CMJ JACKPOT
LLAMASAURUS: Llamasaurus
March 29, 1991
Though the `60s never really went away, nostalgia has given way to a full-blown Happening Scene that threatens to permeate all aspects of `90s living, from paper dresses to Posies to someone
using the word "Dionysian" for the millionth time this month. Amongst the hoopla and outer trappings of grooviness, there's been a good lot of bands that tuned to the `60s inner vibe and channeled
into the spirit of freedom, experimentation and feedback salvation. Llamasaurus, mainly an outlet for axe-monster Barry Walker, filters a psychedelic guitar meltdown through winding tunnels of the
past 10 years of eccentric pop and flailing hair. Aided by pals and Futures peers Jim Allen and Ed Graham of the Pranksters, the bi-guitar, lazy day-glo pulsations elevate ballads (that sound like
Opal once in awhile and Rain Parade usually) and rockers (that sound like the Flaming Lips) alike, drenching impeccable pop instincts in a liquid slide wash that compares to the Outskirts Of Infinity's
wilder moments. Like the Smashing Pumpkins, the band is strong enough to go full tilt on distortion toys without clouding up a double whammy of songwriting and playing know-how, and out of six
songs, five are fully levitational (esp. "Pound" and "Remember Me?").
- Deborah Orr
OPTION
LLAMASAURUS: Despite an overall sound quality so flat it borders on monaural, this debut from a Long Island trio will grow on you. The first few songs come across as undistinguished
powerchord slash-fuzzpop (is it too early to use the term “post-Superchunk”?) Then things start to pick up steam as the amps get turned down and the attention turns toward crisp strumming
and antennaed wah-wah leads. In particular the ballad “Angela” offers folkish psychedelia, which in turn leads into the spacey twin-guitar tangents of “Remember Me.” Both if listened to
closely, reveal a solid knack for making dynamics and production tricks (especially backwards and phased treatments) work in a limited recording budget. In one sense, Llamasaurus has
latched onto some of the same sonic ideals that has made the likes of Bevis Frond so dear to our stir-fried hearts; the singing isn’t perfect, but it’s honest and conveys the vocalist’s intent
(frequently matters of the internal dialogue), and the guitarist refrains from excess, but isn’t reluctant to traipse down the mushroom path at the drop of a mad hatters derby.
--- Fred Mills |
BOSTON ROCK #123 June21
LLAMASAURUS (self-produced CD)
A Long Island three-piece that persists in reminding me of Husker Du on
Prozac. There are perhaps more acoustic guitars in the mix, and solo parts that
Sound like fiddle licks (one tasty backwards bit). They have an interesting sense of
Humor, as evidenced in titles like “Uncle Bob’s Liquid Tuna Farm Stand”
(about the weather, and the odds of being struck by lightning) and “Selfish Song.”
Inspirational verse: “I was a sea captain for one day/When I drove my car into the river.”
THE SPLATTER EFFECT
LLAMASAURUS - Go Round 7”
A loose but not unstructured trio from god knows where with a quite enjoyable
radio-ready hybrid of Husker Du/Dino Jr. chops and topped off with singer Barry’s non-stressful
mid-western drawl. Not a bad A-side - a song about buying drinks making friends and getting
schnockerd – but the B-side’s the winner: “That’s All” is three minutes of stupendously affable
homegrown power pop with a hook you can hang your winter coat on. Kind of a cross between
Mascis and Material Issue, but whatever the comparison , I definitely get the feeling that this is
going to get pulled out for a listen at least every couple of months or so.
A crowd pleaser.
- Dennis Sweeney.
the GAVIN REPORT
LLAMASAURUS - With album cover art that suggests, say, Danzig, I half expected some sort of evil metallic noise to arise from this Llamasaurus creature.
Well, it turns out that the possessed mutant llama coverboy is instead a spokesmodel for some good grunge guitarwork. This trio mixes ‘70s power rock,
psychadelia, and post-post-modernist anti-establishment attitude to create a sound that’s not altogether like any of the aforementioned. The disc kicks off
with the catchy “You Don’t Love Me”, which vocalist Barry Walker tears into with a no-nonsense style that is both confident and vulnerable. “I’ve Been” is my
favorite—it’s a simple song(“I’ve been drinking/I’ve been thinking”)—but it’s unaffectedly profound as well. Definitely listen to “Changed My Mind” and “Remember Me”
for a no frills, forthright escapist journey, ‘cause there ain’t no Llamasaurus rides at the petting zoo.
BRETT DURAND ATWOOD
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INTRO
AUSGABE 21
(Februar 1995)
Erschienen am 01.02.1995
Was da auf dem kanadischen "Shake"-Label sympathisch dahergepoltert kommt, ist ein grungemäßiges Fabelwesen namens LLAMASAURUS. Da die Infos nicht viel hergeben, kann nur mit Vergleichen aufgewartet werden. Also: Zunächst mal klingt alles sehr weich und gleichzeitig doch holprig. Die Produktion ist hausbacken/zünftig, aber durchaus liebreizend. Aus dem allgemeinen Gitarrenmatsch, der teppichartig daherschrammelt, löst sich mit der Zeit eine markante J. Mascis-ähnliche Dudelgitarre, die ständig präsent, aber niemals dominant ist. Mit DINOSAUR JR. gemeinsam hat der LLAMASAURUS außer der Gattung auch, daß der Gesang offensichtlich weniger wichtig ist als die gitarrische Spielfreude. Interessante Songstrukturen mit raffinierten Hooklines ("Mary Jane"), netten Riffs ("Pollynose") oder überraschenden Refrains und Impro-Passagen ("Daria") sorgen für Abwechslung, stehen jedoch im Widerspruch zum erwähnt nachlässigen, z. T. destruktiv-simplen Gesang ohne herausstechende Charakteristika. Obwohl das seinen spröden Charme hat, dürfte dieser Umstand einen richtig coolen Megastar-Status zunächst erfolgreich verhindern. Sparsame Effekte mit Flanger, Wah Wah oder E-Bow setzen Akzente und verleihen dem Ganzen gleichzeitig ein angenehmes 60s Feeling. Die Songs sind zwar harmonisch, lassen aber, zumindest bei den langsamen Stücken, richtige Melodien (zum Mitsingen) vermissen. PAVEMENT, NIRVANA und die LEMONHEADS sind dem LLAMASAURUS offensichtlich nicht unbekannt, ernsthaft abgekupfert wird indes jedoch nicht. Jedenfalls bleibt genügend Eigenständigkeit, musikalischer Witz und Ideenreichtum erhalten, um dem Projekt durchaus nicht aussichtslos eine moderat erfolgreiche Zukunft wünschen zu dürfen.
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content is property of Llamasaurus copyright1990-2008 by LLAMASAURUS
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