Despite the Sci-fi, almost Yes like, album cover created by Frank Franzetta, Lecherous Gaze are a punk band from Oakland, California. Lecherous Gaze have been around since 2009 and have an E.P. and a couple of albums under their belt, with One Fifteen (TeePee) being their third. Continue reading
Ye Gods, it’s The Strokes vs. The Ramones!
Let’s get something straight here – I do know the difference between a lo-fi production, and an inferior one. The latter is riddled with poor judgement and imbalance, and is a shocking crime deserving of heavier punishment than docked points in a review. So there. Thankfully there’s no such (lack of) quality afflicting the Gone With The Night EP (self-released) from Los Angeles trio of cousins Wake Up Lucid; just a delightfully warm fuzz leaving a layer of dust atop a seriously sleazy, often laconic sound. Riffs hit perfect time with hi-hats in the drifty yet energised Punk-Blues ballad ‘Let It Roll’, the descent of the lead riff producing a serious, irresistible cab hum.
Opener ‘White Collar Love’ is the definitive embodiment of the initial comparison: a twisty, laid-back, wasted Indie, drenched in that delicious fuzz, Ryan Baca‘s voice blending the drawl of Joey Ramone with Julian Casablancas‘ aural swagger and sexy grit; whilst lead flexings evoke Jet‘s similarly snot-nosed yet emotive irreverence. ‘Don’t Fear’, paradoxically, is a dreamy ballad, its attitude encased in the lazy yet plaintive melodic vocal; the twangy, sparing lead riff smacking beautifully of a Country Americana also reflected in the Acoustic Folk-driven, closing title track. It’s completely at odds with the waspish fizz, pummelling rhythms and anguished roars of the rolling, driving ‘I Want’ and it is this diversity, whilst still retaining the core sound of filthy old Blues Rock, that really gives these boys an added spark.
The deliberate, pensive ‘Get Fucked’, laden with psychedelic effects, lights up with wrought leadplay and a fiery, bitter vocal that ain’t a million miles away from Cobain country. The increasingly vital bassline and riff completes the most radio-friendly (despite the title) yet still credible rock sound I’ve heard for some time, and in the case of these naughty chaps that’s a good thing.