The latest LP from this band, hailing from Bloomington, Indiana but now calling Los Angeles home, is an explosive rock and roll masterpiece that will undoubtedly thrill fans of garage punk and heavy psych. Let’s start with the opening track, “Empire,” which initially presents itself as a high-octane, fuzz-laden frenzy but then smoothly transitions into a clean and quasi-funky groove. This transformation features remarkable guitar work from the band’s founder, vocalist, and rhythm guitarist, Dylan Sizemore, alongside lead guitarist and saxophonist Josh Menashe, complemented by perfectly timed brass accents that will undoubtedly get you grooving.
But that’s just the beginning; the aptly named “Burn Me Down” follows suit, delivering an infectious dose of punk energy with catchy hooks and more saxophone flair, leaving the listener feeling as if they’ve been engulfed by Frankie And The Witch Fingers’ relentless rock and roll onslaught.
Next up is “Electricide,” an incendiary blast of punk-infused garage mayhem that eventually descends into a gritty, fuzz-soaked riff extravaganza, reminiscent of the legendary Ron Asheton’s best work. And speaking of iconic guitarists, it’s not hard to imagine that Sizemore and Menashe found inspiration in ZZ Top’s Billy Gibbons, particularly the riff from “Precious And Grace” off 1973’s “Tres Hombres,” as “Syster System” bears a striking resemblance. However, “Syster System” takes a far weirder turn, evolving into a faster-paced, saxophone-infused freak-out before returning to that Gibbons-esque riff.
In a change of pace, “Weird Dog” injects a dose of funk into the mix, featuring an amped-up, sax-driven, stop-and-start garage punk burner, which stands as one of the album’s many highlights. The mood then shifts to a more relaxed vibe with “Doom Broom,” a quirky and funky track infused with greasy riffs and complemented by melodious vocals.
One of the standout tracks, “Futurephobic,” is a delightful fusion of New York punk legend Alan Vega’s synth-driven Suicide and the eccentric rock and roll riffage of The Butthole Surfers’ Paul Leary. This song is both captivating and bizarre, with its unstoppable riff burrowing deep into the listener’s consciousness.
The penultimate track, “Mild Davis,” pays homage to Miles Davis’ early ’70s improvisational, funk-psych-freakouts, but with a unique twist as Sizemore and Menashe infuse it with their signature garage-psych riffage and shredding, making it a distinctive creation.
The album concludes with “Political Cannibalism,” a track brimming with garage-funk rhythms, trippy synth embellishments, and captivating vocal performances. It’s worth noting the stellar rhythm section provided by bassist Nikki Pickle and new drummer Nick Aguilar, who anchor the album’s sonic explorations.
In sum, “Data Doom” is an absolute triumph in the realms of garage rock, heavy psych, and rock and roll. It seamlessly blends weirdness with funky rhythms, melodic vocals, and exceptional, gritty guitar tones. This album invites repeated listening and is sure to claim a top spot on year-end lists. To put it simply, “Data Doom” is a resounding success and comes highly recommended.
Ground Ears Magazine 
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