Reviews

Big Neck

208 Nearby LP

This is the first LP from 208, a guitar-and-drums duo from Detroit. The sound all throughout is swampy and completely blown-out, almost to the point of making the whole recording sound as one. Imagine Jet Generation slowed down and blasted through an overdriven bass amp. 208 has the key words that I am usually immediately drawn to: blues, basement, and Detroit; however, in this case it’s impossible for me to get past the mixing. It’s a “once you hear it you can’t unhear it” kind of situation. I am sure that underneath the wall of murk there is something very engaging to be had. I bet they kill it live, it’s all about context right!?!?

Bart and the Brats Bart and the Brats LP

Lo-fi and trashy garage punk from La Rochelle, France. BART AND THE BRATS take us back to the ’90s when bands played to have a good time with their friends in a cavernous, sub-street-level, dingy club. They are humorous without being too silly. For a good time, check out “Records I Used to Hate,” “Constant Nonsense,” and “A Boss is a Boss.” But skip “Predictable,” which rhymes the title with “suck my dick-table.” Yikes.

Bashford Greener Grasses LP

With a recording shamelessly EQ-ed to Nevermind, BASHFORD manages to occasionally crawl out from that early ’90s shadow on Greener Grasses…but apparently direct light is too much. This is pure pre-commercial grunge with an extra dose of hate in the vocals. They nail it, to be clear, especially when they pick up the pace a bit.

Dumb Vision Modern Things LP

I remember DUMB VISION being poppier the last time I heard them, and those poppy elements are still there, but the band also seems darker and more focused. DUMB VISION is coming from a garage punk background, and layers that with the slightest bit of psych, and they do an awesome job of building their songs into a frenzy. My favorite example of that is the closer, “Don’t Die,” which builds on a riff and is fairly repetitive, but is able to build tension and acts as a perfect ending for the LP. The whole thing is a rager from start to finish.

Facility Men It’s Fun to Disappear LP

Twelve songs of WIPERS-style punk, or you could call it hardcore garage music. It’s mostly up-tempo, with vocals that sound like they are yelling at you in particular, and guitars that lean a little too heavily on classic rock’n’roll riffs (and solos). A couple songs in and it starts to sound a little stale. It’s unfortunate that you have to get halfway through the second side for the record to be broken up by the mid-tempo, not so yell-y “Morning Business” that will have you bobbing your head in no time. More of that please.

Fatal Figures X Minus One LP

Each time I listen to this record, I like it more. The vocals seem to be flying at 100 MPH backed by sped-up, slightly rockabilly-ish, noisy-as-hell garage punk. These days of staying at home and doing nothing don’t really require this type of angst, but I’ll take it anyway. That random, out of place, high-pitched note of feedback half way through “You Hardly Ever Crawl” makes me smile each time it catches me off guard. The inclusion of an UNWOUND cover and a BEGUILED cover poses an interesting insight into the band’s philosophy, and I approve.

Gino and the Goons Live at the VFW Post 39, St. Pete, FL CD

The rootsy racket of GINO and co. is always welcomed, and here it is as captured at a random show at a VFW in 2022. The band plays hits like “I Don’t Care” and “Baby Doll,” as well as some deeper cuts, all strung together by GINO’s wholesome banter and urging of the audience to hit the dance floor. The recording is raw, but everything comes across pretty clear and it’s a solid set. Good times, rock’n’roll.

Gino and the Goons Off the Rails LP

Sweat-stained, malt-liquor-swilling deadbeat ’70s-style punk’n’roll from a gang of sunburnt Florida beach trash with a rusted-out El Camino and a tank running low on cheap gas. Coming on like Tampa’s answer to the DICTATORS, these guys never met a blues riff they couldn’t rehash into a two-chord thug stomp. They redline the tach for most of this ten-song album, but they manage to slow down and get a little romantic on the track “She Can Take It.” Probably worth seeing live—I imagine it’s a high energy good time.

Klazo ‘Demik Dementia LP

Hard to believe that a two-piece can create a racket like this…also hard to believe that this particular duo just keeps getting wilder. But they do. You’ll be muttering “you fucking hippies you need your ass kicked” under your breath for weeks after you hear the opener, but the rest of this 12” slammer is even better. The very embodiment of garage hardcore, because KLAZO is decidedly both. As much as I want to blast the shit out of ‘Demik Dementia, I want to live in the world that is the morning after this kind of mania is unleashed, because I feel like KLAZO is the equalizer. Filthy, monstrous fuckery of the highest order…like if M.O.T.O. wanted to kick your ass instead of wanting to drink your beer. That’s KLAZO. They’re gonna drink your beer too, though.

