Review: Suckling ‘Suckling’
As someone who’s lived next door to Texas for most of his life, I can unequivocally say there’s not a whole lot my neighbors to the east offer or represent that I can get behind. However, a few things that I will eternally give Texas props for are tattoo artists and a stellar legacy of rock and roll bands. It seems Texas, and the Austin area in particular, have always produced rock that’s unique to them. From the early, psychedelic stylings of Roky Erickson & The 13th Floor Elevators and the legendary riff-boogie of ZZ Top, Texas’s unique rock and roll started early.
The state also had a thriving punk scene in the ‘80s with bands like Scratch Acid, Big Boys, MDC and DRI, to say nothing of the psychedelic, punk, freak-outs of The Butthole Surfers. Then, there are the late ‘90s genre-bending, post-hardcore antics of El Paso’s At The Drive-In. Do you want some heavy riffs? Look no further than Power Trip (RIP Riley Gale), The Sword and Wo Fat. The point being, despite Texas’, ahem, questionable political and cultural comings and goings, the state has been a hotbed for unique rock and roll for decades.
So, it’s not surprising that the Self-Titled debut LP from Austin’s Suckling is an eclectic, weird blast of garage and organ-infused psychedelic rock which features some legendary players from some of the aforementioned bands. Guitarist Brett Bradford played in Scratch Acid along with drummer Rey Washam, who also played in Big Boys, as well as Steve Albini’s ‘90s noise-rock cult band, the horrendously named Rapeman, along with doing stints in both The Butthole Surfers and TAD.
Suckling’s eclectic take on rock and roll is apparent the moment the listener presses ‘play’ as the twinkly, piano-stylings of organist/vocalist Ezra Reynolds are on full display with opener Praise From An Undertaker, before giving way to the rumbling, tripped-out, noise-rock of Phantom Of A Morbid Child where Bradford’s riffs are accentuated with Reynolds’ organ flourishes and the oddly weird soaring vocals. Bassist Win Wallace’s rumblings and impeccable tone again open proceedings on With A Little Bit Of Spit, which quickly unfolds into a cacophony of horn-accentuated psyched-out weirdness, with some stand-out organ playing from Reynolds, the breakdown in the middle rules with some excellent complimentary lead work from Bradford.
an eclectic, weird blast of garage and organ-infused psychedelic rock
Mean A Nine meanwhile hints at a harder attack, before unfolding in a crazy shuffle with Bradford’s lead stylings initially taking center stage to my ears, but it’s not long before Suckling descends into a cacophony of noise, as all four members let loose with Washam’s shuffle and nutty fills being of particular note. The funky, organ-infused Sisyphus got stuck in my head multiple times as I was absorbing the album, the initial chorus, to my ears, sounds like the band is saying ‘Batman’ over and over, or maybe that’s my inner-comic nerd manifesting. Nonetheless, as Suckling show throughout, any and every song is capable of taking a wild left turn at any moment, and Sisyphus does just that, featuring many twists and turns while Reynolds organ and Washam’s drumming both really standing out.
Elsewhere, Unemployment Beach offers a rumbling, mid-tempo approach with Bradford’s lead work accentuating Washam’s snare thwacks, and Wallace’s rumbling bass. The Harvester initially teases an aggressive attack, before Suckling again make a crazy left turn into garage and psych territory. Anatural Rejection has a slightly darker vibe, Reynolds organ flourishes and vocals giving a slight melancholic vibe, and again, Washam’s drumming is of note.
As we wind our way to Suckling’s conclusion Desert Flower is a killer, driving, alt-rock-esque track, while the penultimate Duchess conjures up some bouncy, melancholic, post-punk vibes, with Washam’s drumming propelling the song forward as Reynolds breaks into a fairly epic organ ‘solo’ for good measure. Closer, Ninth Life, far and away the longest track on the album, serves as the epic, somber record closer, as Suckling put it all on display, Reynolds odd yet melodic vocals and organ wizardry, Bradford’s Texas noise-punk lead work, Wallace’s killer bass stylings, and Washam’s excellent drumming, wrapping it all up in one last Texas-sized garage and psych rock nugget.
I had fun with Suckling. It’s a great sounding, weird, eclectic album, delivered by experienced musicians, touching on many different genres, and sounds, but again, uniquely Texan. Suckling undoubtedly deserve to be mentioned alongside some of the great, rock weirdos from Texas, not just because of the musicians’ pedigrees, Reynolds himself also plays in White Powder, but for the sheer eclectic, rock weirdness conjured by these guys. Suckling is a full-on crazy noise cacophony, and abrupt sonic left turns, but they deliver it all so effortlessly and fluidly, it works to killer effect. Recommended.
Label: Australian Cattle God Records
Band Links: Facebook | Bandcamp | Instagram
Scribed by: Martin Williams
