Supergroups can often be the excess drip from one songwriter’s unpurchased land for their main project, but when a group like GØGGS decides to emerge from the punk shadows, there is something to be said for the sloppy craftsmanship. Made up of Ty Segall, Chris Shaw, Michael Anderson, and Charles Moothart, each artist has a significant amount of recording time under their belt and when the idea of bursting into a new shattered space popped up, Pre Strike Sweep was born.
As soon as the soft acoustic guitar opens “Killing Time,” the listener is expecting something more foreboding and evil than what appears. As each member is slowly introduced through a building cycle, GØGGS has a layout built for pixelated punches and rapid-fire, machine fed fun. The shouts that come in the form of blitzes are repeatable and when paired with the almost surf rock foundation, Pre Strike Sweep balances abrasive behavior without any of the real danger.
One of the first tracks on the record that grabs the listener by their head is “CTA” which is a catchy and flashy string tornado that both cascades and accelerates toward this unknown end. While nearly the shortest track on the record, every single second is spent with sound crammed inside as if it was an overstuffed meal to devour. Especially on the way that the track just abruptly cuts as if the recording was smashed in the studio. The unsatisfying and incomplete ending somehow manages to not inflict a feeling of annoyance but relief as the cluster seems to reach a final destination.
The percussion is often a standout and as “Disappear” begins to showcase itself, GØGGS uses the time to crunch rather than to cry. As their first self-titled project felt as if it was a real side project, Pre Strike Sweep is more of a complete and shaved idea. While it would never reach the same audience that a Ty Segall or Ex-Cult might, side ventures like these can really orchestrate a newfound love for ripping the house down.
The recording of Pre Strike Sweep leaves it in some sort a weird limbo phase where the timing of the album feels lost. It could exist somewhere in the 60s with its desert and psychedelic styled sections but also exist in the 80s with early Californian punk was thriving. Through deep cuts and an extended back catalogue, GØGGS does more to break on through to the other side of sound than it does sitting in complacency.