Lil Daggers - King Corpse

  by Finn Cargill

published: 25 / 8 / 2011

Label: Song By Toad Records
Format: 7"

intro

Explosive garage rock on vinyl only EP from Miami-based rock 'n; roll reivalists, Lil Daggers

Lil Daggers have just released their most recent studio creation. The 7’’ EP ‘King Corpse’ (released on the Edinburgh-based song, By Toad label) stands as evidence for an exceedingly active career by the band, following an undoubtedly concentrated 3 years since their inception as a home recording project. The garage rockers’ humble beginnings in Miami, Florida, revealed a penchant for psych-rock. The single shows that rock 'n' roll isn’t exclusive to the early eras. The rockabilly doowoppers of the 50’s or the sleeveless strutters of the 70’s don’t have the only stakes in the genre, and its all thanks to young sons of rock 'n' roll like Lil Daggers. With the 21st century comes a rock revival, proving that rock ‘n’ roll certainly isn’t a dying trade. The four tracks present a coolly unkempt, garage-style haze, fronted by Johnny Saraiva’s drunkenly chanted vocals and lined with overt and psychedelic, preacher-style organ- courtesy of Reuben Molinares. (Although this is a tried and tested fusion of sounds when rock is concerned, you can hear that it certainly hasn’t been worn out). The style of these tracks moves on effortlessly from their debut and early works such as 2009’s EP ‘The Stragglers’ (a limited edition tour-exclusive) and their self-titled LP in 2011 under Limited/Fanfare Records. With an opening title track not unlike my idea of a lovechild between Canadian indie rock band Wolf Parade and succinct bluesy rockers the Black Keys, you get a premonitory taste of good things to come. Once past the album’s intro, the second track, 'Devil You Know' uncovers a more lo-fi feel, with Jose Pena’s old-style, floor tom jungle-drumming underlying the rolling guitar and bass of Jacob Israel and Yuri Bordas respectively, it develops into an audibly pleasing 3 minute mash. The vocals are aberrantly unclear; being used primarily as another instrument and not as a vessel for lyrics. Don’t think, however, that the lyrics are unwelcome; the chorus line in the closing track "You’re always too much, and I’m never enough" proves to be a simple pleasure. If you want to indulge in an enjoyably basic recital of rock, 'King Corpse' is the place to start looking.

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