Endless Boogie - Vol I and II - Albums - Reviews - Soundblab

Endless Boogie - Vol I and II

by Sean Hewson Rating:8 Release Date:2019-05-17
Endless Boogie - Vol I and II
Endless Boogie - Vol I and II

The first two Endless Boogie albums were originally released as micro-pressings in 2005 and haven’t been available since. They have now been given a full release by No Quarter.

Outsider Of My Mind starts and we’re straight into a guitar solo over a one-chord vamp. All these tracks were recorded in a rehearsal space and the sound quality is quite ragged. But I enjoy that. Mark Ohe’s bass adds some structure to the one chord repetition. Paul Major appears to just be making sounds down the mic, there’s no actual tune. I have a particular weakness for messy, one-chord, drone outs, so this is all great as far as I’m concerned. The strong bass playing and the repetitive nature of the riff reminded me of the White Light/White Heat album. Major’s guitar-playing is more psychedelic than Lou Reed’s though, he’s more in Neil Young/John Cipollina territory. A sleazy Rock’n’Roll riff kicks off Dirty Angel. It has the feel of Royal Trux at their sleaziest. Almost halfway through and another blistering guitar solo is unleashed over the one chord riff. The band takes it down for a bit before bringing the whole thing to a suitably ragged conclusion after 10 minutes. Stanton Karma is a calmer (sorry), bluesier affair. Endless Boogie again sticks to one chord, like John Lee Hooker. The jam slowly develops like something by Neil Young and Crazy Horse, rather than springing into action like the previous tracks. The sheer simplicity of the song and the repetitious nature of the playing succeed in putting me into a rather nice trance before the slightly more savage playing that occurs in the second half as the band plays with dynamics by taking the song down and up. After 20 minutes there are a few minutes of almost entirely unintelligible vocal and the song finally finishes after 25 minutes. Volume II begins with Came Wide, Game Finish. The sound is a little bit more polished but still pretty lo-fi. Major and Jesper Eklow’s guitars work together particularly well on this riff. Major’s screamed vocal is mixed right down beneath the guitars. The song itself is a work of Blues repetition, like John Lee Hooker or the version of Mannish Boy on Muddy Waters’ Hard Again. Matt Sweeney (guitar) and Spencer Sweeney (drums) guest on Style Of Jamboree, a shorter, riffy jam that again brings Royal Trux to mind. It has a filthy sound and is something of a belter. The album ends with the 25 minute Morning Line Dirt. It starts out slowly with just the two guitarists doing a bluesy duet like Keith and Ronnie before they got new teeth. Chris Gray starts in on the drums after about three minutes, like he's just turned up a bit late for rehearsal. The pace picks up after about 7 minutes and the bass is in by then. The guitar sounds become a bit more savage and the lead lines a bit more adventurous. Major attempts a vocal, it's kind of like Leary and Barritt on 7 Up, but gets tired pretty quickly and starts leading the band through the break down/build up dynamics that mean that, by the end, they are absolutely flying.

Endless Boogie (the name comes from a John Lee Hooker album) are exactly that - endless one and two-chord jams, high on repetition and low on ego. The tracks are very basic but Endless Boogie's determination to stick to one or two chords, no matter how long the song is, makes them quite Avant-Garde. Add to this the lo-fi nature of the recordings that adds a Royal Trux/Exile On Main Street edge and you have something that's so far up my alley that I can't even see it in the mirror.

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