Great Sounds Great; Bad Sounds Bad: Slug Cutters ‘Oh Girl’

Slug Cutters

Great Sounds Great; Bad Sounds Bad is a column which sees a panel of writers for The Corner review a range of local singles and grade them out of 10. Check out the song below, read through their opinions and let us know in the comments section your own thoughts and what you’d like to see reviewed next time around.

[Bandcamp]

[Grade: 6.3]

Alex Lyall: Damn! This is one ugly song. The drunken slurred vocals and the fart-like bass make for an uncomfortable listen. My best guess is Ariel Castro recorded this song to woo his chained Cleveland girls. What else… it’s hard to say much more than that especially when the song comes short of the two minute mark. Nobody told that to the guitars though – at times they think it’s some epic rocker. [4]

Warren Smart: This song has a nice catchy start with the promise of a NZ pop song. Along the lines of Garageland and other bands from the Flying Nun stable, Slug Cutters have continued that tradition of short punchy pop songs with ‘Oh! Girl’. With a slight drawl its not quite a sing along track but the chorus has sat in my head all week, and even leaked out into song a couple of times. There is lots of tidy guitar work to keep your head, or arms, moving as well. The song builds well throughout and finishes a shade under 2 minutes ready for another listen. [7]

Eden Bradfield: It’s hard for me to describe how much I enjoy this. The melodies are pure effervescent early-Beatles pop pushed to a level between desperation and not caring. The recording is just the right amount of dirty – not baring all but hinting at it. Alex Chilton would be proud. [10]

Phyllis Gabor: To be honz I’m not really a fan of the “rock n roll-eyes” thing ala The Eversons that seems popular atm, but I actually think this song is pretty much perfect. Like who knew a song about da girl leavin da guy could be not totally assholey and demonising of da girl?! Yeah, don’t worry guy, you’re a good guy, hang around n she may be back, or I can defs say you will scoop another chick, all good. In under 2 minutes this song clocks that whole genre so Eversons can piss off. [8]

Hayden Currie: I feel like there’s a simple, catchy pop song here which has been defaced by scribbly guitars and listless vocals. That’s the point I guess, and I suppose it emotes the idea of being left lovelorn, waiting around for someone who doesn’t care, but it’d be more enjoyable with a clearer sound. [6]

Michael Kerby: How anyone involved managed to summon the strength to get this recorded is beyond me. It’s a nice enough melody, and one you could imagine being banged out solo into a laptop at 3am, but.. it just sounds unfinished. [0]

Sean Quay: Can’t imagine why she wants to leave. This song is cobbled together out of every 60s / Garage rock cliche in the book. Granted that is the standard problem genres rooted so heavily in the past suffer so it’s perhaps unfair to admonish Slug Cutters on that basis alone. But this song is neither moving, exciting nor endearing. But it’s not terrible. [5]

Luke Jacobs: There’s a lazy feeling in this song that is so well tempered with a great rhythm section. The drums are spunky and give a little bit of crass swagger that makes it all just come together. I love the spiky guitar which blends well with the vocals. It all feels like a spinning pinwheel of colours, a little toy that can hold your attention but it’s so lovingly made you don’t throw it away but keep it around. There are rattles and hums near the end that give it the best kind of skuzzy conclusion this little piece of pop could want. [8]

Joe Nunweek: Okay. Really familiar indie, all the tropes are there, and over and out in a breezy two minutes. But nothing that really stays with you – I kept expecting it to maybe kick into the red for the chorus with a fuzz pedal or something, but apart from a clunky “peeeeyowwow” Black Keys-y motif a couple of times, I didn’t sit up. I’m totally not expecting music like this to go for the jugular and I think it’s an unfair demand, but I’d settle for a Ty Segall-style wigout somewhere in the middle. To put it another way, this is the equivalent watching double-digit season Simpsons when you’re stuck sick in front of a television. Things could be a lot better, but they could also be a lot worse (Family Guy). [5]

Andrew B. White: And the short snappy songs keep on coming. ‘Oh Girl’ comes in at 1:56 and packs everything in rather neatly. This is 60s rock n roll/garage pop inspired stuff. Nicely played, good sounds and a vibe that is straight to the point. I can imagine these guys sporting Jansen guitars and playing through Holden amps whilst getting the dance floor going at Cassette No.9. John Baker should be lining up to manage these guys with his cheque book wide open. [8]

Vincent Michaelsen: At first I thought this was your generic 60s surf rock/guitar pop stuff and wasn’t that fazed. But it grew on me before even getting through the first listen. This guy (the singer) really doesn’t give a fuck. The vocals are so chilled and lazy, giving the song an edge in a roundabout way. Listening to the lyrics a second time around I realised the singer not only sounds like he doesn’t give a fuck but he actually really doesn’t care if his girl stays or goes. That small difference in tone is what does it for me. Damn catchy too. [8]

Reference: Drums to get – a comparison of them here.

Leave a Reply

Your email address will not be published. Required fields are marked *

*