The Trashies: The Octagon 12"
"The Octagon is uncanny and cracked, scrappy and manic — the work of a band at wits’ end. It’s the 5th album by The Trashies, and a model for bucking late-career complacency: The Octagon sounds like nothing in the dada-bards of garbage rock’s madcap discography. The production skews homespun-to-crude; the songs, whether woozy or chittering, feel frenzied. Still, it’s occasionally gorgeous, and boasts flights of lyrical invention. Passages of illegible noise — probably power-tools, maybe a twisted tailpipe — cede to infernal couplets (“Heavy Door”) and sauntering prettiness (“Fresh Honey”). The Trashies, split between Oakland and Seattle, recorded The Octagon across a span of three years in various living-rooms and rehearsal dens throughout the Pacific Northwest. It’s co-released by Oakland’s Fine Concepts and the band’s own 24/7 Records, and features artwork by Max Nordile and Erin Allen, hand screened at Fine Concepts Laboratories."- Sam Lefebvre
"The Octagon is uncanny and cracked, scrappy and manic — the work of a band at wits’ end. It’s the 5th album by The Trashies, and a model for bucking late-career complacency: The Octagon sounds like nothing in the dada-bards of garbage rock’s madcap discography. The production skews homespun-to-crude; the songs, whether woozy or chittering, feel frenzied. Still, it’s occasionally gorgeous, and boasts flights of lyrical invention. Passages of illegible noise — probably power-tools, maybe a twisted tailpipe — cede to infernal couplets (“Heavy Door”) and sauntering prettiness (“Fresh Honey”). The Trashies, split between Oakland and Seattle, recorded The Octagon across a span of three years in various living-rooms and rehearsal dens throughout the Pacific Northwest. It’s co-released by Oakland’s Fine Concepts and the band’s own 24/7 Records, and features artwork by Max Nordile and Erin Allen, hand screened at Fine Concepts Laboratories."- Sam Lefebvre
Description
"The Octagon is uncanny and cracked, scrappy and manic — the work of a band at wits’ end. It’s the 5th album by The Trashies, and a model for bucking late-career complacency: The Octagon sounds like nothing in the dada-bards of garbage rock’s madcap discography. The production skews homespun-to-crude; the songs, whether woozy or chittering, feel frenzied. Still, it’s occasionally gorgeous, and boasts flights of lyrical invention. Passages of illegible noise — probably power-tools, maybe a twisted tailpipe — cede to infernal couplets (“Heavy Door”) and sauntering prettiness (“Fresh Honey”). The Trashies, split between Oakland and Seattle, recorded The Octagon across a span of three years in various living-rooms and rehearsal dens throughout the Pacific Northwest. It’s co-released by Oakland’s Fine Concepts and the band’s own 24/7 Records, and features artwork by Max Nordile and Erin Allen, hand screened at Fine Concepts Laboratories."- Sam Lefebvre
