Bongo Boy Records Presents: Out of the Garage Vol. 4

The New Bardots barrel through with the brash ramshackle rhythms of “Great Balls of Fire”. Going for a sly approach, the New Bardots slow things down into a fantastic churn, one that possesses a force of nature quality to it. Guitar chug along while everything simply shines.

“My Best Friend Died (And Left Me His Guitar)” shows off Wood Shampoo’s impressive chops. The way they rush through so much space feels outright invigorating. Layer upon layer of sound comes into the mix, giving it an incredible edge.

Late 60s psychedelic rock informs the Most’s “Special Girl”. Sunlit to the extreme there is a dazed, hazy quality to the piece. Instrumentally rich the way that the Most ties it all together makes the song feel akin to a grand journey.

Swinging through RGD’s “Hey Louise” has a great tenderness to it. Doing everything with the utmost of grace, the lyrics have such heart. Full of warmth the song’s catchiness is undeniable, as is the universality of the song’s message.

A bluesy approach frames the entirety of the oOhz “Needle In A Mirror”. Keeping things to the essentials works wonders, giving the song an intimacy of sorts. The way the song builds up shows an uncanny knack for detail.

Mark Lindsay goes for something quite dreamy on the beautiful “Merry Go Round”. The multifaceted, surrealist imagery helps to give the song a compelling quality. Various flourishes further emphasize this sort of spirit.

Passion pours through the Chiller’s loose and carefree “Belle Of The Ball”. Storytelling ties the whole of the work together, with elastic grooves giving everything such space. Representing the best of garage rock, there is a tremendous amount of energy coming together bringing the song to a riotous conclusion.

Deserving to be blasted as loud as possible, Spyder Darling delves into something very truly incredible with the physicality of “Carte Blanche”. A defiant quality hooks onto the distortion of the guitar, adding to its unique power. Vocals rise above, at times reminiscent of Thurston Moore’s delivery.

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A mournfulness comes into view on Franki Dennull and the Beings’ slow moving, highly contemplative “Darlin”. Done to perfection, the piece’s many layers work together to create a slow-moving sort of style. Everything feels uniquely balanced resulting in an atmospheric world.

Saxophone leads the way on Vic Cappetta’s flirtatious “Butterscotch”. Without needing to say a single word, a whole narrative takes shape. Organ, guitar, and saxophone unify into a stream of consciousness take.

A raw visceral quality takes shape on Nick Marr’s “There’s The Door”. Stripping things down to the bare basics, there is a great intensity to it. Reminiscent of the White Stripes, the energy flows through the whole of the work.

Such fun is had on Maryann’s highly active, packed arrangement of “Hips Lips and Eyes”. The styles run from jazz, blues, big band, and a bit of rock thrown in for good measure. By far the true center of it all comes from Maryann’s undeniably strong, commanding voice.

Bobby Rue proves to be a deft storyteller on “Ridge Riders Run”. Singing from a life of experience, the whole of the work has a lived-in quality to it. The arrangement has just the right western twang helping to guide it along.

Hypnotic to its very core, Above The Sun goes for a cyclical style with “The Weight is There (upon your Shore). Vocals have a detached mystical aura to them. By far the highlight comes from how Above The Sun lets the whole of the piece come into full bloom.

Energy runs through the entirety of Susan SurfTone’s “Temptation”. Done with the greatest of care, the song does not slow down for anything. A yearning weaves itself through the entirety of the track, lending it a sense of urgency.

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By Beach Sloth