Whip It On
label: Crunchy Frog
our score: 4.0 out of 5.0
Rock: Accept It Before It Destroys You
Garage rock is so back that we might as well call
it New Wave. I mean, come on; what were the first two B-52's albums
except dressed-up 60s-punk worship? This is the direct line, for
those of you keeping score: blues boogie-woogie to bluegrass to
rockabilly to Brit Invasion to garage rock to glam to Motorhead
to punk to new wave to post-punk to grunge to indie pop to post-rock
to, well, the Raveonettes, and all those other bands like them.
Actually, a lot of this stuff is oozing out of Scandinavia these
days—did they just discover this stuff? Did the first two
Troggs records finally make it up to the Tower Records at the
North Pole? What's up with that?
is, this is a fine example of it: eight tracks of blistering crunch
packed into 21 minutes and 41 seconds. The Raveonettes, who seem
to be a guy called Sune Rose Wagner and a woman called Sharin
Foo, have studied their Nuggets compilation and their
X albums and are probably buddies with the Hives and Saraha Hotnights,
but that doesn't mean they're not making some compelling music
of their own. I'm not sure it's "original" per se, or
that they deserve the reputation they're getting in some parts
as the best band in the world right now (that would be Café
Tacuba, probably, or maybe the Klezmatics), but this EP kicks
so much ass it might as well be Dixon in "Alias."
you don't mess with Dixon.
track is the first single, "Attack of the Ghost Riders,"
and it manages dopeness, despite not really actually being a song
or anything. There are verses, all whisper/sung in that ultra-echoey
way they have, but no real chorus where there should be one, and
about six bridges. And after listening to it A LOT, I still don't
know what's happening in this song. But it's all justified when
they go, "It goes something like this," and then start
slamming some guitars in the most destructive antisocial way possible.
And later, when they do it again, you'll just start grinning and
not stop for days or even weeks.
This is the effect of most of these songs. "Do
You Believe Her" sports some Rawk Music 101 lyrics to go
with its Husker Du chug: "She says some things you never
want to hear / She says some things that make you sick / But do
you believe her / When she says she loves you? / Do you believe
her? / Is this for real?" The police sirens on "Cops
on Our Tail" are just as crucial as the sighed repetitions
of "Fuck you" that bring the song to a close. And there's
no way to beat "Beat City" as an album closer, with
its insane chorus: "Wanna die in Beat City / Run run run
/ Wanna hang with girls and shoot my gun / Wanna catch the rays
of the sun / Wanna drink and drive and have some fun". I
mean, come on, you KNOW that kicks ass, in a very anti-PC sort
Okay, so too many songs have the same tempo and
use the same vocal timbre, and so "Veronica Fever" squanders
a great name on some portentious atmospherics that don't quite
pay off. So what? Big deal? This is rock and roll, baby, and if
you can't stand the heat then go listen to something "worthy"
and boring. This is imperfect unboring fun.
liked Whip It On...
Attack Of the Ghost Riders
2. Veronica Fever
3. Do You Believe Her
5. Cops on Our Tail
6. My Tornado
7. Bowels of the Beast
8. Beat City