SPEEDLOADER: Steady Hookin'

Speedloader

Steady Hookin'

© 2003 Arclight Records (656605942629)

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Nasty, thick-necked muscle rock from Austin, TX by way of Brooklyn, NY. Steady Hookin' is spot on music if something is about to get smashed, fucked up, and/or broken. Fans of early AMREP bands take note.

notes

Hailing from Brooklyn, NY, Speedloader quickly made its way into the rock scene in early 2001. The band immediately released and EP on Brooklyn based indie label Handi-Kraft Records, whose roster includes JJ Paradise Players Club and The Candy Darlings. From there Speedloader unleased its heavy-noise rock act all over New York City.
In March of 2002, the band was featured on the infamous "Escape From New York Tour" with rock veterans JJ Paradise Players Club and The Brought Low which took the band all over the mid-west and east coast to Austin, Texas during SXSW.
After moving the band to Austin in late 2002 and releasing a split 7" with purveyors of mayhem the Bulemics, it became apparent that they were going to make things happen regardless of location, performing in and around Texas with the likes of Honky, Dixie Witch, ATP, Keelhaul and many others.
"Steady Hookin'" marks the bands latest full length effort and shows the brute force this band has become famous for. They slay you with riffs that tear and remind you of something being brutally destroyed.

reviews

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  • Speedloader's music is just too damn hi-energy to pass up!
    author: Ken Wohlrob (Bully Magazine)

    I can understand why a band like Speedloader moved out of New York City and settled in Austin, Texas. Their sound is equal parts dirty and ballsy with a high-dose of energy thrown in. While this is not anathema in the world of rock, their sound is certainly not the normal cup of tea for rich people who pretend to slum it by going to electro-clash shows in trendy bars. Quite frankly, Speedloader is good working-class, hi-energy riff rock - much like Puny Human, who is also greatly ignored in their home town - which is as palatable to trendy hipsters as Ted Nugent. All that aside, Speedloader's music is just too damn hi-energy to pass up. All the tracks clock in at 4 minutes or less and feature thick, over-distorted guitars that instantly hook you. Hell, on the opening track "Trickfist" everything but the drums are over-distorted to the level of creating a barrage of garage band noise. Underproduced would be a more appropriate term, but that's what makes their sound work. The guys play like an old hardcore band - ala Corrosion of Conformity (pre-Pepper Keenan) and late-era Black Flag. But they inject into it a 70s riff rock sensibility on "Virginia Bloody Knuckles" and the title track. It is the energy and power of old-school hardcore with a Malcom Young knack for cranking out decent riffs. Hell, even the cover of the Hellacopters "Didn't Stop Us" is a good indication of where their roots lie. This combination of hook-laden riffs and overpowering delivery gives Speedloader a sound that knocks your head around in a good way. But once again, this gets you ignored in New York City where anything more threatening than a bunch of whiny guys in ripped t-shirts doing a bad rendition of Sonic Youth is put down. Thankfully the move to Texas, along with touring stints with some decent rock acts (Dixie Witch, The Brought Low), has worked in their favor. Steady Hookin' is a quality disc from start to finish. There is no filler here as "Cut It" "Frontside" and "Hero/Villian" all keep the intensity going. Actually in many ways it reminded me of a certain New York City band that never lived up to its potential. Speedloader is essentially what Helmet really could've been if they weren't dullest band on the planet. Speedloader takes the hardcore energy they lacked and adds to it the riff craftsmanship Page Hamilton always wanted to be known for. What a shame New York City lost a good band like this.

  • What we have here is some balls-out noiserock, with a decent emphasis on the "ro
    author: Alex Hudson (Paranoize Magazine)

    With a cover featuring an angel hanging from a noose over a background of artistically laid out blood droplets, I feared some bad artsy emo stuff. Good thing I was wrong. What we have here is some balls-out noiserock, with a decent emphasis on the "rock" part most of the time. Some bits get a bit monotonous, but other tracks they kick into full on RAWK mode. Mostly the tunes are quality, could be a bit catchier, but I think they're trying to avoid that. I will say though that I've had some of these songs stuck in my head. This has some thick, raunchy production, with meaty guitar tones and fuzzy vocals.

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