Philadephia-based garage rock duo The Margaret Hooligans have released their much-awaited album Turntable Tribulations. Turntable Tribulations is the follow-up second album from The Margaret Hooligans after their stunning debut LP BoomBox Blasts. The Margaret Hooligans consists of Meg Cratty on the electric ukulele/vocals and Mr. Strontium on the drums/teapot/backup vocals. Turntable Tribulations was produced by Mr. Strontium and all tracks were recorded in the basement of Piety Street Publishing. Jon Huxtable of Smallfish Recordings mixed and mastered the album.
Oh Lord, Hit It begins the album with a roaring bassline and spontaneous beat structure. Its warm fuzzy resonance forms an important building layer of the track. The vocals are enclosed like an amber fossil within the soundscape, bobbing across with a muffled delivery. There’s a whole go-with-the-flow energy emerging from the track. It can be seen in the smooth vocal flows, beat plays, and branching riffs.
Good Morning Micro Man adds to the garage rock goodness with its retro appeal. The vocals are largely reminiscent of 70s rock bands. Even the concept of Micro Man is delightfully abstract and eccentric with its sci-fi, alien art aesthetic. With tsunamic weaves, the riff waves engulf the track, powerful and yet not overwhelming.
Red Rider has a heavy drum influence, that not only sets the rhythm but plays an important role in carving out an intense feeling of regret and resentment. The lyrics paint a story using lavish imagery and metaphors. Its rock and roll showcase is liberating. The use of folk instrumentation within the hard rock canvas reminds us of the experimentation of the 60s rock era.
Fat Tongue sports a rich beat play comprised of a variety of percussion instruments and textures. Around the middle, we see a flooding influx of hard rock riffs and metallic sheens followed by meaty rock melodies that just load the song with a whole new vibe. Pete and Roger have a marching beat and snaking basslines that pay tribute to the vocalist and guitarist from The Who, Roger Daltrey, and Pete Townshend respectively with an anthem-like devotion and transcending energy.
Feedback’s rushing stick clicks, growling basslines, and rebuking vocals erect pillars of hostility against haters and frivolous opinions and feedback. Its punching sarcasm, biting sass and fast-paced beats make up a punk rock canvas that is very excitable. Bippity Boppity is a cynical interpretation of the magic intended by the words. However, that doesn’t mean there’s no miraculous manifestation. The fusion of the vocal style, bitchiness of the lyrics and secondary vocals, hard rock riffs, and flying drums is nothing short of a marvelous revelation.
I’ve Got Something To Say is the penultimate song of the album. Illuminating uninterrupted riffs open the song. They are periodically broken up by chaotic beat structures and whimsical vocals and harmonies. But, it all ultimately comes back to it, building on it and pushing it to ultimate salvation. It’s inescapable and commands majestically. Psycho Diapers is primarily rock song, punctuated by folk beats and mellow vocals.
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Listen to Turntable Tribulations by The Margaret Hooligans here –
