As far as people who dig The Giraffes go, I’m a pretty sucky fan. I was about two years late to the party on the Brooklyn rockers Dave Catching-produced meisterwerk, Prime Motivator, and I didn’t make it out earlier this year when singer Aaron Lazar played his last show with the band, before bowing out (gracefully, I assume) due to health reasons.

Nonetheless, it’s with nerdy aplomb that I post the following new album news off the PR wire:

Soldiering forth in the wake of the departure of singer Aaron Lazar, The Giraffes announce the release of their latest full-length album The Giraffes Ruled, their second release on Madison, WI-based record label Crustacean Records.

Simply put, The Giraffes Ruled is the band’s epic, their most audacious disc to date.  Dating back to 2008, Ruled was conceived as a grand metaphor for something once mighty slowly dying – be it a country, a love or even a band – suffocating under the weight of lies (“The Bed”), avarice (“The Borders”), broken promises (“The Counter”) and unmet expectations (“The City”).  Fans of the band’s shout-along choruses and brutal rhythms, Lazar’s gravelly croon and razor-sharp wit, and Damien Paris‘ six-string pyrotechnics will find this to be their greatest, most coherent work. Newcomers will have the perfect (and ample) introduction to the band in all their volatile glory.

The Giraffes Ruled was produced by Joel Hamilton, and recorded and mixed at his Brooklyn studios the Bunker and the famous Studio G.

One month ago today (total coincidence), I posted a review of the new Giraffes live album, Show, on Crustacean Records. In case you’re too lazy to click that link, the gist of it was, “Hot damn, I really need to hear the last Giraffes studio album.” Well now I have, and I was right. I did need to hear this record.

Prime Motivator has more in common with Queens of the Stone Age‘s Songs for the Deaf than the color red and production from Dave Catching at Rancho de la Luna in California. The Brooklyn-based Giraffes (and I’ll say again I don’t know what the hell they’re doing in Brooklyn) affect a similar kind of playfulness in their songs. Thinking of a track like “Allergic to Magnets” or the more stoner-ized “Honest Men,” the band is notably tight, but there’s a looseness, an off-the-cuff feel to the songs that just can’t be faked. Vocalist Aaron Lazar‘s croon doesn’t hurt either, either for the comparison or in general.

The absolute highlight, though, is “Medicaid Benefit Appliqué,” track six of the total 13. At just under seven minutes, it’s the longest song on Prime Motivator, but man, if you’ve ever enjoyed the chorus of any song ever, you need to hear this track. It’s immaculate. It slows the pace of the record just when it needs it, has verses that seem to be built around Andrew Totolos crash cymbal, and adds some rock crunch at precisely the right time. If sat down and mapped out the entirety of Prime Motivator and tried to recreate the feel of the song, you wouldn’t be able to do it. This shit needs to just happen. Gorgeous.

But again, get this band out of Brooklyn. Their unabashed affection for what they do runs directly in contrast to the hipper-than-thou indie/irono cock rock that seems to seep from that borough, and their willingness to be heavy, catchy (beyond belief) and still pop-oriented and accessible makes them a better fit for an anything goes town like Chicago or even the muck of Los Angeles, which I’ve no doubt that if they were given the proper opportunity, The Giraffes would be able to rise above. Prime Motivator isn’t even necessarily stoner, it’s just a killer rock record that listening to now, I regret the nearly two full years I haven’t had with it. No time like this time to make up for lost time.

Like a lot of people, I first encountered Brooklyn rockers The Giraffes when they released their self-titled album in 2005 on Razor & Tie. To be honest, I didn’t think much of them at the time. Straightforward rock that was decent, good enough songwriting. I kept the album but never really went back to it, never kept up with the band. Out of the blue, half a decade later, the live album Show, released by Wisconsin’s Crustacean Records (celebrating their 15th year), drops on my doorstep and I’m wondering what the hell I’ve let slip my grasp all this time. Not only did Dave Catching – he wasn’t saying goodnight at the end of Queens of the Stone Age’s Songs for the Deaf, he was just saying — produce their last album, 2008’s Prime Motivator, with Joel Hamilton mixing, but more importantly, the songs on show are fucking killer, professional grade rock with attitude to spare. I feel a bit the fool.

The CD/DVD Show, with one disc adorably labeled “Earhole” and one labeled “Eyehole,” compiles 12 songs recorded at Union Pool in Brooklyn last year, playing tracks off the aforementioned Prime Motivator, the self-titled and beyond, igniting a raucous melee the likes of which few bands could. They kill, and as I listen/watch (let’s be honest, mostly listen), I can only wonder what Brooklyn does with this band. I mean, they’re actually rocking, and they’re actually good. In a borough whose music scene is populated by shitbird 20-year-old hipsters playing jagged math rock like they invented it, a band like The Giraffes must stand out like the most kickass herpes ever. On Show, the songwriting is tight, the performances are tight, the band is taking names and there’s no sense of self-conscious irony, no smugness to it. I watched the DVD and their pants aren’t even that tight! Hey guys, you might want to consider moving.

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