How is one woman responsible for such garage swagger? Simple:
Kick Drum: Right Foot
Hi Hat / Tambourine: Left Foot
Guitar: Left and Right Arms
Or not so simple, as it were, but The Mallard has forgone the easy route to be a one-woman lo-fi spectacular. And considering she’s responsible for some of my favorite songs of 2010, most notably the jangly “Ex” and “Floating,” which is equal parts lead and lace, taking the road less traveled has served her well. Everything The Mallard makes sounds as if it came from a long lost and cherished cassette that you inherited from your cool Aunt. The one who let you take drags off her cigarette as she told you about her wild child days, as long as you promised not to tell your Dad she still smoked. It sounds too good and too roughly ragged to be new. But it is, brand new.
You can see this one woman show in action this Sunday for free at The Bourbon Bar at Columbia City Theater. The Mallard flies at 9pm, don’t miss her.
This video makes me think of the Beastie Boys video for “What You Want?” but with less stoners jumping around and more garage-loving hipsters churning out a truly beautiful little pop gem that wonks and wanks with the best of ‘em. I love the way the guitars are filtered through seriously busted bits of amplitude and all of the highs and lows crackle, but not in that “I wanted to make this sound shitty” way more so in that “our amps are busted so this is house it sounds” way.
I raised the mourning flag for garage months ago, but I’m continually surprised when I stumble across another lo-fi band that captures my ear.
I’m so exhausted at this very moment I’m struggling to keep my eyes open, let alone type anything coherent. Thus the sort of spiraling mixed-messages of Nice Face almost seem a salve. There’s a hint of garage or experimental noise lurking in the corners of this song, all leathered up and in need of a shower. Hard hittin’ kick drums, harshly strung electro-gee-tars indicate to the avid listener, that yes, perhaps this is just another thrashy garage track. But when the shuffling drum-machine skitters in to the room, it’s psych-electronica time. We’re looking in to the spinning red eyes of a rock robot gone made, steam bustling from it’s ears, heavy pincers snapping at the air.
You want to turn and run. You want to turn and hug. Just move your feet everybody.
Reading my Daily Choices over the last six or seven months you may have noticed that my attention has turned away from pop and more towards garage. You may have read the many times I’ve actually mentioned this change, apologized for my lack of range, and berated those who deemed not to continue to read my, sometimes, daily posts. But things have changed again, I’ve moved forward, I’ve discovered a new love, a new obsession. It’s vastly different from garage, well, hell, it’s Puerto Rican garage.
Yup, all the grungy, spit-in-your-face, urine-soaked concrete blasts of the garage I know and love, but filtered through the Puerto Rican experience. And spoken in Spanish. Davila 666 is the gateway for me, the dirty portal in which I’m diving through on my way to the river of Puerto Rican garage.
We have been told time and time again, for months for that matter–to not miss this show. And with such a kick ass poster associated with the show, we simply couldn’t dream of missing it. Get your dose of dirty Detroit garage rock and Seattle’s very own Deroit-lovers Thee Emergency this Saturday Friday at Chop Suey. (We know it says the 15th on the kick ass poster–however the bands and the venue assure us the show is Friday November 14th.)