Reviews
The Hamicks-Self Titled LP-(2000 Creepy Drifter)
Splendid E-Zine
Hammocks are great to lie in, while the Hamicks are great to listen to--or you could combine the two for maximum effect.  After all, the songs on this self-titled release are enough to put you on your back.  This hard charging Austin, Tx group plays gritty 60s garage rock shot through with a melodic new wave sensibility.  This self-titled LP is the bands first proper album; it follows a string of EPs and seven-inches released on several different lables, including the much beloved Framed Records.  Rockabilly-inspired romps like "Poop in The Pants and "Sweet Little Attention Getter" snarl with dirge-like guitars and gruff vocals, while Side B opener "Ajax" has a disjointed punky feel reminiscent of early Ramones.  How can  you go wrong with eight songs in less than 25 minutes?  You can't--which is why the Hamicks, self-titled debut will undoubtedly garner many repeat performances on your hi-fi.  Whether you choose to stand up or lie down is completely up to you-  jj
Flipside
The Hamicks are a band originally hailing from Austin who have a sound that is part Devo, part '60's trash and part sundamaged Texas punk.  I imagine that this wouldn't sound like a good combination to many people, but believe me, these guys can tear shit up.  At times, the singer reminds me of a young Jack Brewer and at others like a pissed-off 16-year-old after one too many microdot hits.  This isn't just good.  This is a must if you have any self-respect
- Jimmy Alvarado, Flipside issue #122
Maximum Rock N Roll
I know this is crazy, but this is what i imagine FLIPPER would have sounded like if they had keyboards and weren't on heroin.  That is not an insult.  I loved FLIPPER and I love this band.  I just don't know quite how to describe them.  They got guitars, the got keyboards, the got arty lyrics, just get the fuckin' record. DP
Also ....
Maximum Rock N Roll #200
One of Mark Murrmann' s Top 10 Picks 
VENTRILOQUIST-CONARTIST CD-EP (1997 - FRAMED)
SPLENDID E-ZINE
Part of me says that The Hamicks most remind me of a late 60's hard soft band (maybe they should rename
themselves Iron Hamicks!) while part of me says late 70s goth is the ticket (think Bauhaus' "Of Lillies and Remains").
Internal polarization aside, Ventriloquist Conartist is one of the more unique albums I've heard in a while. Clocking in at
18:19, it's a short and sweet grouping of dense, analog-processed guitars, fuzzy MC5 basslines, and, most charming
of all, lispy vocalist Bob Taylor, whose quirky lyrical delivery is something you won't hear anywhere else. Eerily campy,
The Hamicks offer a down-to-earth alternative to the slick cookie-cutter stuff the majors are too often ramming down
our throats. - Noah Wane
THE DAILY TEXAN
You have to admait, there's something altogether unnatural about ventriloquists and their dummies. Hand jammed up
the puppet, having conversations with themselves - it's all unnerving. How apropos, then, that The Hamicks have
chosen this theme for their debut album Ventriloquist - Conartist. Featuring the performer and his puppet on the cover
and the song, "The Ventriloquist," The Hamicks happily serve up damaged tunes on this criminally short offering.
Take early Devo, and I mean the screwed up bedroom stuff before the record deal, filter that through New Wave and
the car crash of post-punk, then float stark vocals lyrically wary of emotions on top, and you've got a writer's lame
attempt at The Hamicks.
In other words, pleasant pop with sparkiling vocals doesn't really enter the picture. Singer Bob Taylor is one of those
off-key, but compelling singers. Shades of Johnny Lydon, Jello Biafra, Mark E. Smith and local boy Randy "Biscuit"
Turner show in his voice and complement the twisted music in counterpoint. It's a style that's somewhat sordid and
ugly, but in a really beautiful way.
"The Ventriloquist" paints unappealing pictures with lines like, "Questions so plain they drive the puppets
insane\Forcing fat dreams of brainwashing you and I get broken," while sinuous music squirms around behind.
