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)
Get Bent did a great review of HOLLYWOOD's next record, "Love Child"
Review: Hollywood - Love Child
Certain labels get more attention that others when it come to the garage punk scene, but we’d be amiss to not keep tabs on a record label like Big Neck Records that’s been kicking out the jams consistently for almost fifteen years now. Especially since their next release is gonna blow the doors off of everyone. If you’ve been to one of the recent Mean Jeans shows this tour, you know their openers Hollywood almost stole the show and what I mean when I say I cannot wait ‘til they release their new LP Love Child later this summer.
Hollywood plays banging dirty rock n roll full of four on the floor sneering energy. They sound like a rowdy version of Flamin Groovies played at Descendents speed. Hollywood shares that same over caffeinated pop sensibilities as Mean Jeans, White Wires and their fellow Dirtnap label mates, but it’s more informed by classic rock and primal garage riffs than their peers. “Up All Night” starts Love Child off with the perfect ode to partying that could’ve been written by any bands in the Denton, Texas scene. ”19999999999999” isn’t a Prince cover, its more like the Oblivians mashed up with Les Savy Fav. “Bedtime for Bonzo” is a bent out of shape Spits meets Riverboat Gamblers punk rock firebomb. ”Space Jam” channels the best of Crypt Records scuzz, while at the same time masquerading as a cover of a Human Eye song. “(I Prefer) Drugs” is a Ponys inspired glam soaked fist pumping anthem that’ll get the kids stealing away to the bathroom to get high. Another highlight is “Snake Bite,” a New York Dolls via electric blues Detroit rock city jam sure to play on repeat.
The songs of Love Child swerve through noisy punk, furious hopped up garage and glam inspired fuzz riffs, and it’s certainly not a LP full of the same boring power chords over and over again. Keep your eyes out for Love Child and listen to “Up All Night”