by Eric Davidson

The Lost Sounds

Fri Aug 1

Blackbird

Call it avant garage or electro-spazz, or just call it shit. The Lost Sounds don't care. With a drunk punk past, they just shred nerves and ears with a truly spooked violence; by extension, they've created one of the most forward-peering sounds of any modern guitar-based band, pushing idiosyncratic attitude in a world that prefers the familiar. Yet on they trudge as that doomed honest entity--the band that just don't fit.

Singer/guitarist/keyboardist Jay Lindsey served time in the Retards, a band of destructive snots who released a few slabs of raw garage punk in the late '90s, and spent their live shows slicing themselves and their audience members with shards of the empty beer bottles. Lindsey explains, "With the Lost Sounds, instead of just physical violence, I decided to try to make the music itself more violent and challenging. I hate to use the word 'artist' because there's this pretentiousness they want to peg you with if you say that. But if you stick with this and work on your art, that's what you are: an artist. The cutting yourself up stuff becomes like pro wrestling."

The Lost Sounds have found a way out of the garage-shock confines into a new place of neo-nuclear panic splashed over beat-up analog keyboards, girl/guy screeching like the B52s slurping Drano, the fiercest remnants of punk's teen flailing, and some hot flashes of metal flourish. Some of their lyrics, wrought with crumbling, technology-enslaved culture and demonic graveyard creatures might seem quite lovely to a struggling, future shock sci-fi writer. "I never write about girlfriend/boyfriend stuff," Lindsey notes. "You look at the state of the world, and it's like, who cares about your girlfriend! Even lots of so-called 'edgy' bands that are supposed to be so wild, and they're up there whining about the same old relationship shit. To me that's the easiest way to get someone to relate to you."