Spiders
Spiders 10″ EP
Crusher Records

Spiders are a neat little rock n’ roll outfit hailing from Gothenburg, Sweden, featuring John Hoyles of Witchcraft and Axel Sjöberg of Graveyard (although at the time of this review he’s no longer in the band), but starring the foxy Ann-Sofie Hoyles as lead scream Queen, and I’ve waited on writing about them because it seems every time I sit down to do so they put out another single. Indeed, it all started back in January when Spiders released this here four-song EP on regular vinyl and picture disc, and given the aforementioned members penchant for the retro sound, this one definitely stinks of drugs and fuzz, but it also takes on much more of a sonic sexiness, no doubt due to Ann-Sofie’s tempting wiles. You might think a band like Spiders would come off sounding like Blood Ceremony or The Devil’s Blood given the dynamics, but they’re more dirty denim and sweaty leather than black robes and incense, and fall in line with the likes of the American electric dealers of the 60s and 70s, like Fred “Sonic” Smith jamming with Grace Slick. Spiders are a don’t-drink-what’s-in-the-red-cup kind of party, a backseat education for dark minds and idle hands. Anyway, Spiders then took this four-song EP and cut it in half, releasing two separate 7″ singles in the US in March, High Society b/w Gracious Man (Kemado Records) and Nothing Like You b/w Long Gone (Valley King Records). If that wasn’t enough, they then released another 7″ single in August on De:Nihil Records, featuring the brand new song “Fraction” and a cover of Alice Cooper’s “Under My Wheels.” We can now only hope a full-length is on its way. In the meantime, I’m gonna go drink what’s in the red cup and rock the fuck out.

I know this song isn’t on the self-titled EP, but videos are fun, so check out the video for “Fraction”!

The Erotics
Today the Devil, Tomorrow the World
Trash Pit Records

The Erotics have been an underground sleaze rock institution for many years now, 21st century sons-of-bitches born to destroy, rock n’ roll killing machines, cartoon characters drawn from the greasy strands of Satan’s semen, whose one constant is their gutter-bound genius, the Albany river rat himself, Mike Trash. You won’t find Trash’s name on any mainstream best-of lists, but the fact of the matter is he’s written some of the motliest riffs this side of Shout at the Devil and takes Alice Cooper’s venomous snarl to corrosive new lows. Trash also refuses to shy away from the misogynistic mind frame that ruled the hair metal days, choosing to pepper his lyrics with objective, offensive material and seething innuendo; he did it for six albums previous to this one, and he’s doing it again on Today the Devil, Tomorrow the World (dropping on Hallowe’en, natch), which also happens to showcase the appropriately evil themes of she-devils, homicidal delinquency, and suicidal tendencies. As for the music, it might just be some of the band’s best since 2003′s All That Glitters is Dead, every song here a snarky cock rock hell-raiser. The best part is that the album actually finishes stronger than it starts, flying into maximum overdrive on “Anything” before blasting into arena pleasers “Wrapped Around Your Neck”  and “Think I Wanna Die Tonight,” then closing with the AC/DC meets Slash Puppet scorcher “Hogtied & Waiting” and the loud ballad “I Feel Nothing.” Mike Trash and The Erotics do it again, but that’s really no surprise, is it?

Listen to “Hogtied & Waiting” from Today the Devil, Tomorrow the World!

I can’t help but think that had this 2009 Canadian film about a rock n’ roll band of vampires been released at some other time (that time being any time when there wasn’t a Twilight or a Trueblood, etc.), I might have enjoyed it more, but as it is it just feels like another bite (yes, really) at the fang craze, and even its backdrop of a gigging band searching for stardom, its numerous rock star cameos, and small but smart doses of humor, doesn’t help push it past being just another fad. Of course, it doesn’t help that the music in this rock n’ roll spoof is completely lame — that it, yes, sucks. That’s probably what offended me most about Suck, especially given the obvious influences guiding writer/director/star Rob Stefaniuk. I understand that in order to properly spoof the industry, to lay waste to the shticks people will rely on to help make ‘em famous, you have to have a shitty band with a shitty name (in the this case The Winners) because the majority of mainstream bands are truly terrible, but The Winners’ insipid, whiny brand of rock n’ roll just made me angry. I got it, but I didn’t enjoy swallowing it.* Of course, as mentioned earlier, Stefaniuk was obviously guided by some strong influences, and Suck isn’t so much a great movie to watch as it is a great game to play.

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