The second track shows their devolution roots, featuring "Mongoloid's" brainier cousin "Statistic Man" bouncing along
with fuel to burn. A "(Slight Return)" version of the song also closes the album stripped of everything but vocals and
keyboards.
"The Poles Have Got Soul" decries Polish jokes and celebrates their drinking. Buzzing bass, frentic guitar and
ubiquitous keyboard provide accompniment. Imagine a nasty old lady stripper really gettin' down, and you've got the
visuals for "Enter Our Countenance," a keyboard-driven moody instrumental.
Sample The Hamicks live when they play tonight at the Atomic Cafe, celebrating the release of their record and an
additional 7-inch. The Softs and the Stick Wigglies open. - John St. Denis
"DOT TO DOT" b/w "X-RAY EYES" (1996 - BIG JERK)
MAXIMUM ROCKNROLL
Rumor has it there's not a heck of a lot to do in Austin so that's why there are so many cool bands coming out. A
weird blend of THEE HEADCOATS, new wave and that stuff they call horror-core. Keyboards and reverb on
everything especially the vocals. I want more. - CK
APATHY TREND #20
Impressive packaging and two solid, well-produced cuts from new-wave revisionists the Hamicks make this 7" a
cut-above. The real, honest-to-god gatefold sleeve with excellent graphics - whoever did the design should get a
fuckin' medal - is perfect, and the beautiful color-vinyl provides the veritable icing on the cake. But, of course, the
music inside is what really counts, and while I'm not familiar enough with the Hamicks other material to say whether or
not these two songs are necissarily their best, I most definitely liked what I heard. Tense, edgy vocals, and great,
cheezy, new-wavey keyboards are the obvious hallmarks of the Hamicks unique sound, but the rich, full-bodied
low-end and powerful drumming were an extra-added bonus. A little more expensive than your average local
punk-rock 7" - but well worth it.
"OXYMORONS" b/w "NETWORKS"
(1996 - SCOOCH POOCH)
10 THINGS JESUS WANTS YOU TO KNOW
Another keeper from Scooch Pooch. Hamicks sorta harken back to the early days of the Brittish post punk thang,
perhaps reminiscent of 999 or even the first PIL record. Usually this shit bores the snot out of me (let's face it, Brittish
punk lost it pretty quick after the first couple waves of bands), but for some reason I find myself playing this quite a bit
(well, when I can manage to pry the new Chixdiggit LP off my turntable, that is). Get it. - Ken
ROCKS OFF
Pretty strange music out of Austin, TX, that sounds like really unpolished Devo from England. The A side is kinda
quirky and the B side speeds along at an unrelenting pace. It comes off weird, yet with that breath of fresh air feel
about it. Cool single. - - MD
ERASE AND START FROM SCRATCH  (1993 - UNCLEAN)
THE LIST
Trendmongers take note take note: the garage revival is now officially passe.
Yep, The Hamicks are riding high on the crest of the burgeoning minimalist new-wave revival and I, for one, will enjoy
a refresher course until the dreaded band-wagon syndrome takes hold.
The Hamicks are pure-80's dork rock, undistorted, unpretentious, and totally uncool. To top it off, the record was
produced to make it sound like it was cut in a suburban garage on a 4-track one Sunday afternoon. The only break in
the guise comes from Ken Dannelley's timeless, hit-everything-on-the-plate percussion style. Etch-a-Sketch proves
that The Hamicks have done their history homework. I always knew someone was buying all those Judy's albums.
Anyone who did time in a high school teen rock combo and still didn't get the girl should appreciate their humorous,
irony-laced tales of identity crisis, jacking off and phone sex. If you don't like The Hamicks, you're probably one of the
"beautiful people" who made them the way they are, so suffer. - Greg Beets
YET ANOTHER FANZINE
Nobody could possibly top Greg Beets' review of this, so I won't try. Dork music of the highest order; if DEVO was to
Akron then the Hamicks are to Wapokanetta. Mine came with crayons. Bow in the presence of the lord. - Craig Koon
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