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Friday, January 21, 2011

(the) D4 - 6Twenty

Name: (the) D4
Album: 6Twenty
Year: 2003
Style: Garage Rock
Similar Bands: Datsuns, Hives, MC5, Mooney Suzuki,
"One-Word" Review: coked-up-gritty-classic-rock
Based Out Of: Aukland New Zealand
Label: Hollywood Records, Flying Nun Records
6Twenty - Cover, Back, CD, Tray
6Twenty - Inside, Back Cover

6Twenty (2003)
  1. Rock N' Roll Motherfucker 2:00
  2. Get Loose 1:56
  3. Party 2:39
  4. Come On! 2:23
  5. Invader Ace 2:46
  6. Exit to the City 3:40
  7. Heartbreaker 4:28
  8. Running On Empty 3:12
  9. Ladies Man 3:47
  10. Pirate Love 3:39
  11. Little Baby 3:08
  12. Rebekah 3:37
  13. Mysterex 3:56
  14. Outta Blues 2:28
Album Rating (1-10): 8.0

Members & Other Bands:
Bob Frisbee - Producer, Engineer, Mixing,
Andrew Buckton - Engineer
Malcom Welsford - Recording
Rich Mixture - Produced, Drums (The Rock n Roll Machine)
Cameron Rowe - Keyboard
Glenn Elliot - Photos
Eri Tanabe - Photos
Dion Palmer - Vox (True Lovers, A Place To Bury Strangers)
Jimmy Christmas - Guitar (Lugar Boa)
Vaughan Williams - Bass (Shocking Pinks)
Daniel Pooley - Drums

Unknownness: I never heard of these guys. This was a CD as part of the package from the same friend. Although I’m not a fan of the band name, and less a fan of using the same number+ written out number style for the album title, the cover looks like it has a lo-fi energy that is purposely applies. The guitar-as-a-gun imagery shows that they are a power guitar band. The song titles look like they are going to be high intensity. The only question is it going to be frat boy party rock or energetic, good time youths.

Album Review: “Rock N' Roll Motherfucker” is all that garage band rock is. It possesses loud, manic guitars riffing the same three (or so chords) and fuzzy lo-fi vocals “singing” at a nervous, neurotic pace. It is the perfect attach of self advertising its love for rock and roll while being rock and roll.
“Get Loose” has the same formula, except it has a repetitive chorus that pops. It feels more structured than the opening track, better suited for radio
“Party” begins with all drums: a rolling onslaught of rumbling percussion. The chorus is made up of the title, just chanted over a few times to the rhythm. It feels like a mutated, steroid infused Beatles song, where instead of innocent love, the topic is, well, a coked-up party. By the end of the song, the repetitious chorus becomes grating.
“Come On!” starts with steady drum hits, and evolves into a moderately fast pace song that is more Rolling Stones than Beatles. It has a very brit-pop guitar lick underneath the gritty fa├žade.
“Invader Ace” has a Led Zeppelin hook in the beginning that is mixed with a song structure that is a lot like Motorhead’s “Stroker Ace.”
“Exit to the City” is a little more stripped down and structured party rocker. It’s not as manic as the rest of the record so far, but it is long way from a ballad, and still maintains the all night booze and broads party vibe.
“Heartbreaker” is a sleazy, well sung story lined transitional song. The guitars chug along as the song builds slowly. There is anger in the music, and the lyrics reflect a bad breakup. From the title too, this song paints the picture of a scorn, potentially vindictive author.

“Running On Empty” is a fun song, structured again like a 60’s British garage rock band, complete with the obvious car metaphor. The lead guitar is fun and very catchy, while the rest of the song just drives on.
“Ladies Man” sounds like its going to go right into “Flagpoll Sitta.” Then it gets into a slinky rhythm that is paralleled by guitar, drums, bass and keyboard. There is a Firewater song that sounds like this song too. It is a variation of the Sesame Street Theme and Green Day’s “Hitching a Ride.”
“Pirate Love” is all percussion at the get-go, then a positive sounding fuzzed out electric guitar follows up and the Brit Glam Pop sound takes hold. The song speeds up for the last minute as the instrumental break takes off. The song switches gears and finishes out the song with chanting the song title on repeat.
“Little Baby” has a rollercoaster melody: three chords up scale and then three more down scale through out the entire song. The instruments shift down in prominence for a section that features spoken/sung vocals that reminds me of the Realistics.
“Rebekah” continues with the same three chord melody structure as the last song, and it only feels like a variation of the last song. Like they couldn’t decide which way to use the melody, so they used it twice. This is the love song, done garage band style with volume and positive electric vibes.
“Mysterex” is a little more punk with its one------one-two drum beat and down-scale scrolling guitar. It feels like the Buzzcocks meet the Ramones. It is a very fun melody to follow, and is even punctuated with a Ramones “Oh Yeah.” It is just a little long for a true punk song. It has all the sections and musical nuances, it just uses them too many times. But the important thing is that it never ruins the style by throwing an unneeded section in the structure that would throw off the pace or change the mood.
“Outta Blues” is a quick rock song with simple structure and brings us back to the true sound of the band: Fast pace, simple chord changes, fuzzy production, and sung/chanted lyrics.

Stand Out Track: Mysterex


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