Year : 2013
Genre : Tarantino Surf Rock, Spaghetti Rock
Label : Independent
Origin : Australia
Official site : > - here - <
Armed with the seemingly perfect excuse to do so, today I was anti-inventive enough to deem a certain sub-set of '70s surf rock to be regarded as Tarantino Rock, or spaghetti rock, as renowned blood poet and rampant/evident foot fetishist Quentin Tarantino doubtless made an eloquent job letting you know the types of auditory stimuli he most enjoys sucking female toes on to. And what's not to like in the equation, correct? (Expect that it is not you doing the sucking, maybe? Corruption = something you left out of.)
SleepingBabys claim they have no idea what they sound like - no artist ever did, because every artist covertly hopes of being über-original - and it is my delightful obligation to inform relative consensus that they deliver the music the aforementioned film director would kill masses for, any minute of the day. This EP reflects solid command and ripe understanding of the pretty much timeless chemistry which necessarily and insatiably reveals itself once surf rock fascinations meet head on with spaghetti western sentiments, and, the lead singer lady of the duo really is doing a natural - which always is the hardest - job conveying the violent-love found in Tarantino's inner and outer vision. Rabid gunfire violence and black stockings are pairing up in the so smartly/timelessly noirish and comically sexist moments of the Pulp Fiction movie - and this set of emotional mood, as so willingly and unashamedly exhibited by this duo, continues to affect human psyches on the planet surface. Read on to know more about the "Quention Tarantion"!
The EP starts out with a Kill Billian declaration - "Bang!, Bang!"? Not really, though the intended message is almost the same. "Love me violently" - the song pledges without the concept of rejection. No option is given to say "not today, Sunshine!" Like it is informing the man that this is his spiritual duty. Suresure! Name the place and time, what other reaction the proper male figure is given? This is operational field of the mere genre! Love me violently! This is what I want to hear from a woman, actually. This one sentence summarizes the best of what Tarantino has to offer to date as a narrative stance, as it doubtless took a playful and keenly aware spirit - such as former video rental clerk Quentin's - to consort romance with the random act of "everyday average murder" - because this is where the intended shock effect comes in from.
This music is filled with this same covert suspicion - the lingering astral stench of imminent death and romance. You never know which will come first. If you are lucky, they come together. The biggest fucking act of your life will be your death, anyway. Life and excrement are valued on the same level in Quentin's world, but this is only for the purpose of fun. It is larger than life, and it works - for a while. Soon, you realize that Quentin Tarantino has only 1 figure in his movies, and that 1 figure is himself. But, other than that, why not kill someone on the screen if it is great fun? If you are about to kill a screen-woman, and your kill manages to be misogynistic without me being able to point a finger on your covert misogyny, then you are the fucking Master, and I'm not saying this with irony.
This train of thought of romance and violence permeates this style of music at a core level, and SleepingBabys sound to willingly consort to this fascinating narrative coalition. I suspect that women secretly want the men who can dominate them on all levels IF they choose to. But domination without intimacy is misogyny. I don't mean phyisical domination. The woman seeks spiritual domination, and most men are incapable to dominate a woman spiritually in a proper manner. I must be right about this, because, if I'd be a woman, I would not want men that I can dominate. In the screen-playground cleverly established by Tarantino, and, in which this music finds a galore of emotions to reflect amongst - and rightfully so - the male's right to take the woman's life away - because she is commodity, as ultimate carrier of life - is maintained and exhibited. This thrill, which fuels the music with a promise/a tint of impending doom, is the best aspect of the disk, whenever it is exhibited. For a more dramatic effect of this vibe, you should look up the band Uncle Acid & the Deadbeats, especially their song "13 Candles". Tarantino even wastes a prime Jane Fonda, once her validity has been harvested, now that DeNiro has fucked her, and now that her toes have been documented on camera. Welcome to the World of "Quention Tarantion", and welcome to the music Tarantino would approve of any second of the day.
Beyond its obvious aspirations to enrich the aforementioned sub-genre, SleepingBabys' Idolize EP demands and deserves autonomous recognition, as the songs are full fledged, legitimate surf rock/tarantino rock compositions with unusual amounts of tasteful audio-embellishments offered in the respective fabrics. Once the name of the game is set, your premiere trick is to tremolo both the holy and the diabolic shit out of your guitar, which is an instrument with a body big enough to conceal Arizona, and this effect alone always captures the mere spirit of the intended spaghetti western gloom - yet now, it only is of ornamentic quality, and is not offered as the key attraction of the related fray. Exquisite urge and related competent musical/harmonic taste is exhibited towards carving out central chorus works of relevance, and the only mistake the duo commits, is that they are so enthusiastic when they find something of great value, that they overuse it.
I admire the fact that the lead singer lady really sounds to be in spiritual tune with herself, and this usually is something you can see in mature women, only - because young women are much too occupied yet with the mere awesomeness of being a young woman. Who can blame them. Once I have shaved my legs and got aroused by them. According to Louise C.K., you are not a woman until little people are crawling out of your vagina to start treading on your dreams, and yet you still remain standing! Simply put, such is the singing on the record. It is that of a legitimate, spiritually complete woman, sitting behind a legitimate man mounting the front of the bike they enjoy traveling on. This is romance, too. The intimacy of the road shared. They don't even need to speak a single fucking word to each other and they have a legitimate spiritual experience each time they travel together this way, because they are reflecting on consensus on very close proximity to each other, under the same moon. See my points? This is the main idea about the bikes. You can tell that the guy is legitimate, too, because he does not exhibit attention craving tendencies, - he wasn't over-anxious, either, like - "hey doll, I wanna sing a duo with you!" No, he is perfectly aware of the fact that as long as the singer lady sits behind him, all is dandy. Indeed! It is not men running this planet, and thank God & Co. for that!
All in all, a deeply femine record with a larger than life spaghetti/tarantino rock vibe. The duo, I feel, is close to the point on which a longplay could be released. I have only one caveat, and this is the following : sometimes the duo fails to realize that an otherwise superb hook/chorus simply overstays its welcome, and they are robbing me out of my desire/right to revisit the song on my own-, spiritually necessarily valid terms. I won't give you specific examples, because "Quention Tarantion" knows where I live by the end of every single song, metaphorically speaking.
If you, as a teenager, had the chance to witness Mrs. Mia Wallace rocking out to "Girl, You'll Be a Woman Soon", in Tarantinos' cinematic comic book noir-epic Pulp Fiction, then your image of the female ethos probably is hyper-sexual. And it should be - women are very sexual, don't believe the opposite! Women, luckily enough, always want to dance. They ALWAYS want to dance, as Red says in That '70s Show. Who the fuck is Kila Munis though?
The disc is an immediate recommendation for fans of the surf rock/spaghetti rock genre, while the nice-, fundamentally retro jukebok-pop production values give a superb opportunity to study organic music building techniques. A pleasant surprise.
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