Audacity (Suicide Squeeze/Burger Records)
After nine years of existence, Fullerton quartet, Audacity, has left
the garage of their humble 9th grade beginning, but the garage hasn't
left the spirit of their music. With two LPs, a slew of EPs, and no
shortage of touring under their belts, Audacity are hardly a
wet-behind-the-ears rock band. Their razor-sharp musicianship and
high-energy performances were solid enough to earn them the privilege
of serving as the backing band for both King Tuff and Todd Congelliere
(Toys That Kill, Underground Railroad to Candyland).
Audacity's latest full-length Butter Knife (out October 29) via
Suicide Squeeze is still, at its core, a garage rock record. The
economic instrumentation, grit-tinged guitar jangle, pogo-prompting
tempos, and sing-along choruses can all be traced back to the seminal
Nuggets collections. But ultimately, Butter Knife doesn't sound so
much like an homage to The Sonics as it sounds like a young band
striving to make the most ebullient and jubilant noise possible. The
new single, "Hole In The Sky" showcases the band's gift for the
on-the-dime changes, sophisticated melodies, and clever instrumental
The Rich Hands (Fountain/Burger Records)
The Rich Hands “Out Of My Head” LP Out May 6, 2014 on Fountain Records and Burger Records (Tape).
Out of My Head, the new album from San Antonio rock ‘n’ rollers The Rich Hands breaks out of the gate with a punchy, pumped-up and fuzzed-out riff that immediately gets the party in full gear. Taking cues from classic rock, garage punk, and even a little surf pop–always amped to the max and and extra crunchy–the tight rhythms, infectious hooks and supercharged anthems belted out throughout the dozen loud and proud tracks of Out of My Head, out May 6 via Fountain Records, with a cassette release by Burger Records, marks a huge stomp forward for the young trio.
Growing up listening to ’60s and ’70s rock ‘n’ roll and surrounded by a serious scene in their hometown, singer and guitarist Cody Mauser, bassist Matt Gonzalex and drummer Nick Ivarra all found common ground in the camaraderie of good old rock and roll. Jamming together over those formidable years of high school, Ivarra describes the groups desire to, “bring back that raw, simple feeling of having a good time without the melodrama.” Developing that sound by feeding off each other’s addictive energy, The Rich Hands succeed in every aspect of that early creed, and Out of My Head is the unequivocal expression of pure joy.
The last few years have been a whirlwind for the band, recording and releasing a slew of singles leading up to last year’s Dreamers LP and touring across the country on four separate tours just in 2013 alone. Throughout it all, Mauser is a constant song-writing machine, with hardly a break between albums. The songs that make up Out of my Head are his best yet; fast, fun and second to none. The band’s first single off their new album, “Teenager,” ranks as one of the most quintessential tracks The Rich Hands have ever committed to tape. Ivarra calls it a “catchy, corny, bratty summery anthem. It just popped out at us, when you play a song once and it’s just done, it clicks.” This assertion could just as easily describe the album in whole; it just clicks.
There’s a lot of new, eclectic elements at play on the new LP as well, recorded in a cold Detroit week at High Bias Studios, and produced by Chris Koltay (Atlas Sound, Xiu Xiu, Tyvek). The band took full advantage of their new hi-fi surroundings, belting out the album on a variety of amps and axes they never previously could get their hands on. The result was a “huge change of pace,” according to Ivarra. “We got crazy tones and a better sound. I don’t think we’ll ever go back.” Out of My Head also features the group’s first foray into double tracking, Nashville tuning, and even organs and synths, lending just a hint of Southern bravado on tracks like the wholly surprising Dylan-inspired “No Harm Blues.” Buoyed by the quality of the new record, and backed by two supportive labels, The Rich Hands have a wide-open road ahead, and they’re determined to enjoy every last step they take.
Doors at 9