Lost Sounds Memphis Is Dead LP

Remastered reissue of LOST SOUNDS’ game-changer debut album from 2001. It’s pretty hard to overstate the impact they had on my taste— they just blew my brain apart. Having already thoroughly flipped for the REATARDS, LOST SOUNDS took that completely raw, blood-dripping punk sound and augmented it with synths to craft something far darker and often more dangerous than the teenage tantrum punk that was expected. This was entirely more musical, moodier, strange, and a lot more deviant. At this early stage, they had yet to submerge themselves in their march toward Black Wave, and you can still detect (gasp!) garage roots in their attack. See especially “Inside My Head” and their great reworking of the LOLLIPOP SHOPPE’s “You Must Be a Witch” for the proof. And it simply must be stated: the presence and power of ALICJA TROUT here can’t be ignored. Her songs here are totally revelatory—take a listen to “Memphis 99″ or “Satan Bought Me,” and bow down—truly one of the most dynamic and underrated ladies in all of punk. LOST SOUNDS didn’t make many false moves in their lifespan, but the beginning is a mighty fine place to start. If you haven’t heard this already, what the fuck could you possibly be waiting for?

McQqeen II cassette

Opening your tape with a five-minute, acid-drenched motor jam is a bold move, and yowza, does it work for Georgia’s MCQQEEN. Bands in the modern DIY scene have embraced ’90s alt for several years now (pro vs. con is a different discussion), and that’s where the brain initially goes with the opener “Mexico Will Pay,” but these kids are doing something way different—deep listening recommended. They sound like they’ve stepped out of a Blair Witch outtake, just demented and awkward dirges masquerading as infectious drug grunge. Instant mental comparisons to DASHER hold up, and the way they move from basic garage punk stomps (“Electric Lies”—1:54) to drawn-out swamp jams (“Fill My Heart”—7:36) is enviable. Controlled chaos throughout, infectious indie/alt buried under a wash of effects while a hardcore band struggles to keep quiet.

Mononegatives Apparatus Division LP

Smashing debut LP by this London, Ontario group. Twelve songs in just under a half hour—I like those numbers, those numbers bode well. And these are actual songs—Apparatus Division is modern punk done right. MONONEGATIVES posit a pretty straightforward equation: take ADVERTS-by-way-of-JAY REATARD, add a hint of CHROME, cut with some jacked-up A FRAMES, and you’re about halfway there. “Living in the Age” into “Neighbots” is as good a back-to-back as I’ve heard this year. “Trauma” is like hardcore punk TUBEWAY ARMY, but don’t assume it’s all android energy bouncing around, as MONONEGATIVES has got real rock’n’roll swagger behind the motherboard. After establishing a mid-tempo groove, “Circuits in View” erupts into a suitably swinging rave-up that hits like the speediest parts of ’77. “Career Attitude” is all pent-up energy but finds the space for a couple killer hooks, while “Today’s Adult” cracks a dozen egg-punk shells in the time it takes to lace up your boots. Apparatus Division has got a perfect balance between rock grit and synthetic pulse.

Moron’s Morons Go Pop! 7″

First off, what a fantastic band name. Second off, what a great record. This is rock’n’roll first and punk second, but it’s definitely punk. And honestly, doesn’t that describe a lot of the best punk ever? It reminds me of the PREACHER’S KIDS, a band I only discovered somewhat recently. Very garage-y, sometimes bordering on swampy (but not quite getting there), and so, so catchy. The hooks grab you and they don’t let go. From Poland, of all places.

NightFreak Nightfreak LP

Some riffy, metal-spiked punk from Chi-town. NIGHTFREAK plays good bar-burners with some guitar heroism chucked in the heap. Anyone remember KARP? Not sure if I would ever come back to this album after hearing it all, but the track “Bones” is worthy of a detour.

Pharma See EP

Four-piece Detroit four-piece with an EP that exudes a crunchy sound all around—blunt force mayhem hardcore punk and chaotic vibes. Demonic vocals and aggressive drums, creating groovy crust punk filled with guitar pick-ups generating disturbance. Suggested tracks: “End of Days” and “Relax.” Abrasive palm-mutes and raging vocals for blasting your mind, in six tracks averaging out to less than two minutes per song.

