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Electric Six - Flashy
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| Allmusic |
| Electric Six's fifth album kicks off with the brassy, Latin-tinged "Gay Bar Part Two," which has absolutely nothing to do with the original "Gay Bar" but everything to do with Dick Valentine and company's finely honed sense of the ridiculous. Harking back to one of their Fire hits with this songtitle was intended as a shameless marketing ploy, but Flashy feels like a shout-out to the band's first album in other ways: the band dials down the disco-rock of albums like Switzerland and I Shall Exterminate Everything Around Me That Restricts Me from Being the Master in favor of the gloriously bombastic hard rock-meets-new wave of Fire's album tracks. "Lovers," with its squealing guitar solos and fist-pumping "yeah!" backing vocals, could easily fit into a block of '80s rock programming, and the power ballad "Heavy Woman" boasts a fittingly big bassline and plenty of cowbell. Flashy also recalls Fire in that it's a little uneven. The best songs deliver all of the theatrical savoir faire Electric Six is known for: "Dirty Ball" is just as nasty and funky as its title, bouncing along on an irresistible drum breakdown; on "Formula 409," Valentine sings about clean kitchens and Middle Eastern affairs while guitars chug and saxophones wail; and "Graphic Designer" deserves a mention just for rhyming the famous art and design institute Pratt with "where it's at." Other songs just aren't as immediately gripping -- even though "We Were Witchy Witchy White Women" is about lesbian witches, it isn't especially catchy. Likewise, "Your Heat Is Rising" fails to connect despite its sizzling synths, massive guitars, and over-the-top falsetto vocals. More often than not, though, Flashy is lots of cleverly dumb fun, with songs like "Flashy Man" -- which boasts the choice put-down "he's the Xbox to your Atari" -- and the Jan Hammer-esque synth rock of "Transatlantic Flight" keeping it deliciously unclear if Electric Six are the highest of the lowbrow or the lowest of the highbrow....full text |
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| Spin |
| Electric Six’s fifth album may begin with "Gay Bar Part Two," but the sardonic sextet are only parodying casual fans’ desire for a sequel to their flukey 2003 debut hit, Fire. Flashy expands on the themes of the group’s more recent efforts, delving into the excesses and vacuous nihilism of a post-TMZ America. Much of the record satirizes plastic surgery and oversexed macho men, but despite the ironic humor, there’s a compassion in the music that’s unexpected coming from a band best known for a Taco Bell–referencing novelty hit....full text |
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| Blender |
| Forget Saw V, Grand Theft Auto IV or “The Unforgiven III.” Feast your ears on “Gay Bar Part Two,” a raucous, sleazy, horn-skronking reprise of the classiest song on Electric Six’s 2003 debut. Reborn, the track leads off the sardonic sextet’s fifth album of apocalyptic buffoonery shot through with metal, new wave and disco, all of it hilarious, none of it a joke. Lest the lurid occult-lesbian-fantasy “We Were Witchy Witchy White Women” or the crass single-entendre fiasco “Dirty Ball” give you the wrong idea, sly political subversion abounds here: “Face Cuts” does not advocate rhinoplasty, “Heavy Woman” does not advocate obesity and “Watching Evil Empires Fall Apart” is probably not about North Korea. It’s a beguiling mash-up of the Stooges and the Three Stooges, and Electric Six deserve extra credit for rhyming trash can with Tajikistan....full text |
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