When a package showed up from Sheboygan, WI, I thought it might be some Gus Polinski & The Kenosha Kickers reissues. I was wrong. So wrong.
This ain't news anyone but there's a lot of irony in music these days. Not so with Garbage Man. They named their band Garbage Man and they sound like a band named Garbage Man. Tobacco Bong Rips is a double-A-side cassette-turned-sludge barge zippin' down the Mississippi. The guitar player's named Nick Duude, the bass player's named Roach and the drummer's named Jeff, so you know you're in the right place.
This thing is heavy on the bass frequencies, at least on my system. The guitar and bass are nearly indistinguishable creating a thick fuzzy morass on "Hillbilly Kick Squad" punctuated by the pop of the snare drum and Duude trying to shout above the racket. The 49 second "Dinners" and "Engine" drift more into hardcore territory while "Sea Shanty for Planet Hopping" delves into some straight up metal riffing. Somewhat ironically, my favorite track is the "bonus" entitled "Belinda
Would Make a Good Car Aisle" which is less Melvins, more 90s Touch &
The bottom line is simple: Garbage Man lives to pummel. There aren't many hooks here, so only listen if you want to get thumped. Don't worry, the bloody nose is normal.
There is one big no-no here though, dudes you gotta get your spine right side-up next time around.
Nab the tape here or if you prefer your sludge served on a platter you can pre-order Tobacco Bong Rips on a blue and red 7" at the same link. But no "Belinda" on that one so choose wisely.
While we're on the subject of band names,
"Slush"instantly evokes the vibe here sounding like some short-lived
slumrock outfit that split a 7" on AmRep in '93 and disappeared. That
sort of gets you in the general range, but Slush, to their credit, throw a staggering number of curveballs making it difficult to actually identify what the hell they are.
The 80 second blast "Your Place" kicks things off in style, riding a relentless riff that sounds like it's emanating from a battery powered amp. Slush quickly shift gears to a heavily 'verbed organ-driven surf ditty called "Predator" topped off with plenty of ride cymbal. The singer is barely a blur in the midst of everything. Didn't see that one coming.
Much like their brothers in Garbage, Slush shows a hardcore side on "H.O.L.E."--but not content to be merely conventional, I'm pretty sure they've stuck a trumpet in the mix somewhere. The title track makes be think Slush might just be fucking with me with a long-ass intro chugging along on a cello riff and some cackling right out of the 60s spooky surf genre. If the Bomboras could get a major label record deal, why can't these guys? I didn't even mention that the eventual frenetic riot marking the middle of the track ultimately breaks up into a weird lounge act.
"Losing" is maybe even the most unexpected
track (are those 7th chords?) with a surprising bit of Strokes-vibes (circa the one good album they made) with a
reasonably compact space-prog conclusion. I don't know what's going on but I'm feelin' it.
"Victim" gets your head throbbing again malformed into a degenerative half-breed of "Zoo Music Girl" and Faith No More-style jitter metal. Sweet. They wrap Side A with a campfire singalong "In the Junkyard" because of course they would.
Opening the second side, "To Mind or Care" dips back into those space-prog vibes lead by echoing piano strikes and militant snare rolls hitting the post-rock power ballad target with ease. The average song length just about doubles on the flip so Side B brings different, more expansive and/or dirge-like vibes than the spunky, agitated Side A. The final track is an unholy collision of 50's doo-wop ballad and arena metal rave up, and, yeah, it's about as strange as that sounds.
All in all, this is a weird weird and warmly welcome dose of mad rock & roll science.
Slurp some Slushy Frog Water here.