DISCLAIMER: these albums are for previewing purposes only. support these hardworking artists by going to their shows, buying their merchandise, and if you like a record you downloaded here, buying it.
BANDS: If you are in a touring band coming through St. Louis and need help with a show, we can accommodate. also, we offer a roof, dinner, beds, and NBA Jam. If you want us to post your music or take a link down send us an e-mail. please include your band's name and something in the subject line that doesn't read like spam. you can always write us on here too.
Last night I was in a powerful sweat stuppor, head floaters were running amuck, and I was thinking about genres. Specifically, about how nice it would have been to live in a world that didn’t try to compartmentalize everything into to the smallest possible form. Too many senseless genres, it’s not funny anymore. I just want to listen to rock ‘n roll. Three Man Cannon and Lee Corey Oswald are fucking rock ‘n roll. I mean, if you wanted to be a waldo about it, you could tag both bands with all kinds of little labels, but when you get down to brass balls about it, both bands have the good sense to play emotionally charged rock music. That’s that. This is a such a great split, it’s not a little wimpy two songer, it’s a damn 12” and it feels fantastic; you really get enough time to feel both sides from each band. It’s no surprise that Three Man Cannon features members of Tigers Jaw, the infectious nature of their tracks are almost immediately apparent, these are real cold, cave cuts filled with sprinkles of Americana. Lee Corey Oswald’s side is rip-roaring, current of jangley juggernauts, that still manage to maintain solid sensibilities. At this time i’d like to take a brief moment to point out how amazing the cover art is. Back to the review. Actually that’s all I have to say. Hop your hungry ass over to black with sap and shell out some of your meager green for this berzerker.
I’ve been having a hard time writing about this record. I had all kinds of puns and witty zingers about Mayans and towns not really needing guns* lined up; I guess I threw them out for more honest pastures. All I can say is that 184.108.40.206.0 is extremely rewarding, sonically pleasing and challenging, and a great example of what a band can accomplish after losing vital members. Henry Tremain, formally of the criminally underrated Pennines, presents a clean tenor which fits perfectly within the already established dynamics of TTNG, and in the same breath, the remaining members have taken strides to accommodate to his more delicate vocal stylings. Some might be turned off by the noticeable lack of pop jams that filled 2009’s Animals, but I think everything is completely in it’s right place. I always find myself taken aback by This Town Needs Guns’ technically stunning side, but what keeps me interested is their ability to merge their complexity with accessible and touching vocals. Take some time out of your day and give this a listen, it’s certainly worth buying.
*It has been brought to my attention that This Town Needs Guns doesn’t find their name ironic or interesting either, they have officially changed their name to TTNG. You can read about it here