Rexxx Pure Pleasure II LP

Folks, meet your next favorite Midwest indie/power pop powerhouse: REXXX. Their Milwaukee roots reach even deeper than these kids might realize—when I dig into these grooves, I feel the ghosts of TEMPER TEMPER, CALL ME LIGHTNING, WOLFBITE, and drunken fried pickles at the Palomino between sets at Cactus Club. There’s just enough glam to push Pure Pleasure II dangerously close to cheese, but if the burning addictive power of “Dead to Me” doesn’t win you over….you might be beyond help. It’s all here: ’90s indie/basement sing-alongs (“Hit N Run,” “Fuccboi”), classic power pop (“Can’t Help It”), bare-bones Rust Belt punk hooks (“Modern Demon”), and I can even give the sultry ballad (“4 Miles From Home”) a pass because the rest of the second side is so damn good. The band self released this on a solid gold cassette last year, but a candy-red slab of wax spinning hits at 45rpm could be exactly what 2021 needs.

Richard Vain Night Jammer LP

Big, full-sounding indie jams here from this Chicago trio that includes an ex-PONY. The first track builds up from a brooding, proggy intro into a fuzzed- out krautrock jam that sets the tone for the rest of the album. Bleeding shards of guitar keen around organ-driven melodies atop a relentless drum boogie. The vocals drip with slacker ennui that falls somewhere between THEE OH SEES and DINOSAUR. The opening track and “Punks Inbred” are the standout tracks for me, but overall this is a strong, cohesive album.

Science Man Science Man II LP+flexi

I thought I’d listened to SCIENCE MAN before. But I think I was conflating NATURAL MAN BAND and some of the more overtly sci-fi denizens of the egg-punk world, like POWERPLANT or RESEARCH REACTOR CORPORATION. To be honest, that impression isn’t too far off. While SCIENCE MAN (one-man project of John Toohill from RADIATION RISKS and other Buffalo bands) may be more indebted to the NEW BOMB TURKS and less to DEVO than any of those bands, he’s still employing the services of a drum machine to make some “out there” music. This is pretty much lightning-fast garage punk laid atop an incessant, driving industrial track with some metal and prog flourishes thrown in (as I’m writing this out, I’m realizing that’s quite the odd set of genre bedfellows, but it works). Although there are nine separate tracks (the physical release also includes a flexi with an additional track), II functions more as a continuous 20-minute mix—once it gets going, it never lets up. This is all really impressive stuff, but I want to highlight this vocal performance. It’s like Greg Cartwright turned up to eleven. Definitely worth checking out.

Fire Heads / Sex Scenes split 12″

Whoa. FIRE HEADS are blisteringly fast and aggressive, yet carry an anxious melody throughout. I instantly loved their side of the split. It’s parts sloppy, meandering, and gripping. It’s also all parts a punch to the face. The singer screams along with driving beats, while symbols constantly crash around them, and quick riffs are pummeled through the guitars. At times there’s a fuzzy distortion on the vocals that makes them seem ever more out of control. Though their main appeal is their ability to manage the ever-present chaos, which slows down for brief measures just to allow a tiny bit of breathing room among the wonderful noise they’re making. The SEX SCENES side is some pretty straightforward tough guy hardcore with songs about Elder Gods. I appreciate their horror-inspired lyrics, just don’t care one way or the other for the songs.

Spells Past Our Prime LP

Driving and pounding melodic hardcore, this has a lot going for it. I find male/female harmonies that are done well kind of irresistible. There’s plenty of that on this record. I wouldn’t say that there’s anything terribly unique or groundbreaking about this record, but it’s really well done and easy to listen to. And the title of the record is obviously worth a chuckle. Be serious about what you do, but don’t take yourself too seriously.

Spells Loose Change, Vol. 2 LP

If you’ve never heard of Denver’s SPELLS before now, that makes two of us. They’ve apparently been at it since 2013, playing alongside a diverse roster of contemporaries that includes both the SPITS and FACE TO FACE, and this LP compiles material from various tapes and 7”’s that they’ve put out over the years. Calling it “vacation rock,” the band offers a sound that’s simultaneously timeless in a classic rock’n’roll sort of way, and also reminiscent of ’90s rock/punk bands like the B-MOVIE RATS at times. More “fun” than “fierce,” it’s bright, garage-y pop rock that consciously keeps a goofy little bit of dirt caked around the edges. Closing on a high note, their dual male/female vocals are put to logical good use on the last track, a reverent cover of X’s “We’re Desperate.” If that sounds like a good time to you, your official summer jams have arrived in the form of this eighteen-song collection.

