Posts Tagged ‘Garage’

Jacuzzi Boys – “The Pits”

I will alway be a sucker for the outsized garage pop that Jacuzzi Boys have been crafting for over a decade. The band’s sound only gets bigger with time and, while they’ve been a bit silent since 2016’s Ping Pong they hit back today with a new single backed by Third Man. The song’s off an upcoming 7”, and in the drought of Jaczzi gems I’ll take whatever they’ve got to give (though one can hope for an album, right?) The song springs off of the power pop with grit formula that they’d brought to a head on the last album and its hard not to bump this one right up the ranks of some of their best. The song blares from the speakers with a summertime glee. Fuzz, hooks, a little bass jab that knocks the gearshift down at just the right time – what more are you looking for on a Friday afternoon?

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Jess Williamson on Living Grateful – Peace Mob

Its always when coming to something late that the feeling of being left out seems to burn like a secret shame in the cheeks. As much music as passes through the pages here, I somehow missed Jess Williamson’s first LP for Mexican Summer until about a year after it was out, but once it graced the speakers I was drawn in tight. With a second LP for the label (fourth overall) on the horizon, I’ve keep a much more perked ear in the direction of Mexican Summer these days. Her latest album is everything that the last promised — lush, honest, swooning, and surreal. Its the album of a songwriter comfortable in her discomfort and able to translate it into the kind of Laurel Canyon-dappled folk that seems instantly timeless. There seemed no way that Jess doesn’t have quite a few gems tucked away in her collection that may have proven influential, but rather than dig deep into the past she lands a band that was almost gone before they began, highlighting that feeling of seeing something great as it’s just being formed. Check out her recollection and ode to the sole LP from Living Grateful below.

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Mixtape: Young Hearts Unite

There have been a lot of genres that have given support through the lockdown juggling act over here – Sunshine Psych (done that one), jangle pop (ditto) but I locked into a specific branch of latter day power pop and it all started to coalesce into a new mixtape. The formative years of power pop are captured endlessly on comps, often with the same tracklists shuffled and reshuffled, but there’s less documentation on these past ten years to be sure. Now, while that period of time might not be known as a heyday of power pop, you’d be wrong in that assessment. There’s a lot of high-profile, excellent stuff that crosses boundaries and digs out earworms (see: Ex Hex, The Bad Moves, Martha) all great but not what I was looking for in this regard. For this mix I focused on a strain of power pop that was derived directly from those late ’70s, early ’80s types that populated the comps circulating my youth. There’s a certain loose, edge of punk, but more lovesick and soft strain here. I find that sunny days and power pop go hand in hand, so this just seems like fortuitous timing. Hope it brightens someone’s day and sends you riffling back through the stacks of the last decade.

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Galore – “Lydia”

One of the standouts from the recent comp from SFs Rocks in Your Head, Galore packs up what works when things are just barely hanging on. The band dredges up visions of Kleenex’ early days, Olympia upstarts, and NY No Wave luminaries (from whom the song takes its name). Gnarled, unpolished, and unapologetic, “Lydia” is an untethered careen through post-punk, loose-linked jangle, and garage pop that feels like even duct tape couldn’t keep it together and yet it works. The song is infectious even when it tears itself apart at the seams. Grit never sounded so good and the band has a full length of more of the same on the way June 1st. Definitely worth a couple of spins through the speakers.



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Tijuana Panthers – “Current Outfit”

Another one that snuck out after the sun sunk on Friday, this new cut from Tijuana Panthers gives a nice shake to the band’s sound. Surf waxed like they haven’t been in some time, this one pulls my ears back around after the last album didn’t quite hook me as hard as they have in the past. “Current Outfit” is a definite twang-tipped corker though and makes this EP from the band coming up in a couple of weeks one to watch out for. Built on a roiling riff and vocals that hit like a D-cell to the temple, its West Coast baked and bred bit of garage pop that makes me fall for ‘em all over again. Pull The Chute is out on May 8th from Innovative Leisure.




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The Cowboys

While its a weird time to have any music on the dock that’s not just an uneasy drone whirring down to the bone each day, there’s still plenty to love sluicing out of the slicer this week. Bloomington’s Cowboys have been on a personal streak over the last couple of years, kicking out a number of low-key tapes and transitioning to a run of LPs for Feel It / HoZac / Drunken Sailor recently. Their latest scatters some of their more rambunctious garage tendencies and introduces a more brittle brand of post-punk that’s in line with the rising stress levels in a world gone wrong. This pops up on the first single “The Beige Collection” and in turn on “Wise Guy Algorithm.” As the album eases in though, the band can’t help but let their usual shaggy charms seep into the sound once more. They were never built to be the bearers of bad news anyhow.

