“Every time you smile I can tell you’re just showing your teeth.” That’s the droning, menacing chorus of the best cut (“Teeth”) from The Ette’s new record, Wicked Will. And we immediately feel a connection: We’ve all loved dogs like that. The cynical, insightful lyric pretty much sums up what I loved about this album.
The Ettes are, I suppose, retro. But the power trio’s brand of power punk feels more fresh and exciting than the word retro would suggest. It doesn’t sound like a tribute to the Ramones (although clearly it has been influenced); it’s not ironic; it’s not using garage band fuzz to hide poor musicianship. The music feels organic, appropriately rough, almost improvised. Yeah, it could have come out of the 1960s, but it’s also timeless.
Another notable cut is their cover of Lee Hazleton’s “My Baby Cried All Night Long”—the song is transformed from sentimental to raucous. I don’t know what he did to deserve it, but lead singer and guitarist Coco Hames almost seems happy that her baby is so sad. He must have been quite a jerk.
Then there’s the almost psychedelic “The Worst There Is,” a piano driven tune that states: “When you’re the worst there is, there’s nothing to fear/That’s why you and I are here.” What does that mean? I’m not sure, but it resonates.
I must get a dozen retro submissions a month. This one is far and away one of the best—it takes an “old” sound, and brings it forward. Brilliant lyrics, great music, terrific music production…This is a flawless record.
For fans of: The Ramones, The Ravonettes, The Black Keys…Y’know, bands like that. The album was produced by Liam Watson, who has worked with The Kills and White Stripes.
Tags: Indie
G-Eazy 
Do The Right Thing is the latest EP from Lepht Field, and it’s very much an introduction to the trio. The first two songs are called “Intro” and “Introduction,” and they are pass-the-mic and you-are-listening-to-Lepht-Field joints. And there’s nothing wrong with that. In fact, that’s really what an EP is supposed to do. It’s not supposed to be a dumping ground for B-sides or covers, and it’s not supposed to be a demo. It’s supposed to be a polished, finished product that tells the world (and record labels), “Look what we can do!”
