1 out of 10: Rock and roll never sounded so dull
Three major chords on a Gibson gold top still haven’t gotten old. Amped up to eleven, the pummeling sound of rollicking guitars remains a primal joy, the riff still the lynchpin of bonerattling rock-and-roll abandon.
No doubt Endless Boogie, who named themselves after a John Lee Hooker record, frequently intoxicate themselves on rock’s sonic ambrosia. Formed in New York, the foursome have kept stars well away from their eyes and devoted themselves purely to swampy-blues riff construction, completely unconcerned with whatever might be hip and only bothering to grace a stage when invited.
Such devotion, which would ordinarily hold a band in good stead, has nonetheless come at the expense of considering the listening public and writing anything resembling a song. Full House Head is seventy-seven minutes of aimless riffage and teenage-boy-in-a-bedroom noodling broken up into eight “songs”, the music’s lacklustre repetitiveness inducing boredom rather than hypnotising. Every now and again, the monotony is interrupted by Paul Major’s inconsequential rasping; every now and again, the monotony doesn’t sound so bad in comparison. Hardly anything has changed since their first album of two years ago, and one would think that a band so lacking in ambition will never change their ways.
All in all, Endless Boogie are like the bird that wishes the air away thinking it a hindrance to flying faster and higher, only to discover, tragically, that without air there is no flight. Divorced of any kind of structure, divorced of any kind of build up or tension, Full House Head relentlessly meanders, an album lost on a limitless plain, no heights, no troughs — no nothing really.