Stop Worrying and Love the Bomb Fake Nature LP

I reviewed their first album Noun when it came out many moons ago, and then proceeded to wear that shit out. I still love that record. Similarly, this one comes out of the gate throwing punches, just driving right at you. It’s relentless. There’s a piercing quality in the strings, and the drums carry the energy. It’s rough. And the vocals (female and male) aren’t pretty, but they’re strong and not at all unpleasant. There’s nothing cute about this. At the same time, it seriously is catchy as hell. It’s got a poppiness to it. I love bands that can pull that off. And, as with most any record that takes it to the next level, there’s an undeniable sense of urgency here. They even slow things down a little on the last track. This is worth searching for.

Sweet J.A.P. By My Venus LP

To be honest, with this moniker, and ridiculous album cover art which falls somewhere betwixt a long lost LOVERBOY record and maybe the “least memorable emo band from the next town over’s third LP from 1997,” I did not have high hopes. It’s pretty damn killer, though. At first, this just seemed like somewhat likeable, dirty-yet-probably-hot rocker dude styled HELLACOPTERS-by-way-of-Minneapolis heroin type of bullshit, but this shit is fucking great on repeat. Innernettes research says this band broke up in 2004, and these are outtakes from their sixteen- year-old album, but it’s remarkably fresh and urgent, energetic as hell, basement bound rock’n’roll. The kind of rock’n’roll you pay attention to. It looks like I missed the boat on this band, and I am a lesser person because of that. I’m sorry I’ve let you down, Dad.

Sweet Knives I Don’t Wanna Die 2×7″

Very much in my wheelhouse, this un: a double-dose of SWEET KNIVES (Rich and Alicja—LOST SOUNDS brain-trust, thrusting anew) housed in a gatefold satchel adorned with TIMMY VULGAR art-stuffs. Do we even need to fuckin’ play it? It’s a guaranteed stunner. The title track is an extraordinary earworm, a bit friendlier than their former savagery, but epic and unshakeable in that familiar Black Wave way. The accompanying tunes all follow suit, with “Some People” being far and away the most ominous of the lot. Nice slice times two!

Teen Cobra Buzzkill LP

This is right up my alley. It’s a husband-and-wife rock’n’roll duo on a budget, with crunchy guitars and primal drums. This formula can become one-note very quickly, but they’re able to switch up the pace very nicely, like the slow stomp of the intro to “Closer (Satan’s Watching)” and the upbeat chorus of “I Don’t Wanna Walk Alone.” I love the female backing vocals, they almost remind me of BEAT HAPPENING and they add a lot to the music. I don’t think the LP would be what it is without them, because it would be harder to ignore the fact that the singer sounds a lot like KING KHAN. They don’t reinvent the wheel, but this group is very good at taking the limited skills they have musically and just playing with as much energy as possible. Good LP, but I bet they sound even better live.

The Battlebeats You Don’t Know Me EP

This EP is a crusher, there isn’t anything that doesn’t work for me on this. Super catchy, hard and straightforward garage. Zero filler. You Don’t Know Me brings a lot of the RIP OFFS, the GORIES, and the DEVIL DOGS to mind. BATTLEBEATS are a three-piece band who hail from the verdant mountain city of Bandung, West Java. They have been at it for a seemingly brief period, which makes listening to this punky volcanic blast that much more powerful and fun. May they continue to destroy.

The Blowtops Zero Dance Singles 1998–2009 2xLP

The BLOWTOPS spew forth 27 blasts of industrial-tinged psychobilly, with vocals that sound just like an ELVIS from hell wrestling a microphone away from Lux Interior’s mummified corpse. Demented and fuzzed to oblivian (sic), there is indeed zero here to dance to. I imagine this is what PUSSY GALORE would’ve been like if Jon Spencer was on an actual homicidal rampage during the recording of Dial “M” for Motherfucker—I recently learned that the original title for that album (mysteriously rejected by Caroline Records) was Make Them All Eat Shit Slowly, which I’m convinced is what the BLOWTOPS desire for their listeners. Courtesy of Big Neck Records, Zero Dance compiles all of the band’s singles from an eleven-year span between 1998 and 2009, which is fitting considering that Big Neck’s inaugural release was the BLOWTOPS’ Voodoo Alley EP. The band’s trajectory goes from gnarly and blown-out to more gnarly and more blown-out, trading melody for mechanical noise along the way. Gross, disturbing, and quite possibly brilliant.

