It’s almost a cliche to say it now, but once upon a time, you can imagine a person’s life, habits, and challenges by glancing at their record collection. The same cannot automatically be assumed by staring at collections of other types. And, you certainly can’t assume too much by looking at someone’s playlists, records for which they didn’t need to pay anything except for the subscription fee.
Music listeners know this. And, on the rare chance that someone might want to figure them out by an analysis of their record collection, they come prepared. The only people who can get more out of owning records, who are able to form an even greater bond with the world, are those who use the records they’ve bought to create their own music, to rearrange the pieces of their life in this way.
This is what Cruise Torts, the fuzz-rock band dreamed up by Paul Dunne, does on this self-titled album. This song collection is daring you to place alongside your Stooges and Ty Segall records and see who wins. Dunne is a song collector, and has used this to trace out the limits of his world. And, he’s done it with charging, battle-ready guitar tones.
Album opener, “114” may start with a mellow prelude, the setup for the story that’s about to unfold. But before you know it, Cruise Torts reverts to instinct and let’s the song have it. In this case, it, is the sound distorted garage-rock guitars that sound like they’re coming out of an amplifier dubbed by the neighborhood “The Insomnia Machine.”
Yes, instinct leads the song collection for sure. But these are the ideas that Dunne has acquired to study. “Simulation Park” brings to mind the dynamics and humour of the 90s grunge bands. “Number One Lottery Number” finds him snarling at passers-by like Iggy Pop forced to visit his old trailer park home. And, “Moment in the Sand,” position Cruise Torts to King Tuff or Ty Segall and their glorious fuzz-rock delirium.
What do we learn of Mr. Dunne from his record collection? Firstly, we’re shown that admiration hasn’t clouded his judgement or neutered his confidence. Dunne writes and performs songs as if trying to outdo his heroes. But we also learn personal details about the songwriter’s life that are best communicated over volcano-spewing guitar lines.
And, where does this all leave us? Chugging on, collecting more records, fighting the good fight. Album closer “Again, Again” is by the far the longest on the album. A psychedelic freak-out complete with endless guitar lead parts and Dunne’s convincing shouting, the song is an invitation into the world of a musician who is looking to create his own world and who is waiting for you to drop by.
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