| | Scarling So Long, Scarecrow CD Scarling Discography of CDs
 (4 Customer Reviews)
Audio Mixers: John Vestman; Christian Hejnal; Richard Mouser.
Recording information: Figment Sounds; The Committee To Keep Music Evil Headquarters.
Photographers: Leah Hardstark; Piper Ferguson. Scarling So Long, Scarecrow Songs | 1. | Hello London |
| 2. | City Noise |
| 3. | Broken Record |
| 4. | (Northbound On) Cahuenga |
| 5. | Teenage Party Letdown |
| 6. | Bummer |
| 7. | Manorexic |
| 8. | In the Pretend World |
| 9. | Staped to the Mattress |
| 10. | Like a Killer |
| 11. | Caribou and Cake |
| 12. | We Are the Music Makers |
| 13. | So Long, Scarecrow |
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So Long, Scarecrow Music Review Average Rating: (3.3 out of 5 stars)   Very Disappointed
Upon purchasing Scarling "So Long, Scarecrow", I was very excited to see Jessicka's new band, and hopefully a great new style. You have to understand, in no way did I expect Scarling to resemble Jack Off Jill's amazing, raspy, pissed off lyrics, but I have to say, I did expect something more than what I received. The sound is so monotone, almost hollow-like. Everything sounds exactly the same, so much that when the songs change, if I'm not looking at the display, I don't always realize that a different song has begun!! The instruments absolutely over-power Jessicka's very "little-girl" sounding voice, so I need to review the lyrics to even understand what is being sung, which I haven't gotten around to yet, so I can't comment on the lyrical content as of yet. All I can say is that I'm very disappointed with "So Long, Scarecrow", and expected much better from a band called 'Scarling'... hopefully they may improve in their next release.
Submitted by Diabolika (Philadelphia, PA, USA) 
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 [x]Excellent Album[x]
As 'Sweet Heart Dealer' was one of my favourite Albums i predicted this would be just as good, i was so wrong it was MUCH better!! An excellent use of lyrics and the way Jessicka and the band connected on some songs is just what i had dreamed of.
Submitted by Greg (Auckland, AU, NZ)
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wow!
After recovering from the buzzsaw guitar wash of "Sweet Heart Dealer" we get nearly two years later this surprise of an album from these LA darlings. Yes, the spectre of MBV does loom over the guitar work but the sound is cleaner (though still raw in its urgency) thereby revealing the melodic flow. The oversll production reveals the bass to hold the center of songs so that thte guitars can wash over one another instead of coalescing into a dissonant buzz. They hum instead of roaring. And the songs? Still littered with moments of disappointment, bleak and stark relationships and hopelessness but swirling around an amalgam of sound that's part Cure, MBV, Jack Off Jill, Joy Division and Jesus and Mary Chain. Best moments are City Noise, Bummer (neat chorus and hook), Manorexic, Stapled to the Mattress and the title tune. This is music that will rip your soul from its blood soaked foundations and having you thank them for it.
Submitted by sweethartdealer (SF CA)
Was This Review Helpful? Yes No  Same band??
Wow..what can i say? i couldn't make it through the first song without noticing the huge difference. i don't think it'd be an exaggeration when i say that it sounds like just about every other indie band out there right now..(yuck). i think i'll stick to my sweet heart dealer album.
Submitted by Alyssa (Madison, WI, USA)
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The Columbus, OH trio's rather cheeky name flies in the face of songs that serially examine the concept of aging in a punky band like the one in which they play. It that sense and others, Two Cow Garage mirrors the Drive-By Truckers, whose intelligent lyrics likewise tackle serious subjects behind a humorous name. Little has changed in Garage's basic sound on their oddly unimaginatively titled third album III. Horns bolster one song, keyboards a few others, Slobberbone/Drams frontman Brent Best co-produces four tracks and adds guitar on one. It's a tough, tightly rocking sound that is less influenced by country than in the past, especially on the horn enhanced "Mediocre." The experimental tendencies of "Camaro," a song that starts and ends with the tuning of a radio (a sample of the Who's "Won't Get Fooled Again" is particularly startling), brings the ragged C&W back, as singer Micah Schnabel's torn voice rips into the ballad-like tone of Steve Earle after a rough night. The album kicks off with roaring, garagey rockers, but turns introspective, more tranquil, but no less ...
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