Saturday, August 29, 2009

Terminal GAGA

Here are some reviews of Going Gaga releases from TERMINAL BOREDOM.

Mother's Children "Dance To The Rock'n'Roll Band" 7"
True single from this Ottawa glam-pop outfit. I'm torn as to whether Mother's Children is a cool name or not. I think I like it. "Dance to the..." is definitely a choice A-Side. Total handclap glam with some good and sticky guitar hooks, simple yet emotive lyrics, bell-bottom drumming, a little bit of platform shoe swagger. A song that's probably been written a million times, but they still do it quite a bit of justice. As good as some Apache material, but sans the doobage. Sadly, they flop on the B-Side, which just sounds like bad (Canadian) power-pop. Shame. If they could've pulled a killer flipside off I was ready to drop a Thundermug reference on them, but I'm putting that one back in the holster. Shit! Still, I can't deny that A-Side is really choice.(RK)
(Going Gaga Records //

Suppositories “Moments of Square Violence” LP
Minimal guitar-driven punk dirges that trot along the straight ‘n narrow, most songs with a single central note or slight riff that grooves through the song, bass and rhetorically constipated prose extrapolating in what comes off sounding like a band that sends you to the bar or out for a smoke live. Not much songmanship to speak of. “Wires” is an appealing cut, with its country-leaning harmonization and galloping train-kept-a-rollin’ drums. Moonshine and speed. Girls and cars. Pervish post-hardcore done by guys who drink and have pictures of Poison Ivy in their rooms. “Pink Vee” wins the creepy lyrics award with mention of sucking some lucky lady’s “pink jellybean,” right before a fabulous Casio tangent. (BG)
(Going Gaga Records //

The White Wires "Girly Girly Girly" LP
When wading through innumerable layers of artificial reverb and mysterious rattling white noise whilst giving whoever’s manning the mouse the benefit of the doubt in their inability to give a simple riff precedence over that coveted perfect ambiance in the stratum of bedroom-produced no-budget cheetos-on-the-geetar-strings ____-gaze (you fill in the blank, I don’t keep track) becomes as disgustingly commonplace as it has, it’s great that there’s some bands stepping back and laughing just like any sensible human would if not for the gradual maturation of said phenomenon. Is that one-man synthtacular insect-vox shit you’re listening to really punk? Eh? I have my doubts. White Wires ain’t exactly my ideal sort of band, but it sounds like they’re by far the torch-bearers of flipping that masturbating-to-ambiguity rationale on its head while succeeding at it, and for that I salute them. Some of their song titles (“Girly Girly Girly,” “Yeah Yeah Yeah Yeah Yeah,” “Ha Ha Holiday”) may indicate their priorities in blatantly pop-infused ‘60s-garage-meets-‘90s-budget-rock, and their plastic shades n’ Converses definitely don’t dig ‘em out of that ditch, but God damn do they know how to write a catchy song. And they don’t bog it down with anything unnecessary, which I think is the key. Completely pop-infused numbers that have this great jangle to them – just the right amount of bass, treble and assertive drumming in the production, birthing some of the most infectious head waggers of recent memory. I guess I’m patting their backs a tad harder than I should be, but it’s fucking refreshing to see such reverence for songwriting in an age of aura being atop the pedestal. Good songs, good sound, good record. (BG)
(Going Gaga Records //

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