(photo by canderson)
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[BCR#04, 2010]
$5.00 :: AVAILABLE NOW! ($7ppd)
Comes with FREE mp3 download!
Email to order : chaz (at) bullcityrecords (dot) com.
Hear : http://www.myspace.com/spiderbags
Pressing info [1st press]:
400 black
100 green
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To order: Paypal to the above email address.
For wholesale to stores contact: Revolver/Midheaven and Matador Records.
Only a handful of green vinyl left! These are only available at the shop or through mailorder. The
remaining 400, most of which can be found in distros (Matador, Revolver, Dead Broke, etc) are in traditional black.
These
two blistering tracks were recorded at Goner Records in Memphis, TN
in one sunny, slurred afternoon as they were passing through town. With
a friend manning the recorder and a few beers in the bag, the boys
shuddered out a little raw rock in their small window of a couple free
hours. The songs are shakingly raw, loose, noisy
and all a bit fried. The Bags' normal twangy garage crash is augmented
here by
swirling feedback, dust-raisin’ stomps and an electric psychedelic
agitation splitting through the air. Dan and Gregg are joined on this
recording by their friends Joey Simpson (2nd guitar) and former Afghan
Whig, Paul Buchignani (drums).
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Independent Weekly (Durham/Raleigh/Chapel Hill):
Across just
two LPs and three prior vinyl singles, ragtag Carrboro rock 'n'
whatever trio Spider Bags have explored at least a half-dozen
approaches. From pasteboard acoustic howlers and broken country sighs
to charged Crazy Horse anthems and staggering hooky rock, the Bags have
opened most every box and overturned most every object in the garage.
Focus might not be a particularly notable aspect of their
discography—exploration undoubtedly is.
And so the 7-inch single format, which they've vowed to exploit with a
string of songs released before making a third album, might be the
perfect constraint for frontman Dan McGee's rangy musical mind. At
least that's how the band's debut for Bull City Records feels, since
both sides are concise numbers that invite you to alternately thrash
and dance. "Dog in the Snow" and "Walking Walking Nowhere Nowhere" have
springy hooks for a little side-to-side bounce, while the verses of
both plow forward with a starving maw. And, if you're willing to follow
McGee's voice through the distortion he added to it in Memphis at Goner
Records, you'll hear that these songs are united lyrically, too.
Aggressive and snarled, they advocate for being ostracized or, at the
very least, avoiding any meaningless movement of the masses.
Peculiar production choices wonderfully tweak "Dog in the Snow." What
seems to be a stock verse-chorus-verse tune warps into an immersive
hall of mirrors, where guitar lines, amplifier hiss and separate vocal
parts bounce and clash in unexpected patterns. "Nowhere" is much more
linear, McGee's guitar and Gregg Levy's bass pushing forward like two
fists—or, in context, like two sides of a short, solid, more-to-come
single.
- grayson currin
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