Crawlspace Magazine says that The Satanic Rockers already broke up. Seems like I covered their last single on Quemada not more than a year ago? But Lynton Denovan has a couple of side projects, one of them being this solo Sacred Product double single on Quemada Records in his self taught uncomplicated style.
A-Side's "Wastex (back to Samsara)" has canned sounding drum machine percussion thuds into a bass line; ultra low along with a dirge style guitar. It wouldn't be weird to think it was at the wrong speed before the vocals come in. The high volume close mic'd vocals from Lynton, it's a piled up bedroom recording and the guitars have a metal background while the rest gets into a tireless groove and plows ahread. The doubled vocals exist in a close headphone space with slight reverb. Singing about a trash dystopia that's going to be the end of us all in a talky monotone. It's a foregone conclusion the way this plods forward no end in sight, nothing can stop this lumbering massive melody. Two guitars pick up the tune over handclaps turning into a saw blade synth, layering rhythm distortion later down the road. Recorded in a muddy swamp, a huge phaser invades the entire thing and the vocal cuts out abruptly. Like Mattress or Blank Dogs there's a cold, hard forward looking patina to everything.
B-Side's "Sonic Country" - Now we're talking with a dense scattering of snares and clicks from rim shots sounding live and dirty taking time in the rehearsal space piling in these hits. The treble jangle of an electric takes over that headroom that's been empty until now. An instrumental that continueues building steam with the whistle of a tea kettle. It's the track that got better the more things that were played over it. Who could put vocals on this when it gets that dense and takes on a life of it's own. Feedback as an instrument, breaking the sound barrier with a couple strains of the signal crossing paths, you get the sense Lynton is going to use instruments in unintended ways to get what he wants. Blown out, peaking the tape into a ringing hiss - a highlight of this four track double single.
C-Side's "Tram and Train" opens on a crazy mix of beats and delayed train running down the tracks right into drums and squirrely guitars that smooth out into a cool riff joined by that bass plugged right into the input. I get a sense of being Australian from his vocal, such a weird vocal quality like those outsider guys, Skip Spence or R. Stevie Moore. It's a real vocal that places this stuff on the table and walks away. I'm finished. Completed with a solo that has plenty of time to stretch out, I'm wondering why this wouldn't have ended up as a full length? Not that these tracks don't deserve respect? Maybe that's the maligned status of the double single Quemada was talking about.
D-Side's "Ride Back" gets into a rock groove with the quick double hit snare and a gritty scuzz distortion, two guitars dueling and a lower end kicks in. It's a straight up hard rock sound that you can hear why it would be attractive right away. The closeness of the vocal again brings this to that intimate place even if we're pounding away, ready to wreck the place. Feeling liken you're getting into that personal space that matches the lyric here. Stepping on himself, keep things laid back and sincere without even thinking about it, don't get excited kids this kind of effortlessness isn't easy.
Get this from Quemada Records.
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