There’s sobering tones on the spiraling, lonesome, “A Killing,” but even this has a humanness to it that’s well in line with The Cowboys cache. After a short reprieve they find themselves swimming in the same swell later on with “Sweet Mother Earth” — a candlelit, wine-stained ode to diminished resources. They might have gone a bit far into the bottle on the following “Ninety Normal Men” which borders on home grown musical territory, but then again who’s to say they aren’t fucking with us as usual. The band excels at letting the corners of their smile soak into the songs. They’re not looking for a joke in everything, but they’re not above it. Yet when its called for the band brings a real twist of soul to garage, finding common footing with the likes of Black Lips and Royal Headache (though never reaching the alchemical brilliance of the latter). ]

The LP feels like the band in transition. It’s not quite reaching the slapdash superb moments of last year’s The Bottom of a Rotten Flower, but there are more than a few great impulses here. The hearts are peeking out of the sleeves just a tad bit more and they make it work. Interspersed with a couple of welcomed sunshine strums, some hip-shake and shimmy and sonic simmer that never boils over, the band continues to be ones to watch and probably wont’ shake that status anytime soon.


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The Cowboys – “The Beige Collection”

Bloomington’s garage-soul swelters The Cowboys are back and the carefree flow that was palpable on The Bottom of a Rotten Flower seems to have evaporated overnight as we head into their new LP, Room of Clons. “The Beige Collection” is a dark, brooding introduction to their new LP, driving deep into the night with a hungry riff and the vocals of frontman Keith Harman hovering over the listener with a sinister edge. Seems the rest of the album might return to some of their homegrown punk roots but here, for the moment, The Cowboys are post-punk purveyors of a measured menace that’s hard to shake. The record hits shops and mailboxes alike on April 4th.


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Traffik Island’s Zak Olsen on Public Nuisance – Gotta Survive

Keeping the wheels turning on Hidden Gems and pulling more and more psychic diggers into the fold. This week the honors fall to Zak Olsen, the Aussie indie utilitarian who crops up in quite a few RSTB faves, to be honest. From the fractured pop ooze of Hierophants to the crushing grooves of ORB, Zak has done time in The Bonniwells, The Frowning Clouds, and keeps time in his own solo work as Traffik Island. The latter’s work caught my ear a few years back with a spot-on deep-dive into loner folk, but of late the band has embraced an aesthetic of psychedelic beat driven on an engine of Library Music funk. Zak gives some background on California garage band Public Nuisance and how their Nuggets-era works came into his life. Check out Zak’s take on the band’s works below and head to Flightless for the latest Traffik Island thumper.

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Black Lips

Like many I suppose my relationship with Black Lips has been fraught. The band’s always hand a sneer that’s both admirable (their ability to not give a damn about the winds of trend) and irritating (knocking out songs that feel like they coulda baked a minute longer). There’s an irreverence to their humor that skirts juvenile jabs, but it’s a good-natured poke to the ribs. Even when trying to put on a scrappy, dangerous garage guise, the Lips don’t really wish you ill. They’ll pick you up after shoving you to the ground. Aesthetically, their last record seemed to sap the last ounce of steam out of the sandpaper-piped garage that they’d been hounding for the past decade, so good news descends as the band has been born anew beyond the veil of country-rock. The gamble works and the twang sits well in their wheelhouse.

They add a roadhouse grit to the genre, melding their snide asides with the forlorn tales of hard luck, hard living, and hard liquor. It’s not a baptism in the genre but they’re definitely having as much of a dalliance as The Stones ever had. The Lips have always had a hardscrabble heart, now they’re just letting it bleed a bit more Tennessee Whiskey. Some of the renewed sheen might have something to do with Laurel Canyon vet Nic Jodoin at the board. With the exception of their Mark Ronson steered 2011 breakout, the band has often let the layers of sound fall by the wayside, preferring impact over subtlety, but Sing In A World That’s Falling Apart doesn’t just twang the guitar, it adopts the studio slick of their influences as well.

Lonesome harmonica pulls at the heartstrings, even when the song’s about a rogue GI Joe. Pedal steel soaks up the beer from the bar, sax squawks bump the jukebox, and Cole Alexander’s never sounded so buttoned up (but ready to rumple should the opportunity arise). While its nice to keep scratching the same itch, eventually that leads to lesions, so its nice to see the Lips swivel and shine. Country-rock’s a tried and true midlife dabble for a band, but nailing it takes more than a whim as they prove here.



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Oog Bogo – Oog Bogo 12″

Melting like action figures in the microwave, the songs that make up the first solo EP from The Meatbodies’ Kevin Boog are garage nuggets that have skunked and soured. Atop a stutter of drum machine Boog works his way through the cellophane muck of sticky synths and fried nerve-ending guitars that sound like he’s been spending a lot of time with the early end of the last decade. Bringing to mind scum sifters like Nice Face, Gary War, and Flight, the EP is mostly working its way through the primordial ooze, though he hits pretty hard on “Tower’s Ladder,” which might slot in the paint-fumes fun times of your rotation alongside a Damaged Bug tune or two. Similarly the b-side swinger “Coyote Loves the City at Night” drops the fog-machine haze for just a bit to tip-toe into psych-folk’s ripple. This one lands via friend and fellow tone-skimmer Ty Segall’s Drag City imprint God?



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