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Exbats, the - Song Machine - New LPIn a just world, Song Machine, the fifth full length album from The Exbats, which arrives 2023 via Goner Records, would become one of the most loved and most listened to albums of the 2020s. Song Machine by The Exbats With the 13 track Song Machine, the Bisbee, Arizona based band further their analog back to the future combination of the Shangri Las and pre Velvet Underground doo wop wannabe Lou Reed, churning out catchy tunes laden with buoyant
In a just world, Song Machine, the fifth full-length album from The Exbats, which arrives 2023 via Goner Records, would become one of the most-loved and most-listened to albums of the 2020s.
With the 13-track Song Machine, the Bisbee, Arizona-based band further their analog back-to-the-future combination of the Shangri-Las and pre-Velvet Underground doo-wop wannabe Lou Reed, churning out catchy tunes laden with buoyant choruses that rank alongside the best A-sides recorded in the shadow of the Brill Building or with the Wrecking Crew in tow. The Exbats are effortless time travelers–this time, they’ve set the dial for the early 1970s, incorporating the sonic magic of the Partridge Family, Muswell Hillbillies-era Kinks, and Brian Wilson into the crux of their musical ethos, evident on tracks like the propulsive “Riding With Paul” and “The Happy Castaway,” which bookend the album.
“What I remember about that era is going to record stores and seeing a wall of 45s that somebody was tasked with moving around [in concordance with] the Billboard charts,” says Kenny McLain, who, alongside daughter Inez, is the driving force behind The Exbats. “With our band we’re kinda moving things around on that towering wall of singles, as if it were from some sort of ancient tomb, and we’re trying to crack a code and make it to number one. So, I suppose, some magic door will open. And we’ll all be free? Or something like that.”
Inez, namesake of the Monkees’ wool-capped guitarist Mike Nesmith, has played drums and sung for The Exbats since she was just 10 years old. Surveying the band’s back catalog in relation to Song Machine, she adds, “I always felt like our progression is similar to that of the Kinks–starting off garage and punk and then becoming more deliberate about everything.” On Song Machine, time stops altogether when Inez masterfully—and wholly unselfconsciously—evokes the remarkable harmonizing of Cher or Karen Carpenter at the height of their careers on two songs that unveil the raison d'être for The Exbats, and, thus, music lovers in general: “Singalong Tonight” and “What Can A Song Do,” which, together, anchor Song Machine while poignantly and audaciously celebrating the very act of singing itself with a sentimentality worthy of Muppets Movie-era Paul Williams. In a different world, either might inspire a viral revolution.
A music video for the album’s lead single “Like It Like I Do,” filmed at the Tucson’s Tanque Verde Swap Meet and slated for release on August 10, precedes Song Machine. Musically, “Like It Like I Do” deploys a heady combination of hipshakes and finger snaps, “ah-ah-ahs,” jangly guitars, and crescendoing “whoa-ohs” that are The Exbats’ clarion call. In the video, Inez and Kenny, along with bassist Bobby Carlson and their longtime producer Matt Rendon of Midtown Island Studios, a now-permanent member of The Exbats, clown for the camera as they wander through the sprawling 33-acre swap meet in a pastiche reminiscent of Robert Frank’s Super 8 footage of Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, Mick Taylor, Bobby Keys, and assorted passersby, circa 1971—no mere coincidence according to Kenny, a forever fan of the Rolling Stones.
With “To All the Mothers That I’d Like to Forgive,” “Himbo,” “Cry About Me,” and the tearjerker “If I Knew,” which opens with, of all things, an audio clip of a water sprinkler from the opening scene of The Bad News Bears, The Exbats subvert obsolete themes of innocence, desire, and unrequited love into a thoroughly modern feminist perspective. In their facile hands, these songs do more than disrupt the status quo: they topple the entire narrative into a girl-meets-boy story where the girl calls all the shots.
“On an emotional level, [The Exbats] put 1000 percent to an unhealthy degree into the songs,” Kenny claims. “While we’re very dedicated to this type of sound, we’re also aware that at the end of the day, with a little luck, maybe a few thousand people will hear the new record.” On the contrary. Although The Exbats’ home base lies in the remote hinterlands of the southwest, just 11 miles north of the U.S.-Mexican border, they’ve managed to rack up a slew of accolades that cite a wealth of influences that run from cartoon quintet the Archies to punk rock originators the Avengers, and from the so-sweet-it-hurts 1910 Fruitgum Company to Los Angeles antiheroes the Weirdos. Even the cranky veteran music critic Robert Christgau has granted the band a coveted B+, calling The Exbats’ music “sweet and even meaningful.”
