8 Songs, 24 Minutes

EDITORS’ NOTES

Sacramento, California’s Ganglians fused gangs with aliens to forge their moniker much in the same way that they braid psychedelic surf music with lo-fi indie rock to conceive something that sounds born in the wake of John Dwyer’s utopia (the San Francisco Mission District art-rock scene). The quartet’s eponymous 2009 EP opens with “Hair,” a soaring and melodic college-radio mini-opus fueled by driving rhythms, heavily reverberated wave-riding guitar leads, and contagiously catchy singing. Slivers of punk-rock abandon come crashing down like overhead waves on “Rats Man,” a dirty but danceable nouveau surf-punk creation that sounds like the entire song was filtered through a walkie-talkie and recorded on recycled analog tape reels found while Dumpster-diving. While “Radically Inept Candy Girl” initially sounds like nothing more than four-track tomfoolery with a child’s toy keyboard, the novelty unravels to reveal a song on par with anything off Beck’s 1994 album One Foot In the Grave. Equally the strongest and weirdest track, “Snake Eyes” could be a futuristic field recording where Alan Lomax’s great, great grandson captured the folk songs of intergalactic surfers.

EDITORS’ NOTES

Sacramento, California’s Ganglians fused gangs with aliens to forge their moniker much in the same way that they braid psychedelic surf music with lo-fi indie rock to conceive something that sounds born in the wake of John Dwyer’s utopia (the San Francisco Mission District art-rock scene). The quartet’s eponymous 2009 EP opens with “Hair,” a soaring and melodic college-radio mini-opus fueled by driving rhythms, heavily reverberated wave-riding guitar leads, and contagiously catchy singing. Slivers of punk-rock abandon come crashing down like overhead waves on “Rats Man,” a dirty but danceable nouveau surf-punk creation that sounds like the entire song was filtered through a walkie-talkie and recorded on recycled analog tape reels found while Dumpster-diving. While “Radically Inept Candy Girl” initially sounds like nothing more than four-track tomfoolery with a child’s toy keyboard, the novelty unravels to reveal a song on par with anything off Beck’s 1994 album One Foot In the Grave. Equally the strongest and weirdest track, “Snake Eyes” could be a futuristic field recording where Alan Lomax’s great, great grandson captured the folk songs of intergalactic surfers.

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