The Men- Immaculada LP + Live on WFMU

The Men
Immaculada  LP
This is an interesting look at where internet darlings The Men started their rocket fast career trajectory from primary Brooklyn noise rock to Pitchfork arena rock starlets. Immaculada is an extremely bristling, unkempt noisy precursor to the two albums that have followed it up. There are definitely parts in this record that set the blueprint for the spastic, schizophrenic styles that have made The Men so popular in some circles. The vocals sit perfectly resting behind the post-punk sounds that could be likened to some Sonic Youth, but spattered throughout some pretty undeniably punk rock hooks.

 I for one prefer this heavier, gloomy sound to the direction taken on their newest record, and what I am only assuming they will bringing to Matador on the single to be released in the coming months, but I for one prefer this heavier, gloomy sound to the direction taken on their newest record, and what I am only assuming they will bringing to Matador on the single to be released in the coming months, but C'est la vie. This is a wonderful record that shows their menacing talent and brooding ideas simmering right beneath the surface, seemingly waiting to explode as it did on the follow-up, "Leave Home."

This will be receiving a reissue on Deranged records coming up soon, and I would highly recommend snagging a copy.

Liquor Store- Yeah Buddy

Liquor Store- Yeah Buddy

Sick and tired of New York, Sarim Al-Rawi (former drummer of Titus Andronicus and livefastdie, the former of which he switched to guitar midway through the band) is in charge of what may easily be the best record to come out of sub urban New York (New Jersey) in a long time. At one point in Liquor Stores industrious career, they were playing with six or seven guitarists, mainly because none of them were particulary capable of playing buzzsaw rock and roll quite sharp enough to hold their own. By this point, they have toned it down to a reasonable three to four guitarists, as far as I can tell. Thankfully, after literally years in the making and some highly questionable cover art, we finally have this New Jersey masterpiece. 

The lyrics and song titles are over the top in the best way possible. It's a record that screams influence ranging from busting donuts in the parking lot of a church while double fisting some Budweiser's, to the obligatory 5 AM pizza run. This is a suburb rock and roll record that just fucking slays. You can still hear the hangover complete with the coke drip in everyone of their infectious NYC Garage songs. The key is the cleverly layered vocals that literally fly all over the place. The influences range from New York Dolls,  Motley Crue, fuzzed out Bay Area psych and everything in between. 

If Liquor store were throwing a house party tonight, my rules would all go out the window. I think the vinyl is sold out, but if there are still any copies left of this double vinyl, you can get them through Almost Ready Records...

Link after the jump...

Simla Beat 70/71

Simla Beat 70/71

Well here we go for obscurity in garage rock. Simla, an Indian cigarette company, sponsored this battle of the bands competition in 1970 and 1971. It was called the "All-India Simla Beat Contest," and the winners were given a chance to head to Calcutta to cut a track or two onto a 45. It seems as though the early Indian fuzz scene was put in a time capsule like so many other isolated music scenes of the late sixties and early seventies (See: compilations about the Uraguayan Invasion for another great scene). Check out this interesting liner insert/advertisement from one of the Simla 45's.

Once you get into the music though, is when India really shines. Simla reeks of the dirt and fuzziness of physical India. This record is has more blues and southern rock influence than some of the bands playing at the same time. I love how these bands mix traditional Indian music and style with their more western idols sound. A perfect example of this to me is the band Innerlite on this compilation. Their first song uses confidingly Indian melody and strumming, with garage rock drums and beat structure. You are also treated on this record to not one but two absolutely stunning Creedance Clearwater Revival covers. The gravelly growl on the X'Lents cover of "Born on the Bayou" provoked a bit of a chuckle at first from me, but after a few listens I absolutely love it. This record is full of blues damaged, acid taking, schizophrenic rock and roll. Lots of covers, most of which are about four or five years prior to 1970, but what a perfect example of the slowed down globalization of music prior to the internet. Twenty-two stacked tracks of third-world grade, American influenced, delta deranged Garage rock. A must for anyone. India needs more Rock and Roll!

Click after the jump for a link...