Today, The Exbats straddle the chasm between indie obscurists and bona fide critical darlings. Faced with their first European tour and a headlining spot at Gonerfest 20, the McLains both hope–and fret–that Song Machine may be the tipping point. “We’re not trying to move to Los Angeles,” Inez says. “We don’t want record executives to come knock on our door. We don’t wanna get eaten alive! What we hope is that independent radio stations around the world, the ones with real DJs, hear us. That’s how people seem to find us.”
When asked to contemplate the possibility of what comes next, fame or fortune, Kenny and Inez declare that “it’s impossible.” “We made Song Machine for kids who bought 45s from 1965 to 1975, and those people aren’t around anymore,” Kenny explains. Then, in his next breath, he marvels that “We’re really lucky. People have heard us. If Inez and I can start a band when she’s ten years old and I’m 40, anyone can. We are the unlikeliest duo in rock’n’roll, yet we’re putting out really cool little things that people enjoy across the board. I think it’s making a difference.”
Bio: Andria Lisle
With the 13-track Song Machine, the Bisbee, Arizona-based band further their analog back-to-the-future combination of the Shangri-Las and pre-Velvet Underground doo-wop wannabe Lou Reed, churning out catchy tunes laden with buoyant choruses that rank alongside the best A-sides recorded in the shadow of the Brill Building or with the Wrecking Crew in tow. The Exbats are effortless time travelers–this time, they’ve set the dial for the early 1970s, incorporating the sonic magic of the Partridge Family, Muswell Hillbillies-era Kinks, and Brian Wilson into the crux of their musical ethos, evident on tracks like the propulsive “Riding With Paul” and “The Happy Castaway,” which bookend the album.
“What I remember about that era is going to record stores and seeing a wall of 45s that somebody was tasked with moving around [in concordance with] the Billboard charts,” says Kenny McLain, who, alongside daughter Inez, is the driving force behind The Exbats. “With our band we’re kinda moving things around on that towering wall of singles, as if it were from some sort of ancient tomb, and we’re trying to crack a code and make it to number one. So, I suppose, some magic door will open. And we’ll all be free? Or something like that.”
Inez, namesake of the Monkees’ wool-capped guitarist Mike Nesmith, has played drums and sung for The Exbats since she was just 10 years old. Surveying the band’s back catalog in relation to Song Machine, she adds, “I always felt like our progression is similar to that of the Kinks–starting off garage and punk and then becoming more deliberate about everything.” On Song Machine, time stops altogether when Inez masterfully—and wholly unselfconsciously—evokes the remarkable harmonizing of Cher or Karen Carpenter at the height of their careers on two songs that unveil the raison d'être for The Exbats, and, thus, music lovers in general: “Singalong Tonight” and “What Can A Song Do,” which, together, anchor Song Machine while poignantly and audaciously celebrating the very act of singing itself with a sentimentality worthy of Muppets Movie-era Paul Williams. In a different world, either might inspire a viral revolution.
A music video for the album’s lead single “Like It Like I Do,” filmed at the Tucson’s Tanque Verde Swap Meet and slated for release on August 10, precedes Song Machine. Musically, “Like It Like I Do” deploys a heady combination of hipshakes and finger snaps, “ah-ah-ahs,” jangly guitars, and crescendoing “whoa-ohs” that are The Exbats’ clarion call. In the video, Inez and Kenny, along with bassist Bobby Carlson and their longtime producer Matt Rendon of Midtown Island Studios, a now-permanent member of The Exbats, clown for the camera as they wander through the sprawling 33-acre swap meet in a pastiche reminiscent of Robert Frank’s Super 8 footage of Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, Mick Taylor, Bobby Keys, and assorted passersby, circa 1971—no mere coincidence according to Kenny, a forever fan of the Rolling Stones.
With “To All the Mothers That I’d Like to Forgive,” “Himbo,” “Cry About Me,” and the tearjerker “If I Knew,” which opens with, of all things, an audio clip of a water sprinkler from the opening scene of The Bad News Bears, The Exbats subvert obsolete themes of innocence, desire, and unrequited love into a thoroughly modern feminist perspective. In their facile hands, these songs do more than disrupt the status quo: they topple the entire narrative into a girl-meets-boy story where the girl calls all the shots.
“On an emotional level, [The Exbats] put 1000 percent to an unhealthy degree into the songs,” Kenny claims. “While we’re very dedicated to this type of sound, we’re also aware that at the end of the day, with a little luck, maybe a few thousand people will hear the new record.” On the contrary. Although The Exbats’ home base lies in the remote hinterlands of the southwest, just 11 miles north of the U.S.-Mexican border, they’ve managed to rack up a slew of accolades that cite a wealth of influences that run from cartoon quintet the Archies to punk rock originators the Avengers, and from the so-sweet-it-hurts 1910 Fruitgum Company to Los Angeles antiheroes the Weirdos. Even the cranky veteran music critic Robert Christgau has granted the band a coveted B+, calling The Exbats’ music “sweet and even meaningful.”
