“Big Horse I Love You” es el título del recientemente publicado primer trabajo de GOUTS. Este duo, con base en Melbourne (Australia) y compuesto por Julio García (CODO, Louded) y Toby Wrecker (Hotel Wrecking City Traders), nos ofrece 6 temas instrumentales repletos de ruido y melodía que en ocasiones recuerdan a bandas como Torche, Kinski o Pelican.
Toby nos cuenta todo acerca del origen de la banda y desgrana cada uno de los temas del mismo.
“Big Horse I Love You” is the first release from GOUTS – a band made up of myself (Toby) on Guitar and Julio on Drums. In 2014, my band Hotel Wrecking City Traders (AUS) played 20 something shows around the UK and Spain. Our booking agent in Spain thought it would be a good idea for us to play with a local 2-piece called CODO which Julio was the bass player for. Julio informed the booker that this couldn’t happen as he was now living in Melbourne, Australia. Funnily enough, he was probably a stone’s throw away from us. Anyway, further down the track we connected at different shows around Melbourne and chatted all things music and enjoyed a few beers. Later down the track we decided to get into a room together, plug in, and see what happened. From this ‘Big Horse I Love You’ was made.
1. Bike Ride To The Bee Shrine
This is probably the track which to me sums up what GOUTS is all about. It’s the second track we wrote and it is equal parts catchy and melodic as it is driving and heavy. Before we ever got into a room, Julio and I chatted a load about music and I really feel like on this release we draw influence from all those different places that got us excited about music over the years. We’ll be the first to admit the name ‘Bike Ride To The Bee Shrine’ is totally ridiculous!!!!! Actually, it holds some meaning to us. Over the course of writing all these songs we seemed to go through a bunch of different shit which makes more sense when we start talking about the other tracks. I rocked up to one particular session having been stung by bees at work. Julio was nowhere to be seen but eventually rocked up with a mangled bike and looking like shit! He had wiped out on his bike and actually ended up at hospital that night, but prior to heading to hospital, and all credit to him, we got in the room and wrote a good chunk of this song.
2. All Hail The Big Russian
This song came from a couple of riffs that I wrote at home. In my head it sounded a lot different to the final product and that’s a lot to do with how Julio was hearing it when I played it to him. Ended up being one of my favourite tracks. Julio said how it sounded like some weird early 90’s Sub Pop stuff gone heavy. I loved that description and felt it kinda described how I like my music. During the writing process my mum lost her partner to cancer after battling it for some time. He was a really big personality and he had the nickname The Big Russian. I knew I wanted to name a track in his honour and I felt like this one was both fitting to his character and the battle he had to go through.
3. Fuck Those Guys
Not a whole lot to say about this one, it’s fairly self-explanatory!! This was actually the first song we wrote together. It’s the shortest track on the album and I think it was a good way to get familiar with each other’s playing styles and it helped craft where we were heading as a band. The name suits the song, I think. No bullshit… it just is what it is. It’s the day to day stuff; work, traffic jams, people… that are constantly grinding on you all day and then you get to rehearsal, turn up loud, run through this track for 2 minutes and say ‘Fuck Those Guys’ and move on.
4. Gulurtak My Black Metal Friend
From memory, this was the last track we wrote before going into the studio to record. I think we had really hit a point at this stage where the ideas were flowing really well and we were feeding off each other’s strengths both as musicians and song writers. It has a really cool, dark, and powerful vibe to it and is a fun one to play. I remember when Julio threw me the idea for the name, I was thinking what the fuck is this guy talking about hahahahaha. But I love it! And let’s face it, we all need a black metal buddy in our lives.
5. Let’s Get Kinski
This track probably came about around midway through the writing process and I think we both just wanted something really upbeat and hopeful sounding where we could just lock in with each other’s grooves and have fun playing. The final riff was so much fun to play and we always found ourselves going on and on with it and throwing layers of crazy effects and swirling fucked up guitar sounds. So, I think that’s what made us decide when we record it let’s just finish it as quick as we can and when you’re least expecting it. It’s a fun one to play live and you can have a lot of fun with it. As far as the name goes it’s an obvious play on words and a nod to a band that we both really love called Kinski.
6. Taylors Grace
This track came about from a couple of riffs that Julio came into rehearsal with. I loved it as soon as I heard it. It really just hit you straight from the get go. I remember it took us a while to work out where we wanted to take it, but we stuck it out and I think it really paid off in the end. And it’s a good mental and physical workout for us both. The name came from our second loss during the writing period. It came from totally out of the blue. Joe Taylor was Julio’s nephew. It was a really tough time for Julio and his family and I was glad we spent the time we did on this track to get it right and pay our respects as best as we could.
