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)
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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Fatal Figures - Blue Zed review from 7"'s Blog!
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A-Side's "Blue Zed" has an awesome live rehearsal space sound which is a hollow marshal cave sound in the scrunched distortion sounding like the tape slowed down right before this made it to vinyl. Screaming into the void of a PA echo with a bouncy metallic bass line of thick rubber bands. This stuff has the polish of a back alley, burning garbage can with shifty characters standing around asking if you want to take a swig of this bathtub jail hooch. It's bad news and they seem to keep shooting this riff into the ground and loving it. A backyard rifle range that annoys the neighbors but god dammit they can't do anything about it.
B-Side's "Alright" is a pussy galore cover and that tape warbles to a start again with a lot more ferocity and straight ahead danger sound than the A-side that seemed to be in the middle of a lot of drinks. They spoon the cream of this thing into the gutter, taking liberties with the original the only way a band can, hell bent on reminding everyone how much that source matters. Distortions long and short, cable humm, ungrounded sizzle, solos if you could call them that, yelling into the single mic that shocks your face. I've been there. A worthy tribute with the drum stool creaking and sticks clattering to the floor.
Get this single from Big Neck Records. Sample below from their full length.