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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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4.8 ★★★★★
Based on 12 reviews
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Product Reviews
★★★★★ 5
Good privacy screen
Size: 1 Panel, Size: 1 Panel
This is a good privacy screen that's easy to assemble and looks nice. Be a little careful moving it, as the corners can twist. It's sturdy once in place, and the thick material is completely opaque. If the folds bother you, you might want to iron it, but I'm happy with it as is.
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Reviewed in the United States on March 30, 2026
★★★★★ 3
Lightweight divider that works well for video call backgrounds
Size: 1 Panel
This divider works fine for what it is, but it’s definitely on the lightweight side.
Setup was very easy and only took a few minutes. The frame is fairly light, so it’s easy to move around or reposition if needed. That said, the tradeoff is that it’s not especially sturdy. It stands fine on its own but I wouldn’t expect it to handle much bumping or movement.
I mainly bought it to use as a background for Zoom calls when I’m working from my den, and for that purpose it works great. The fabric panel blocks the room behind me and gives a cleaner background on camera.
It’s not huge though. To keep the camera from seeing around it, I have to position it directly behind my chair. If you’re expecting it to divide a large room or create a big privacy barrier, it may feel a bit small.
Overall, it does the job and works well for temporary setups or video call backgrounds, but the lightweight frame keeps it from feeling like a premium divider.
The product description and photos are accurate.
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Reviewed in the United States on March 12, 2026
★★★★★ 2
Sent Wrong Pieces
Size: 1 Panel, Size: 1 Panel
I really, really wanted to like this - and, in theory, I really, really should have! The instructions were easy to follow and assembly took about five minutes. The assembled screen is lightweight and easy to move. It was a great size and exactly what I was looking for except....I wasn't sent the correct pieces. Instead of receiving 4 elbow pieces and 4 feet, I received 2 elbow pieces and 8 feet - meaning that the bottom part of the fabric just hangs there and, overall, the divider is extremely unstable because there is no horizontal support on the bottom. Thankfully, there are Velcro tabs on the side of the fabric so I can use it if I don't plan to move it even 1 cm, but otherwise, what I received is not usable for what I needed it for. Additionally, the fabric is made of polyester and catches animal hair very easily. Had I received the correct pieces, this would be a good buy for the money. Unfortunately, overall, I'm disappointed.
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Reviewed in the United States on February 28, 2026
★★★★★ 5
Works great, keeps the light out of my eyes and easy to put together
Size: 1 Panel, Size: 1 Panel
I got this room divider in and it works great. It’s really easy to put together you don’t even need tools. I really like that it’s not see through, it’s not a black out curtain but it keeps light out pretty good.
I absolutely hate my bedroom layout there’s no bathroom door. My girlfriend and I have different work schedules so I’m trying to sleep while she’s getting ready for work and the light shines right in my eyes. This divider keeps the light out of my eyes and that’s exactly what I was hunting for. I also like that you can adjust the length. I took one of the bars out to make it a little shorter and it worked great.
I would recommend this room divider.
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Reviewed in the United States on February 26, 2026
★★★★★ 5
Very useful
Color: Black
I’ve been using this room divider to separate my space from my daughter’s, and it has worked out really well. It provides just the right amount of privacy while still keeping the room feeling open and comfortable. The design is simple yet stylish, so it blends nicely with our decor. It’s also lightweight and easy to move when needed, which is a big plus. The material feels durable and well-made, not flimsy at all. Overall, it’s a practical and attractive solution for shared spaces, and I’m very happy with this purchase. I would definitely recommend it to others.
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Reviewed in the United States on April 16, 2026
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