The Hamiltones In Space LP

For their second LP, these Buffalo punks boldly go where…actually, quite a few instrumental rock acts have gone before. The HAMILTONES, fresh off a stint playing for a convention of draculas a couple hundred years back, are joining the SPOTNICKS, the VENTURES, and MAN OR ASTRO-MAN? (not to mention countless lamer acts) out in space. So, you should know the deal: surf guitars plus bleeps and bloops, scratchy mid-century NASA samples, and maybe even a theremin. They’re by no means reinventing the Saturn V here, but I’ll be damned if this record isn’t just great. The guitar melodies are super compelling, and they’re often accompanied by soaring, lyric-less vocals (think the theme from Star Trek: The Original Series) or John Carpenter synths, giving the record more of a movie score vibe. And like their previous release, this thing is full of cool artwork and inserts adding more dumb fun band lore—the physical release even comes with an extra 7” by some mystery band that goes by MOON PEOPLE. Real cool shit!

The Shirks Talk to Action: Singles and Unreleased 2008–2013 LP

The SHIRKS played ’90s-style, good-time rock’n’roll a little late in the game, but did it flawlessly. They always reminded me of the PROBLEMATICS, but also the RADIO REELERS, DEVIL DOGS, and maybe Sonoma bands like the BODIES or MODERN ACTION. Actually, I didn’t realize they put out so much material until looking at their Discogs page. Here you get all their classic EPs as well as some unreleased gems, possibly recorded for an LP that never saw the light of day? That’s because like all greats of this genre, they crashed and burned. DC never struck me as a mecca for this kinda music, but here’s twenty prime cuts of proof here. My only complaint is it’s a little long, as every song is almost the same tempo and structure, but I say that with highest compliments, as there’s only one way to do this, so why fuck it up? I’d pick favorites but every song burns. They do a great KIDS cover.

The Stools Live at Outer Limits 12-28-19 LP

My feeling on live records is it was probably better if you were there. The STOOLS are a rockin’, rollicking, fun-time band. This is better than your average live recording. The music is clear and has an energetic presence. The STOOLS play bluesy garage rock. They give it their all and the audience screams with delight. It sounds like it was a great time.

The Wilful Boys World Ward Word Sword LP

The WILFUL BOYS keep things loud, but also like to bring out their songs’ different qualities, be they aggro or poppy, lurching or raging. The vocals are a talky drone just as often as a hardcore snarl. My favorite songs restrain the ‘core just a little and dash in some pop or discordant noise. Sometimes it’s nice to get your angst sideways.

Toeheads A Cruel Winner’s World LP

Garage punk played straight is a hard thing to make interesting these days. Emphasize too much of the garage side of things, and you end up sounding like you’re doing SONICS cosplay. Tip too far in the other direction, and now you’re some sort of Rip Off Records tribute act. That’s not to say you can’t do that kind of stuff well or it can’t be fun—it’s just that those types of acts generally have a tougher time standing out, especially with no shortage of contemporary projects vying for your attention. TOEHEADS, an act out of Detroit with a couple of tapes and split 12” under their belt, manage to hit the sweet spot on this debut LP by playing straightforward garage rock infused with enough vitality that it can’t help but be punk. The twelve tracks on here—ten originals and two classic covers—are loud, raw, sloppy, tuneful, and just a good-ass time. It reminds me of what I’ve loved about the GORIES, OBLIVIANS, NEW BOMB TURKS, or CHEATER SLICKS. Obviously, this isn’t on the same level as those classics—their songwriting isn’t quite there yet—but it’s close enough that it certainly warrants your attention. Pick it up!

Trash Knife Weird Daze LP

With their first release (the Trash Life EP) having come out in 2016, and a slew of other EPs and singles along the way, this marks the first LP for Philadelphia’s undeniably crusty TRASH KNIFE. Only a few tracks wander over the two-minute mark, so it’s over with while you’re still reeling from the fury-meets-fun, stomp-and-crash garage soundscape. Lauren’s vocals often harmonize with guitar leads, kind of a thread throughout, only to surprise you by breaking off into snotty diatribes, spat and shouted. They kind of have a FDR skatepark aesthetic, and I’m all about it. This recording was done live in their practice space, which speaks to the tightness of the band, and works perfectly to give the production that rough edge this music deserves. Do enjoy these Weird Daze.