Today, The Exbats straddle the chasm between indie obscurists and bona fide critical darlings. Faced with their first European tour and a headlining spot at Gonerfest 20, the McLains both hope–and fret–that Song Machine may be the tipping point. “We’re not trying to move to Los Angeles,” Inez says. “We don’t want record executives to come knock on our door. We don’t wanna get eaten alive! What we hope is that independent radio stations around the world, the ones with real DJs, hear us. That’s how people seem to find us.”
When asked to contemplate the possibility of what comes next, fame or fortune, Kenny and Inez declare that “it’s impossible.” “We made Song Machine for kids who bought 45s from 1965 to 1975, and those people aren’t around anymore,” Kenny explains. Then, in his next breath, he marvels that “We’re really lucky. People have heard us. If Inez and I can start a band when she’s ten years old and I’m 40, anyone can. We are the unlikeliest duo in rock’n’roll, yet we’re putting out really cool little things that people enjoy across the board. I think it’s making a difference.”
Bio: Andria Lisle
released October 13, 2023
The Exbats live in Bisbee, Ariz., a small border town affectionately referred to by locals as “Mayberry on acid.” It’s an old pioneer copper settlement marred by a massive open pit mine that can still be seen from downtown—an anti-corporate haven that was overrun by New York hippies in the 1970s.
“I can’t stand crybabies,” Inez says. “If you’re sitting around crying because you’re lonely then you’ll probably stay lonely.”
“[They] play tunes with simple pop melodies, no-frills first-wave punk arrangements, and a cheerful sense of humor that finds room for observations on pop culture, troubles with relationships, and even family matters.” – AllMusic
“The band flips between ripping punk rock and neo-garage rock. “2027” could have been stolen from a Weirdoes or Avengers single with its charging, burning riff. Meanwhile, “Girls like these” is borne from ‘60s radio rock and could equally have been a 1910 Fruitgum Co single or an Animals tracks. For the most part, the tunes are sparse, catchy, and to the point. Both early punk and early garage rock thrived off hooks and the band unabashedly aims to make a thumb snapper of a record. And they succeed.” – Punknews
“They may be a family act but they don’t hold anything back… fast and fuzzed-out… feisty with a strong thrust of hardcore riffs and heavy drum beats.” – BTRtoday
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4.5 ★★★★★
Based on 25 reviews
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Product Reviews
★★★★★ 4
4 stars
Color: Brown, Size: Rectangle
I like the tray a lot. Quality is very good. Color (Brown) is attractive. Size is perfect for my nightstand. It holds phone, remote, eyeglasses, & phone. I threaded my phone charging cord through a corner of the tray. But it slides too easily off of the nightstand. I'm going to try to find something to stop it from sliding that will stick to the underside of the tray without harming the wood surface on my cherry nightstand.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 13, 2025
★★★★★ 5
faux leather container for men
Color: Blue, Size: Square
It's a very well made container happy with purchase
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 28, 2026
★★★★★ 5
Better than other flimsy trays
Color: Black, Size: Rectangle, Color: Black, Size: Rectangle
I got this to replace another flimsy valet tray I got as a gift. This one is way more sturdier, looks nicer, bigger, and has a nice feel.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 12, 2026
★★★★★ 5
Looks great, doesn't hold much so measure carefully
Color: Gray, Size: Rectangle
I got this organizer for my husband to keep his stuff by the door. While it's a little smaller than I'd hoped, it looks great in the entryway. It's super easy to snap together, but feels like the material could be damaged easily if you're not careful. He is able to store his keys, wallet, and sunglasses in it, and throws hit hat on top. Overall we are really happy with it.
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Reviewed in the United States on January 31, 2026
★★★★★ 5
Perfect
Color: Blue, Size: Square
Just what I needed. The size is perfect as I didn’t want anything too large to place my watches and other accessories inside near the corner of my desk. Its size is essentially 7x7, and the design is sleek compared to other organizer holders. I got the color in blue and it looks stunning with the rest of my setup. I’m unsure about other reviewers, but mine came safely and the leather walls are decently thick, so it’s not too flimsy when buttoned together which holds very securely. There are hole spaces at the bottom corners once assembled, so if you have super small items such as beads or really small jewelry, they could potentially fall out, but most of my items are large enough that won’t be of concern. If you have a wire charger near by, the holes could be used to charge your smartphone inside, which has its own practical usage. Overall, I’d definitely recommend it if you’re on a lookout for a sleek but compact organizer holder, and I personally will consider getting another one in the future for myself for other household belongings.
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Reviewed in the United States on October 13, 2024
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