Bodega are here to offend – or would be if they could bring themselves to take any of their targets seriously.
Sarcasm drips from every pore of their debut Endless Scroll; it would appear that, for Bodega, subtlety is for fools. In fact, the record is so bitingly sarcastic throughout that it’s almost confrontational. However, this level of arch, of knowing humour, makes quite an impression if you’re willing to get on board and take the journey with New York’s newest pseudo brats.
Opener How Did This Happen? is aggressive, brattish, silly (but then what isn’t on Endless Scroll) and yet, under all this, is actually very pointed, immediate and necessary; for Bodega, some things need to be said. Bodega Birth, on the other hand, is slurry and lived-in, the now laconic instrumentalism and disinterested vocals a mirror to the absurdities of the modern life they seem to be scorning.
Name Escape then switches gear somewhat with elements of Parquet Courts’ abrasive intellectualism, Louis XIV’s sleazy slur and !!!’s rhythmical disco dynamics. One of the standouts, Boxes For The Move, is a distressingly hypnotic but very raw and real paean to love lost. While Bodega never lose their New York audacity and tone, the song has
something of the utter abandon, looseness and hypnotic squirm of Their Satanic Majesties Second
Request-era Brian Jonestown Massacre.
Keeping with the preponderance for the sleazier side of rock means a track like Can’t Knock The Hustle was almost inevitable. A huge, backstreet glam stomp, it’s full of sleaze, slosh and sloth. Or more succinctly, it’s undulating and unstoppable. Gyrate is a little more conventional and a little lighter, but is still very fun and concise. It’s like Bodega are merely taking a breath before unleashing Jack In Titanic. Possibly the silliest song on the record but at the same time, maybe the best here too. Rolling, driving and diverting, the very meaning of
irreverence.
After such a moment, they very wisely play it a little straighter for a moment or two. Margot, Bookmarks and Warhol are all interesting and well constructed but don’t challenge the senses in quite the same way. Then it hits. Charlie may be light, may even be kind of twee, but it’s delicious. It’s hard to define why it’s so good – it might be the summery, hazy, up-tempo swing, or how this all contrasts with its distinctly grim, down-tempo lyrics.
Then saunters in Williamsburg Bridge’s incredible bass riff. The sassy bass build and hypnotic vocals are genuinely fantastic, a poignant and powerful moment that really repays repeated listens. The song’s subtlety is really just a mask for something potent and special. It’s also the perfect build into closer Truth Is Not Punishment which is both the perfect track and message to sign off Endless Scroll. Bodega have had a blast throughout, getting a lot off their chests, and the only thing more fun than doing that is listening to the results.
Endless Scroll is a snotty, angry, silly, ridiculous record, almost the perfect embodiment of punkish ideals. But the best thing about the album is how, while doing this, it still manages to avoid every punk ideal by actually being passionate, earnest and frank too.
What the band say throughout might be funny, might be a little near the mark, but it’s always honest. And what makes this even more exciting is they speak their truth with utter abandon on an album of intense energy and humour.
Endless Scroll may be risky, but it’s never dull. It may be a little childish, but it’s never lazy. And at times it may be
sarcastic, but it’s never untrue. This is Bodega’s sound, and they mean every word of it, and that only makes every word more exciting to listen to.
And listen you should.