What happens when metal geeks and sci-fi nerds join forces? This is a question that sociologists have concerned themselves with since Black Sabbath's self-titled debut appeared four years after the premier of the original "Star Trek." How could the belligerent anger of the metal geeks ever mesh with the pathetic pseudo-scientific leanings of the sci-fi nerds? Some have theorized that the question will never really be answered. Others envision a worldwide nerd revolution, like Revenge of the Nerds, but possibly without the gratuitous nudity scene.

On Double Exposure, sci-fi nerds Trans Am and metal geeks/70s corporate rock guitar solo aficionados the Fucking Champs join together in an unholy alliance appropriately dubbed TransChamps. The collaboration has near-infinite potential. Both Trans Am and the Fucking Champs have an astounding ability to turn laughable retro cheese into something thoroughly listenable, fun, and driving.

In a perfect world, this collaboration between the Champs and Trans Am would bring together the very best of retro fetishism in a catchy, goofy, energetic mix. "Give It to You," the first track on Double Exposure hints at a promise of such a brilliant synthesis. The song opens with the Fucking Champs' trademark crunchy guitar riffing. But Trans Am immediately makes their presence known with hilariously ridiculous vocals. Imagine a guy with a slightly off-key baritone saying things like, "C'mon, little girl/ It's time for school/ De-evolution/ On the streets/ A revolution/ In the sheets," over synchronized corporate rock guitar solos, and perhaps you'll get an idea of just how awesome "Give It to You" really is-- and how excellent Double Exposure as a whole might have been.

On "The Big Machine," Trans Am's futuristic sound dominates, with tinny trashcan percussion and burbly synthesizers. Unfortunately, the song never cashes in on its potential. When the Fucking Champs' unique guitar stylings finally do come in, they simply sound tacked-on, seeming as out-of-place as Blue Oyster Cult would in an episode of "Voyager."

The following suite, "First Comes Sunday Morning" and "Then Comes Saturday Night," utterly redeems the track, though, showcasing two different treatments for a single musical theme. The former is an acoustic guitar, string, and piano-laden foray into whimsy the likes of which is never really approached elsewhere on this EP. On "Then Comes Saturday Night," that whimsy is coupled with some synchronized guitar soloing, double bass and heavy drumming. Strange effects are piled on, and the song builds to a powerful climax of heavily distorted guitars and bleeping synthesizers.

It probably would have been a good idea to end Double Exposure on "Then Comes Saturday Night." Instead, we're treated to "Somebody Like You," a moody, cheesily downcast number that never develops into much. While parts of this record truly do bring together the best of two similarly fun bands, the worst parts just sound like two different bands playing songs with each other, and never succeeding at combining their sounds into a cohesive final product. So it seems the question on everybody's minds hasn't quite been answered. But Double Exposure certainly suggests that a more in-depth collaboration between these two great bands could lead to a nerd alliance the likes of which the world has never seen, and the ramifications of which remain unknown.

-Matt LeMay, October 30th, 2001