So yeah. There's this band. It's called
Gar Gar. And it's fronted by a mutant. He's half human. The other
half is gar. As in, long ass fish, with long ass teeth. See
http://gargar1.bandcamp.com/.
From the band's “Mutant,” we learn
that Gar Gar just happened to mutate before the rest of us did. We
all will – mutate. If we're lucky. Others will die in the alien
attack. Some will never adapt at all. Radiation, UV rays, nuclear
fallout. But survivors will share one thing in common. We'll all be
gar-people. Singing songs about the mutant who saved us. Our favorite
mutant war hero: Gar Gar.
It's entertaining as hell, and it's not
even a concept album. A significant number of “normal” songs
flesh out a complementary narrative – the dangers of contemporary
society – and it's here that Gar Gar brings to mind the B-52s. The
comparison is instructive: Fred Schneider could not have gotten as
lyrically buck-nutty without the guitar riffs driving “Rock
Lobster” and “Private Idaho.” Here too, it is Gar Gar's
expressive guitar riffs that tie disparate elements into distinctive
bows.
Along the way, Gar Gar takes you on a
tour of guitar genres notable for their riffsmanship. Thirty seconds
into Gar Gar's self-titled album, we hear the first strands of surf.
With Joey Santiago on the brain, I'm reminded that early on, the
Pixies were experimental too. Also, on “Meximelt666,” we get
surfy tremolo picking a la Dick Dale's “Miserlou.”
“Psycho Billy” had me investigating
whether it was psychobilly. I typed psychobilly into Spotify, hoping
for a playlist grouped around the genre, and luckily spotted a
Reverend Horton Heat song ranked highly in the search. After
confirming that Horton Heat was an exemplar of the genre, I revisited
my favorite album of theirs, It's Martini Time. And comparing that
album's lead riff, with the spectacular riff on Gar Gar's “Psycho
Billy,” it seems that Gar Gar's song-naming function is fully
formed.
But the Horton Heat comparison nets
additional similarities in that they both bring the funny. The
Reverend did it with gems like “That's Showbiz” and, better yet,
“Cowboy Love,” a song from '96 that boasted the lyrical hook (in
a love song), “It's interracial cowboy homo kind of love.” The
fact that Gar Gar's funny can sometimes take the form of pop culture
listicles – “Just 1 Drink,” “Meximelt666” and “Ouachita”
come to mind – add weight to the B-52s comparison (whose songs like
“Funplex” and “Channel Z” do the same). It also places Gar
Gar in the province of humor-included experiments such as my beloved
Cornbugs (“Clown Smile – Death Warmed Over”). Like Gar Gar, the
success of Cornbugs rested largely on spoken word (the singular vocal
talents of horror actor Bill Moseley) and guitar (virtuoso shredder
Buckethead).
Generally speaking then, a band can get
by on spoken word and humor. It can even do so while fronted by a
mutant gar. But to pull it off, it's gotta have an ace on the
six-strings. And Gar Gar comes replete – with riffs to spare.
*** The author of this review, Leonard
Fisher, plays the taiko for the following band:
http://youtu.be/tMS73-1kCr8