Trenchkoat Apocalypse Hits LP

London/Freiburg punks TRENCHKOAT’s latest LP from Kentucky’s Big Neck Records. Eclectic mix of twelve tracks ranging from POISON IDEA-like ’80s hardcore punk to something RIKK AGNEW would have written with his mid-tempo songs. At times, there is some dark RUDIMENTARY PENI-ness with rather screechy, almost black-metal-sounding vocals that unfortunately sit pretty high in the mix. Still, a hard-to-describe, unique-sounding release with a cool approach. Looking forward to more future output from this band (maybe even a remixed/remastered version of this release).

Werewolf Jones Rot Away LP

Grimy garage punk slithering out of Detroit’s streets. WEREWOLF JONES deliver thirteen tracks of bad attitude with fast punk that interestingly uses a surf-style drum beat, all double snare hits and rolls. I imagine the drummer holds his sticks sideways like a jazz player, but my search for live pics didn’t confirm it. It totally works though, and gives the songs a rollicking propulsion that makes them seem even faster than they are. On a few tracks, the band veers into sludgy noise rock territory, sounding like TONGUE PARTY or WHORES. “Bigmouth,” for instance, has a plodding caveman riff that works like a shovel breaking through rocks. Among the faster garage-influenced songs, “Lock the Door” reminds me of ZEKE with a hilarious non-solo where the bass and drums play and the lead guitar just emits a distortion feedback tone. It’s this kind of tongue-in-cheek casualness that makes this such a fun, albeit heavy, record. Similarly, “Eating Life Shitting Skulls” is over four minutes of that surf beat with shrieked vocals and clean, reverbed surf licks played at half-speed. It’s weird and wonderful. Loud, slimy, with speed and humor to spare, this is a great punk record.

Werewolf Jones Premium LP

We always hear that Detroit bands incorporate the sounds of their surroundings into their music. If that is true, WEREWOLF JONES must be living next to a construction site where a piledriver is operating 24-7. The vocals react to that nuisance by spitting the lyrics at it. The music is repetitive and dirgelike. It gets you in a mood.

Football / White Savage Split LP

A double dose of ol’ Jimmy Hollywood, noted heavy from classic bands like the TYRADES and BASEBALL FURIES, most recently of GALLERY NIGHT. WHITE SAVAGE and FOOTBALL both land somewhere in the middle of all this, though the quality of each is uniformly quite high. While the bands have their own distinctions— FOOTBALL prefers direct thud, WHITE SAVAGE is more spastic and exploratory—there’s this simplistic and hard-charging drive that runs through all of Hollywood’s material: a primal and powerful use of punk energy that’s always been highly impressive to these ears. It can be heard throughout this split (which functions far better than it has any real right to!): artful and manic in equal measure, always careening, always inspiring. Great stuff.

Wood Chickens Well Done LP

I seem to recall the last record I reviewed from these goofy chaps as being a hokey, countryfied, fake-ass punk hoedown that I surprisingly totally loved the absolute shit out of. Although it seems like they have hit the acid pretty hard since we last met, I still love it, even though I realize that it makes no sense that I do. Opening your record with an instrumental surf number, throwing around lazer noises all willynilly, monosyllabic wailing, with album art that looks like a modern take on Rip Off Press (but from space). Cowboy-hat-wearing, reverb-drenched country punk is something that I would absolutely adore to make fun of, but just like their earlier output, this is surprisingly fun as fucking hell. This comparison might only affect about twenty five readers, and they would most certainly all be as old and as Southern as I am, but try and imagine a modern take on early DASH RIP ROCK, but punk enough that you wouldn’t be ashamed of it, or have to explain your adoration of it to your kids. Sorry, but this is good.

Wristwatch II LP

Following up their 2021 debut, Wisconsin’s WRISTWATCH continues mining the vault of melodic, synth-heavy garage rock. The songs oscillate between straightforward gritty numbers like the opening track “Rules,” and more saccharine indie-inspired tunes such as “Sweet Tooth.” The unavoidable comparison is to the output of Jay Lindsey, particularly Lindsey’s contributions in LOST SOUNDS and as JAY REATARD. It’s so blatant that there are even “once removed” correlations at play. For example, the vocals on many of the songs don’t just sound like JAY REATARD—they sound like JAY REATARD trying to sound like T.V. Smith. The same could be said for the instances in which WRISTWATCH evokes SCREAMERS…they’re actually more evocative of when LOST SOUNDS would ape SCREAMERS. Not to discredit the deftness of songwriting exhibited by the two members of this band, Bobby Hussy and Ty Spatz. There’s clearly a lot of talent and creativity in the mix, even a glimmer of erudition to be found. I’m just left thinking there may be untapped ingenuity lurking just beyond the confines of pastiche.