A Canadian duo based in Cambridge, Ontario, Suburban Bicycle Gang is composed of the joint talents of Jerry Grey and Eric St-Pierre. The duo’s sound has an infectious flow to it, and is bountiful with color, and with heaps of character. ‘Wendigo’ has been set apart by a retro production job that hails back to the driving rock anthems of the late 60s, a la Steppenwolf and Meatloaf, as well as with a composition that’s divided into what sounds like chapters that stumble and bleed into one another in a glorious display of calculated and precise clumsiness.

The scratchy nature of the guitars and their vintage overdrive lend a quite unique undercurrent to the song. The light crunch is reminiscent of countless legendary rhythm guitarists from the time period the song is orchestrated around, with Keith Richard’s tone being the one that jumps to mind most readily.

‘Wendigo’ is an infectious, manic, and fun listen that showcases a duo so deeply in control of their craft and of their sound. Not only do Suburban Bicycle Gang write incredibly tight and compelling riffs and rhythms, they also orchestrate them, convincingly so, according to a time period they have in mind, with results that are still wild, fun, and free.

Based in Cambridge, Canada, Suburban Bicycle Gang are a garage rock duo composed of Eric St-Pierre’s vocals and Jerry Grey’s powerhouse drumming, squished to a pulp on ‘Babes From Bill’s’. A song about an auto repair shop with a spicy managerial sector, ‘Babes From Bill’s’ is a rare display of Canadian raciness.

As for the song itself, Eric’s hearty hollers and the drums, airy and deliciously off-kilter, make up for a mix that’s unlike anything else out there. The riffs are bluesy, and hectic, and do not fail in injecting the song with a playful liveliness. ‘Babes From Bill’s’, features Alex Hilson on the bass, and being the city councilor member that he is, his bass grooves are spunky and infectious.

Such a delightfully different sounding song, Suburban Bicycle Gang’s latest release will easily earn itself countless repeats, adds to playlists, appreciative head bobs, and generally a lot of simple vibing along.

The album begins with the title track, which I reviewed before and really loved. It’s pretty noticeable how the drums and bass have impeccable chemistry here and how the band brings a very memorable and moving groove to the table, that you will find yourself dancing, headbanging, or at least tapping your feet to that sweet guitar tone and the progression it’s playing. The second track, “Lake Scugog“, has some Pink Floyd-ian vibes, with a modern twist put on them. I really loved how the effects play a major role in the way this song sounds, and in how every transition felt smooth and subtle. The riff that plays between the verses was my favorite part about it. The track flows right into the next one, “Bobo The Hobo“, which has an amazing harmonica implemented into it. I truly enjoyed the vocals of this track and the story they tell with their lyrics…the whole experience is pretty theatrical with the additional vocals and the harmonies too. The way the song’s tempo ascends and builds up got me really hyped and the phrase “Leaving on a train” will probably haunt me for a few days from now. 

“Five Flings” has a strong lead vocal with some bass backing vocals that I didn’t really expect. The bass singer felt specifically prominent in the choirs and I’m glad they decided to utilize his harmonic parts that way. The drummer and bassist are playing a very stable rhythm that you will definitely love, and the guitar tone felt a little bit heavier than the previous tracks (but fittingly so). “Easy Money” had a dirtier and chunkier bass tone and more shouty vocals, both of which brought southern/western vibes to the table. The song’s brief solo at the end was very climactic in the middle of the thunderous drumming and larger-than-life bass. “Candle Light” shows some low-range vocals and this time the influence is very jazzy/swingy- a pleasant and unexpected surprise. Another thing I didn’t expect at all here was the flute that they implemented into the song, playing its awesome melodies that intertwine with those of the guitars. It’s impressive, to say the least, how these guys manage to keep a connection between their guitars and chord progressions which make all of these tracks feel like cousins belonging on the same album but without recycling any riff or melody…it’s mind-blowing. 

“Sammie Greene” is for those of you who love The Rolling Stones. The rhythm is fast, the bass follows the drums, and there is a part that feels like it samples the melody from the famed nursery rhyme “frere jacques”…I’m really confused by how these guys can stay hilarious while playing such complex tracks. The eighth track, “No Dibs Day“, references a different vibe from the classic rock era (pun unintended) like gritty raspy vocals and a catchy as hell chorus with backing vocals to aid it and make it more memorable. The extended solo/bridge section here has got to be one of my favorite moments off the entire record. The following track, “Love Is A Fuvkung Joke“, has a beautiful drumming pattern and soft dreamy backing vocals that make for a psychedelic/art rock vibe. It’s amazing how we’re on the ninth track out of ten and the band are still capable of giving us surprises. The screams/growls “Love’s a joke, it’s a joke” that are said near the end will definitely stick with all listeners and be a memorable and quotable section from the band. 

The tenth and final track is called “Glory Hole Of Death“…do I need to say more? More diverse vocals with soft dreamy backing harmonies take us to a dream state, and the bass and drums felt stronger and tighter than ever. With the hilarious lyrics playing in the background, I couldn’t keep myself from giggling while listening to them, but it’s also very noticeable how the vocal arrangement was carefully made to fit with the instrumentation and the rest of the album’s tracks and to be on an equal level of mastery, memorability, and replayability that this hilarious masterpiece of a record is full of. At this point, I just need more Suburban Bicycle Gang releases in my life, to both get inspired…and get a laugh at the dirty humor that’s done with so much care and heart to make it feel like a comedy movie soundtrack that you can’t get out of your head. 

Some clean melodic guitars start the song with a well-thought progression that propels the listener back and forth with emotions and grooves. Speaking of groove, the bassist and drummer work together to give the song a foundational and strong rhythm section with an undeniable presence in the melodic wall of sound we hear. The straightforwardness and simplicity of this arrangement make you feel like you’re standing close to the band members and hearing them play this tune for you, so kudos to whoever managed to bring that organic feeling to the mix.

The vocalist gives us a tutorial on how to use correct vocal techniques and sound passionate/emotional at the same time. His traditional brand of vocals coupled with those effects on the guitar makes for a very psychedelic and futuristic atmosphere; fitting to the song’s title and lyrical themes. 

The extended instrumental break in the middle of the song, followed by the reverbed guitars shows the mastery and experience these guys have with their gear and their dedication to flesh out their lyrics and themes through the music that they play. 

To sum it all up, both the instrumentation and vocals of these guys are nothing short of spectacular. The tones of the guitar and bass will deliver exactly the mental image of being “in the cosmos” as they intended, which will make this song a memorable experience for the listeners, not just another rock track.