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Oct 28, 2014
Category: General
Posted by: bart
 
X-RAYS!:
Jameson Shot: 7” EP
Jameson whiskey goes down fine, and finer still are the X-Rays! of Nottingham for supporting neighboring Ireland’s economy. What isn’t fine is the way waking up to the aftertaste of whiskey has cross-wired my brain to think that whiskey actually tastes like hangovers. But that’s my problem. For the strong eared and stomached, every song on Jameson Shot will please, neat or with ice or water. G-Man’s guitar roars with bottom dollar distortion and Gary X-Ray’s weasely shouts are perfect on tracks like “Drinking for My Baby,” crafting gleefully shitty rock of the street punk feel, minus the aggression and double the cheese. I can just get through these three tracks before the X-Rays! liquor slap overwhelms my system, which needs some watery lager (tempo changes) mixed in with the hard stuff so I can stand on solid legs and flip the record, which comes on marbled vomit grey vinyl.  –Jim Joyce (Big Neck)
Oct 5, 2014
Category: General
Posted by: bart

FIRE RETARDED:
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)

 

Oct 2, 2014
Category: General
Posted by: bart

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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May 28, 2013

HOLLYWOOD "Girl" 7" Blog review


 

Hollywood on Big Neck Records

http://7inches.blogspot.com/

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.

Category: General
Posted by: bart
Hollywood on Big Neck Records
 

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.
A-Side "Sixteen?” - I just flipped this sleeve over to check out a cut and pasted nude hunks playing guitars around a suburban model home from the ‘50s. They were probably the inspiration for this track about underage girls. Just like Matthew McConaughey in Dazed and Confused, he keeps getting older and they stay the same age. The foursome deliver a gutsy, scuzz groove that ends up smeared all over the single. Successfully trying to creep you out lyrically while going right for glass shattering heavy distortion and bass line crunch. Sweaty snot vocals float on top of the heavy distortion groove and they’re getting off on their own attitude.  The backup vocal is the best turning this into perverted bubblegum Dictators pop. "Momma" layers on more scuzz, drawing out extra feedback for warble phasered vocals. Low-end grit is the key here, laying into a Butthole Surfers sound in a song to his mother. “It's too dirty, there’s too much echo, too much distortion!” But mom, it's the thought that counts. Does it count if the pancakes are burnt and you set the kitchen on fire? Then keep your breakfast in bed you bunch of sweaty creeps. Only a mom could love that mess and this racket. Plus you brought all those naked boys home to lounge around my living room! Wait until your father gets home.
B-Side’s "Girl?" is where I think got me started on that JSBX memory lane. This is more blues and production than the off road mud from the A-side’s layered vocals of distortion tin can telephone vocal. Really thinking like Nobunny with loose almost garage jangle with bent and sleazy sounding chords. It’s a frantic Natural Child sort of mess, just perpetually messing around, the kind of guys that never get serious, maybe even driving you a little crazy when your trying to actually get shit done. But they always seem to pull it off and that makes you even crazier. How are they even a tiny bit put together and coming up with catchy, southern style, west coast reverb crunch like this? The only question is do THEY even know great this is or are they going to get too drunk to even play next time. Or remember they wanted to press this record.
On clearish purple vinyl, let's say….. Lavender?