Get Action is the name of a long-running, ecstatically earnest garage rock band from Albuquerque that features Bill Bunting on vocals, Ashley Floyd and Scott Brown handling guitars with a rhythm section comprised of bassist Zac Webb and stickman Ben Levine. Their new album, Right on Time, will be released on November 18 at the Moonlight Lounge for local listeners eager to soak up their post-election blues with some tremulous 1960s-soaked rocanrol music. Reminiscent of the best seizure-inducing sounds from a bygone era, but updated to include an anxious awareness of today’s societal angst, songs like “Back on the Wave” demonstrate a groovy millennial triumphalism rooted in pop psychedelia, while the title track just plain rocks the fuck out with blazing guitars, an overdriven rhythm section and petulant vocals that herd listeners right over the edge of what’s considered socially acceptable. All that and cover art by Alibi alum Jeff Drew make this upcoming Bandcamp release worth the wait.
Alt.rock duo Karie Morgan and Maurico Paez are The Talking Hours, a Burque band noted for their skeleton-shaking, noise-nuanced garage rock. Their first full length recording, Golden, drops on Dec. 1; lucky listeners should visit The Talking Hour’s Bandcamp page as soon as possible though, to order one of this town’s best and bad-ass examples of brutal sonic bombardment to come along this year. With one-word tuneage titles like “Weapon,” “Noose” and “Fizzle” this album takes naturally uncomfortable musical moments and lovingly crafts them into deadly nocturnes to nothingness. Of particular interest: the perversely percussive title track, nearly mechanical in execution, divines a raw, relentless hopelessness from its burning bass line, from the repetition of vocal line that states in broad half-whispered, half-shouted tonalities, “I”m golden, I’m golden but I’m silver without you.”
Okay, this is my album of the week. That is to say it’s the one thing I listened to over and over as the weather turned cold, the birds abandoned Burque, and the leaves shook themselves from the trees, grandly and grieviously. WURM (Art Black and Bobby Stewart) are known for making industrial-strength noise that’s skewed only slightly toward the rocanrol side of things, and Paralysis Machine is no exception. I’m particularly fond of the wondrously alien-attack-like nuance on “MetaLik” and would not be surprised to find out that humans have been taken aboard certain spaceships and sent out into deep space while this sonic event parades around, all nude and noisy in the background. Other highlights of this hellaciously hellish vision include the literally stunning, epileptic episode enhancing “Kaos Ohmen” and “Gnaw on Light,” an almost ambient creation that induces a clarity that at first seems like death but really has orgasmic undertones.