NAMELESS FRAMES s/t LP

Nameless Frames via Shea Carley Photo

     This Texas trio knows its way around loud, brash and totally catchy hooks and there's an absolutely insolent yet risible attitude that permeates throughout this record. Yelps of recklessness on songs like tightly wound "Exploitation" and the flaying wildly "Cut Out" have a bed of jittery guitars strokes that are reminiscent of fellow Lone Star punk twisters like the Motards and the Reds.
     Where as those two bands though did there thing to get a straight ahead way to their destination (the former with headstrong impeccability and the latter seeing double or maybe even triple but some how making to it the ending the finish with rarely any meandering), these guys get mangled for a moment here and there. Though it does cause a twist to the cadence, it makes sense to the scheme of disposition than it does being a wrench thrown into the works just for the sake of making someone think "They're getting weird, man."
     If the band stuck with that formula for this entire album it would still make for an entertaining listen but judging from other things that go on the record, they need that spice of life which variety brings. That doesn't mean they pull of some Mahavishnu Orchestra bullshit or bust out banjo and start singing about how they'd ride the rails if they didn't already have a job promised to them at their father's firm after college though.
     The big bombs of fuzz that detonate on the album's opening rave up "Upstairs", the swamp dwelling"To Late To Lose" and the rumbling DIY punk bass anchored "Control" bring 60s garage rock kicking and screaming into post everything modern world."She's An Oddity" is like the Ramones guzzling jet fuel and "Put It Back" saws the top of the Replacements skull off with jagged Johnny Thunders record. Then it closes out everything with a bit of post punk blues that doesn't try to damn hard to be either and ending up failing at both with "Garage Can."
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