VRGNS – Manimals

Chicago’s VRGNS made a pretty noteworthy splash in the garage punk underground when they released 2009’s Miscarriage (at which point they were known as Virgins). The album received some insider praise for the trio’s catchy but unrestrained fuzz coated pop, but despite favourable reviews, they succumbed to the forgotten flavour of the month category that comes from being a featured weekly stream on one of many culture websites.

Oddly enough, the band’s follow up to their Kiss Of Death Records debut, Manimals, received little comparable fanfare despite being a marked improvement in effort and quality. The album features a newly focused band scaling back on its garage and 80’s influence (Black Flag) in favour of gruff pop-punk circa No Idea Records acts like Gatorface and Riverboat Gamblers. The album bounces along with snarky lyrics (“Hide And Seek”) and killer rhythms (“Righteous Killings”). Their riffs are fairly typical for mid-tempo punk rock (although they add a few notable additions like handclaps on “International Incident”), making them an easy fit for those with virgin ears for VRGNS.

At first glance Manimals might come across as silly good times with foolish undertones (check out the cover art and accompanying title based track names “Miscarriage” and “Righteous Killings”); but behind these tongue-in-cheek titles VRGNS stay true to their influences and try out a couple more trying matters. On “No Longer Entertainment” they start off with a feel good song to the very un-sing along topic of addiction. Vocalist Sam Johnson sings with a craggy swagger, confessing, “It’s no longer entertainment/I don’t want to be an addict/I still can’t live without it,” to the effect of a party on board a plane crash.  Meanwhile, on “Kids Under The Bed” they find themselves tackling topics of minimum wage and living conditions, highlighting their graphic album art by commenting on society’s cultural cannibalism.  Rest assured though, these serious moments never eclipse the steady rhythms of tracks like “Hangman” or extra push of the energizing handclaps in “International Incident.”

As a whole the album lands on polished, solid ground, but provides little in terms of notable landmarks. VRGNS subscribe to a tested and true formula that prefers looking closer to home for inspiration than trekking out for a profound divergence. What you start with is exactly what you end with twelve tracks later. Consequently, Manimals has become a safe choice and no brainer when I’m looking for something gruff and upbeat. So at this point a catchy tune and a blanket of rolling riffs remains VRGNS’ niche. If that sounds good to you, then get ready to get bitten by Manimals.