Coming from Baltimore gives Clay Davis the right to name themselves after the same corrupt politician created in The Wire since they are witness to some of the city’s sad state of affair depicted in the show. In fact, titles like Construct of ruin, Vacant block or Hooker money implies that the band’s lyrical content is influenced by their city and that their name is not an ironic choice for a two piece band composed with only white guys.
Much like Weekend Nachos on their early days, Clay Davis has only two members and not unlike Weekend Nachos their music falls under the power violence flag with its mix of barbaric blasting, gruff vocals and feedback fueled riffs. At this point it’s important to precise that the band does not use a guitar but only a bass. However, contrary to Water Torture who uses the same instruments, the results is not as influenced by harsh noise and Man is the Bastard. B.C.G.C.‘s recording is certainly rough and discordant but not to the point of crossing over with industrial music or white noise.
B.C.G.C. pulls the same trick as early Weekend Nachos but with a fuller sound and a better mixing which gives the album a higher level of aggression while retaining some clarity. With ten songs in ten minutes. It is difficult to get a good impression of what the band is capable of in such a short time but this release is still very enjoyable and remarkable as proven by two label’s interest in it with Fake Crab Records releasing a 7″ version and Grimoire Records taking care of the tape version. Hopefully other releases will come soon from this duo and we will appreciate a longer album. For now, fans of power violence should watch this space and get ready for some more angrier noise from these two guys.