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Aug 29, 2014
Category: General
Posted by: bart
Fatal Figures are the members of The Blowtops latest, a band I'm just getting to know also on Big Neck Records. These guys are making it happen in way way western New York where it's winter six months a year. Buffalo was the big city we would occasionally drive to to either go across the border to drink in Canada or go to Darien Lake and see a huge show. I played with someone from Buffalo who would tell me about all kinds of cool shit that was happening and I imagined living there one day. Their latest builds on that garage intensity with some hardcore influences while keeping that raw, live sound.

...... Read More...
Aug 18, 2014
Category: General
Posted by: bart

 

Sonny Vincent - 'Cyanide Consommé' (Big Neck Records)


 I'm on it and will shout from the rooftops once more: Sonny fucking Vincent has a new record out and you should buy it because it's a killer release crammed full of fourteen noisey, punk rock attitude, rock and rolla, motherfucking songs! Now thats 'Cyanide Consommé' pretty much in a nut shell!

Read the full article!

Aug 13, 2014
Category: General
Posted by: bart

Madison garage-punk outfit Fire Retarded‘s debut full-length, ‘Scroggz Manor,’ crams a lot more melody, swing, and space into the thwacking frenzy the band has cultivated at its shows and on last year’s ‘High Horse’ EP. (Previously, they’ve teased the album online with “Meat Stairs” and “Nothing Said.”) The relatively new band still centers around guitarist Tyler Fassnacht’s raw, often screamed vocals and drummer Alex Ross’ direct, shambling rhythms. The addition of Hussy member Bobby Hussy on second guitar (full disclosure: Bobby and I work together a bit at MadCity Music Exchange), who also recorded the album, helps to flesh out the approach here, including new versions of two songs from the EP. The album’s closing track, “Overrated Kayak,” is a much bigger surprise, running longer than five minutes to the band’s usual two-minutes-ish, and slowing down for a bit of jangly, sweetly sad power-pop. But for now, I wanted to focus on what the band does with the one minute and 45 seconds of “Brain Burger,” cramming a catchy vocal melody into the verses even as Fassnacht and Hussy’s guitars cultivate a deceptively unstable, messy feel before tightening up for a prodding, shouted chorus. Stream the song above.

‘Scroggz Manor’ is due out in April on Big Neck Records. Fire Retarded’s next show is Saturday, March 22 at the Crystal Corner Bar.

- See more at: http://artsextract.com/2014/03/14/song-debut-fire-retarded-brain-burger/#sthash.SuK56zjw.dpuf
 

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Dec 16, 2013

Chrome Spiders - Review by 7 Inches


7 Inches Blog reviewed the Chrome Spiders "Black Butterfly" 7"!

No wonder there's no bandcamp or facebook page for the Chrome Spiders. If you know the tiniest bit about stompy garage rock or the band that almost exclusively releases singles you will have heard of Detroit's Dirtbombs. The Chrome Spiders are fronted by Tom Potter from the revered band and need no more introduction than that....

Category: General
Posted by: bart

7 Inches Blog reviewed the Chrome Spiders "Black Butterfly" 7"!

No wonder there's no bandcamp or facebook page for the Chrome Spiders. If you know the tiniest bit about stompy garage rock or the band that almost exclusively releases singles you will have heard of Detroit's Dirtbombs. The Chrome Spiders are fronted by Tom Potter from the revered band and need no more introduction than that.

A-Side's "Black Butterfly" has beefy trebled up chords screeching with windmills right into a classically rock sound of heavy thud beats while sliding those muted distortion strums right in there. 'Thomas' on vocals starts out in a reasonable low creeper place and then launches into a Sam Kinison yell as the chorus starts to come into view. That's how that lady on the cover gets him every time. He's trying his hardest not to let it get to him, tonight will be different and then it's all out the window again. Dammit. The rest of the guys play a sympathetic post breakdown of this rhythm and then give in to this emotional bent chord sound. A real greaser rock that comes from beer in a can and less than reputable establishments. This power rock happens when the blues get angry. when they aren't OK with just moping around about the situation. 

B-Side's "The Whip Hand" opens on guitars in the middle of hum and feedback - the sounds that lead to heavy riffs. That screech and squeal is fine when you smother it like this. The guitars are separated between channels from Sean and Tom has that end of the night drawl, close to the mic here with his smooth velvety Cramps sound. You know that whip hand is just the thing that's going to get you interested, 'Hey, why don't you come over?' and then it's going to smack you into shape. Really you needed to maniacally laugh and crack an actual whip in the middle of the track? Isn't it bad enough I already know I'm screwed? You're just rubbing it in. Dual blues distortion riffs creak from both sides of the room and Tom is slowly convincing the whole track, guitars come back together in a big finish but Tom is just way too eager to break out that whip hand. 

Lots of talk of belts on the reverse sleeve notes and portraits of four normal, smiling dudes who are getting you to fall for putting this on again.

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