basement with feedback phaser? Damn they’re getting dense creep sounds out of a standard setup, not too many effects, just turn it up to 11. An older ghost of evil from the future blowing out tunes and dragging this fuzzy garage in from the backwoods - this ain’t no warehouse in Williamsburg, it's the abandoned factory near the seascann.
B-Side’s "Nowhere To Go" scratches guitars next to rapid-fire vocals buried under their own distortion. Punchy power pop chords they have to really get the singing going together, that chorus is key. Power melodic distortion, less garage-y but could be right at home on a Sing Sing or Mighty Mouth release. Stripped and minimal, like the best punk, the guitar is positively peaking into the highest treble heights; this is on par with the recent Australian punk, scuzzy Nashville or Oakland sounds. Welcome to a new corner of the world, garage fuzz. "Something Wrong" You’re telling me there’s an entire LP of this? The static is necessary and perfect, almost getting Hunx or Shannon with the strumming prom night tones. The fuzz runs deep from the 13th floor Elevators straight into pop garages and they yell the hell out of this thing. “Something’s wrong with me!!!” They just might be a little too convincing. There’s a Clash attention to melody detail and rockabilly that leaves me checking the speakers, the static texture running all over this is just perfect, I don't want there to be a loose connection. This station is perfectly not tuned in right.
Get it from Big Neck Records who also put out that LP or Psycho Sounds if you end up in Ireland.