Rebellious Jukebox XLVI: BBEye vs Earwacks

IMG_2427There’s something to be said about minimalism in rock-n-roll. Get in, make a big noise, get out, wrap up your 3-song 45 in less than five minutes. BBEye have got it down pat. The newest side project from Lumpy & the Dumpers master blaster Martin (here under the nom de rock Miss Penis), the record hits all the marks of the Lumpy Records aesthetic. It’s part in-joke, part inspired amateurism, & part gross-out lyrics, but always worth a listen. The band is, I think, Miss Penis on live drums, cheap keyboards, & maybe some guitar (though the distorted parts might very easily just be tape overload), with female singer Miss Lady (I don’t know who that’s the nom de rock of) on howling no-wave yelping vocals. There’s every chance I’m wrong about all of that. The songs are short, dumb, & crazily catchy. BBEye won’t change your life, but you’re not gonna ask for your five minutes back.


There’s something to be said about maximalism in rock-n-roll, too. Meander in, play a million notes, saunter out, make your “hit song” almost five minutes long. Late 70’s St Louis progsters Earwacks had it down pat. A blend of brash King Crimson dynamics & Gentle Giant wide-eyed mellowness, the A-side of their 1978 7″ep, The Scrape, sounds like a lost KSHE classic. It’s heavy & weird & pretty & spacey & great. There’s even some flute! The B-side sticks mostly with the mellow, but gets points for including some in-studio banter from the legendary Oliver Sain, producer of the sessions. The band later morphed into the more “prog-wave” Wax Theatricks, & if anybody’s got a copy of their flexi-disc I want one!


BBEye “Big Cicada”

Earwacks “The Scrape”

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