Bringing together four unreleased tunes by The Rizzos and Top Nachos, this split release from King Pizza Records is a fine DIY recording. Split releases are a good way of introducing people to new bands and for Top Nachos the opportunity to appear alongside The Rizzos is definitely a chance for the Queens-based, self-proclaimed “silly-core” band to build upon their following. For extant fans of The Rizzos, of course, a purchase of this release will be a no-brainer. It has something a bittersweet feel, too, presenting both an end and a beginning: the Rizzos’ tracks are the last to feature drummer and founding member Bettina Warshaw while, for most listeners, the release will provide a first time exposure to the rather juvenile world of Top Nachos and their occasional cardboard headgear, fascination with junk food and unfashionable facial hair.
Following a couple of DIY recordings, UK hardcore/noise punk duo Get The Fuck Outta Dodge turned their hand to the covers album. ‘These Songs Aren’t Ours’ brought an equal mix of punky chaos and fun when James (bass/shouting) and Ren (drums/more shouting) hammered their way through the expected (tunes by Black Flag, Misfits and Rollins Band), to the inspired (a fuzz heavy version of The Cure’s ‘Screw’) to the joyous and bizarre (hardcore reworkings of tunes by the oft forgotten Whale and 80s pop stars Fuzzbox). It showed why a covers album need not be lazy or uninspired. After what felt like about thirty six hours, the never resting duo returned with a new EP, proving their minimalist hardcore had a lot more to give, before ending the year with another full-length. At the point you’d expect their drums/bass/shouting approach to be wearing thin, ‘Buzzkill’ actually presented GTFOD at their most visceral on one of the best releases of 2020.
Four months later, the duo released a second onslaught of cover tunes, ‘These Songs Still Aren’t Ours’, which very much follows the same pattern as their first covers release. Nothing is off limits; everything is subjected to a barrage of distortion, and as before, their choice of material is both classic and off-piste. With twenty two tracks filling a strictly limited cassette, it really gives fans a lot to enjoy.
Gunslingers were a band who just instinctively knew how to make a ferocious noise. From their inception through to their split in 2012, the band constantly pushed the boundaries of garage rock, garage punk and no wave/rock in the name of their art.
Okay. On the surface, this looks absolutely terrible. The Sex Organs are a duo who claim to be from outer space and dress up as…sex organs. They play squarely into the hands of novelty and spend most of their time being vulgar. There are at least three dozen reasons why their schtick just shouldn’t work. However, looking beyond beneath the crassness, buried somewhere beneath the shock value, you’ll find a raw as hell garage rock band that are actually worth listening to.
By crediting themselves as “garage pop from the desert”, French Girls instantly disarm the listener by suggesting there will be an obvious pop (or power pop) element to their sound. On this self-titled EP from 2021, any allusions to making obvious pop sounds are fleeting and most sugary melodies are quickly kicked to the kerb with a hefty amount of distortion. Although you will find an occasional nod to Phil Spector girl groups, such moments are delivered with a massive sneer. This EP is raw, attitude filled and sometimes ugly. From a garage punk perspective, it’s also brilliant.