SOMETHING'S GOT TO GIVE - The Come n' Go (Voodoo Rhythm)
Guitars are the stars of this long-player from teenage Swiss rock and roll enthusiasts The Come n' Go. The guitars push and pull each other through the dense mix, sounding like they're stretched tighter than a Sunday school teacher's dick on his honeymoon.

Past recordings have shown The Come n' Go stooping too low in the fidelity stakes with the distortion factor not always working in their factor. This time out, they traveled to someone's house in Memphis to do their thing - and got it just right.

The recent core line-up of four has been expanded to six with bass and keyboards added for this recording. Don't expect anything pretty. The sound's still earthy and sometimes brutal, but you can now hear all the moving parts.

The 11 songs come barreling out of the soundscape like lemmings off a cliff, with skittish rhythms and occasional clumps of harmonica recalling an impolite version of '60s bands like The Thanes and the Missing Links, as well as the more contemporary Gories and the Oblivians, who are the most overt influences.

When the Come n' Go sound hits its peak on the rollicking "No Blues" or the repeating outro of "Heart's Desires", you will believe.

Brevity's the order of the day and no song exceeds three-and-a-half minutes with the whole package clocking in at under 30. I can't imagine too many complaints.

The Swiss are famous for clocks. If this album was a watch, it'd be a trashed wind-up Timex with a broken face. In other words, it works fine and has lots of character. - The Barman


RHYTHM N' BLOOD - The Come n' Go (Voodoo Rhythm)
"Fuck Pro-Tools, let's go Lo-Fi" could be the catchcry of Swiss noisemakers The Come n' Go, whose debut on Beat Man's Voodoo Rhythm equals anything else released in 2003 for all-needles-in-the-red rawness. Only The Mummies' posthumous compilation on Estrus, and some of the 45s rolling off the Wild Eagle production line in Brisbane, come anywhere close.

It's a sign of the times, this movement back to distortion, analogue and valve amps, and Voodoo Rhythm is leading the charge. The way label boss Beat Man tells it, he stumbled across these four young rock 'n' roll hooligans in some Swiss dive, signed 'em up and sent them into a hole in the wall with Robert Butler (ex-The Get Lost, Miracle Workers) at the controls of some very old equipment, occasionally contributing occasional slide guitar. The result is a dozen tracks referencing the likes of the Cramps and the Oblivians, only with the pace upped a notch or three. Actually, the Cramps are not a bad comparison 'cos a track like "The Diep" sure sounds like "Subterannean Jungle"-era Luxx and Co.

But it's not all Cramped. "Intro" (which naturally is sequenced in the middle of the disc) is a weird '60s brew of indicepherable keening, while "Come and Go" gives full reign to Butler's rough-house slide in a scuzzy blues way. Speaking of blues, the opening cut is a dirty cover of Jimmy Reed's "Baby What's Wrong" that's actually less muddy than the abomination Neil Young and Crazy Horse had the temerity to release a few albums ago.

It doesn't get much rawer than the distorted guitar, mid-section cacophony of "8 Liters of Blood" or as pissed off as "Shave My Soul" which sounds like a slaughterhouse. Singer Alain Burrito has a vocal range somewhere between a growl, a warble and a shriek which suits this space the Come n' Go are occupying just fine. It doesn't matter what he's singing as much as the way he's singing, so it might as well be the Bern phone book he's reciting.

These songs don't rock so much as assault you with their bass-less drone and Marina's insistent timekeeping. Ineptness as an art. For the damaged of hearing and the damaged at heart, or maybe just those who want to forget slickness. - The Barman