It’s been another good month for music. Max Cooper released his new EP on Gearbox and Kid Wave released an amazing no frills indie EP (these could feature in our end of year review). Speedy Wunderground released their latest 7” with the insanely catchy Dangerous When Wet by Natalie Bang Bang. Cheaters came back with a new a slightly sound. Neil Young released Storytone, sadly it wasn’t as good as his previous work, but it wasn’t the worst thing I’ve heard this year.
On the other hand Tyrannosaurus Dead released one of the best albums of the year, scratch that, of any year. It redefines the lo-fi genre. Kelly Lee Owens teamed up with Ghost Culture to release a strong debut EP. It showcased her unique vocal talents, with some clever production.
Special mention needs to be given to Aretha Franklin. She released possibly the worst cover albums I have ever heard. Everything about the album from start to finish was wrong. The way they went about the covers was wrong from the start, and her mash up’s were hilarious at best.
As we are now approaching the end of the year, if past years are anything to go by, the quality of music coming out will decrease, but there are a few releases I’m looking forward to, but more of that next month…
Shronk maters end the year in style with new EP
Can Can Heads have had a great year. Not only have they released one of the most original and exciting albums of the year, with March’s Butter Life (their first album since 1999’s debut Headcracking Lifestyles), but they have now released a five track EP King Dong Kong. What’s striking about the EP is that in five minutes, these five tracks do more than most full length releases.
King Dong Kong is full of Can Can Heads’ distinctive shronk sound. The EP opens with a cacophony guitar and trumpet. It feels like there is an error and it’s started mid song, probably it has, but it’s on purpose. This carries on for just under a minute. The EP’s first track is Square with a Little Bit Rectangle. This track has a repetitive guitar riff and drum beat. Over that has been layed, what sounds like, an accordion and someone sawing wood. It works well and the guitar and drums help to build tension, and the other instruments stop it from getting boring and irritating. Last but not least is Slow Kill Monotany. This is the heaviest track on the album. There is real aggression and vigour on display here. There are chugging riffs, hard drums, backwards vocals and general unease. The track is a slow building menacing affair that builds and builds until it’s reaches maelstrom proportions, then abruptly stops.
Despite its length, there is a lot to engage with here. This is the kind of EP you will either play a couple of times and ponder it’s meaning, or just play on loop until someone tells you to turn it off.