Liquor Store - In the Garden (Almost Ready)
Apparently a bunch of people I know don’t like this band because they think
it sounds too masculine. I guess they mean that it sounds big, loud, and
tough, and it has a bunch of guitar solos. But I fail to see why those things
are inherently masculine or negative. I think this is pretty great. Tough and
catchy is a pretty unbeatable combination. I am fascinated by the song “Titty
Was Loc’d.” What the hell does “loc’d” mean? Located? Loco? I dunno, but I’m
singing along. Take heed, Tee Pees: this is how you do a song about titties.
Add a little mystery to it. My only complaint is that before I looked at the
tracklist, I thought “Pile of Dirt” went “I’m just a pie in the dirt!” and I think
that is a better lyric.
Mac Blackout Band - Heartbreaker 7” (Pelican Pow Wow)
Mac Blackout -- of the Functional Blackouts and Daily Void -- put out a
couple of solo albums a few years ago that I really enjoyed, in a sort of
weirdo synth vein. I guess the Mac Blackout Band is different, though,
because this record sounds a lot more punk and a lot fuller than those
did. But he does an admirable job here of marrying his off-kilter aesthetic
to this sound. Between the guitar, keys, and vocals, there’s some pretty
unexpectedly compelling stuff going on. Fans of Human Eye, Wizzard
Sleeve, and the like should make sure to check this one out.
Phantom Scars - Lo-Fi Girl 7” (Manglor)
Pretty decent, uh, lo-fi garage punk going on here. The title “Lo-Fi Girl” is a
little on the nose, but I like this sort of thing enough to keep an eye on this
band. Not bad at all. My pick here is probably “Everything Went Black,” where
the vocals get just a little bit dumber and the drums just a little bit looser.
That’s right, guys. Really lean into it. Cover art is by Nathan Jerde, who was
in the Ponys, which, hm, I think maybe he is related to someone in Phantom
Scars? Don’t expect them to sound like that band.
Pure Predication - Dead Boy 7” (Manglor)
Let’s say it’s five years from now, and you put on this record and make me
try to guess what it is. I will say something like, “It sounds like it came out
in 2013 and I don’t care about it.” You’ll say, “It’s Pure Predication! You
reviewed it in issue 8 of Rubberneck!” I will stare at you blankly and shrug
and you’ll put on something else.
Simple Circuit - LP (Self-released)
Here’s a band that I always forget to mention when I’m trying to think of
locals I like. There isn’t really a good reason for that. They’re good. I enjoy
them every time I see them live, and I’m enjoying this album right now. It’s
a nice blend of post-punk and garage. Is post-garage a thing yet? At times
Simple Circuit remind me of an artier, less poppy Thomas Function or a
mellower Tyvek. I realize that’s pretty much saying that they sound like 2008,
but hey, there were some pretty great records coming out in 2008.
Slushy - Candy b/w Pocket 7” (Randy)
As you might imagine from a band called Slushy singing a song called
“Candy,” the A side is pretty sweet. “Sweet” as in nice and slow, not in any
kind of sugary, bubblegummy sense. That’s reserved for the B side. “Pocket”
picks up the pace a little and comes out with a supremely catchy, summery
pop song as a result. Very nice. In a just world, teens across the country would
be pinning the back cover -- featuring an extremely adorable band picture
-- to their walls.
Sweet Talk - Flash of Light 12” (12XU)
I kind of think Sweet Talk’s debut LP, Pickup Lines, got overlooked. I suspect
that those who appreciated the pop hooks didn’t go for the ripping guitar
leads, and vice versa. But this band deserves more attention than they’re
getting, so if you missed out the first time around, you’ve got another chance
with this 12” EP. I think the big choruses are pretty much make this band,
so I’m not all that crazy about the down-tempo “Poor Souls,” but every other
song on here is pretty great. “Microphone” and “Viewing Party” are my top
picks, but really, just about every song on this thing is going to get stuck in
your head for a day or two.
Thee Tee Pees - 7” (Manglor)
Ugh, okay, so first things first: the cover of this record is a naked chick and
a bunch of racist-looking figurines of American Indians. This kind of shit is
just so boring to me. Like, it’s 2014, can we please be done? I get it, you’re
un-P.C. or whatever. Yawwwwn. Putting topless chicks on record covers is also
baffling to me. Pretty much every band that does this is a bunch of dudes who
want to prove their masculinity. “Look at me, I ain’t no homo, I like titties!”
Well done, you’ve proven your point. You’ve also alienated all the straight
women who see your record cover. Now your audience is a bunch of dudes.
Way to go. Super straight, just a bunch of dudes hanging out together, no
women allowed. This band then really goes the extra mile by naming their first
song “Bitchin’ Titties.” I just find this whole thing so fucking boring! Really,
you’re into bitchin’ titties? So fascinating. So unique. You are truly special. I
have never heard of another band that likes bitchin’ titties. I mean, like, this
is one of three records I’ve reviewed in the last two issues to use the word
“titties”/”titty” in the lyrics. But the other two I liked, because they weren’t so
BORING. With this band, it’s like female nudity is the only selling point they’re
pushing. Look, I see a naked woman every time I take a shower. It’s not really
that exciting.
Too bad, because the music’s pretty decent -- trashy, it’s got some keys in
there. Nothing too mind-blowing, but I’d be amenable to this if I didn’t go into
the record already sick of this band. Please put naked dudes and less racism
on your next record. Then I will probably like it.
True Believers - Accept It