Formed in 2017 and with a self-titled long player released back in 2019, London 3-piece power pop sensations More Kicks return with their sophomore album ‘Punch Drunk’ on Stardumb Records. And they promise a heavier, more expansive sound with an album born of frustration, anger and heartbreak during lockdown. Consisting of James Sullivan (Sulli) on vocals/guitar, Kris Hood on drums and Paolo Mantovani on bass, the band continue their campaign for world domination with an explosion of fuzzy guitars and pop sensibilities.
While the lush, choral harmonies that introduce opener ‘Hurts Like Hell’ may bring to mind indie folk darlings Fleet Foxes in a Nashville church, the sound of More Kicks has two size 9’s firmly planted somewhere in a London garage.
Recorded live in the studio onto 2” tape (as with the debut album), they barely breach the 3-minute barrier for their melodic, power pop ditties that resemble the sound of Mega City 4 jamming Buzzcocks and Sonics cover tunes. Current single ‘Terminal Love’ is a fine example of how this band mix indie beats, jangly guitars and melodic goodness to great effect. Lyrically dealing with a relationship that has run its course, it’s a remarkably upbeat ditty with a chorus that will ring around your skull for days, and a vocal that sounds like Paul Heaton banging out an Undertones tune. More Kicks are sure onto a winner methinks.
With its ‘My Sharona’ riff, ‘Animal’ was the lead track from an EP that preceded this album release. It is delivered with a primal statement of intent; the refrain builds nicely as fuzzy guitars accompany a passionate vocal. With just enough powerhouse drums, bouncing bass and shouty, gang vocals, the high energy ‘Good Enough’ is a blast from start to finish. It even has a Wildhearts-esque chuggy guitar bit thrown in for good measure. There’s a definite Senseless Things/MC4 thang going on here, which can only be a good thing in my book.
Yeah, like fellow London reprobates The Speedways, it seems More Kicks are the kings of lo-fi power pop. Potential radio hits flow left, right and center over the course of this 12-track album. It is short, sweet and to the point. Feedback and a bass drum build to a frantic beat that introduces the punky ‘In Love’, a song that takes us back to late 70’s punk and new wave. Distorted power chords, crashing drums and killer gang vocals drive the primal feel of ‘Come Home’.
They tone down and tug at the heartstrings momentarily. The picked chords, echoey vocals and sweet melody of ‘Got Lucky’ come over almost like a nursery rhyme, with the rhythm section playing a bare bones accompaniment, just enough to give it some depth. Elsewhere, with just a reverb-soaked guitar as accompaniment, Sulli delivers the raw and emotive ‘Phoney Middle-Aged Art’, its short length leaving you wanting more.
Mixing up the garage rock sounds of the late 60’s & 70’s with definite 90’s indie rock leanings, More Kicks have produced a fine follow up to their debut album. ‘Punch Drunk’ is 12 tracks of raw, power pop goodness, written during a time of emotional change and forced isolation. Like we always say, bad times bring out the best in a songwriter and ‘Punch Drunk’ is a testament to that.
What do you know about Ruts DC? What do you want to know about Ruts DC? It’s nearly fifty years since the two sevens clashed. In a little over fifty more years, they will clash again. Roughly around the time they last clashed the Ruts were hot wiring barbed wire guitar, passionate poetry and rhythm weaponry together somewhere in a London that probably does not exist anymore. Splicing heat haze dub thinking to the energy flash of punk close to the big bang of late twentieth century culture. Open to ideas. Committed to ideals.
Some band’s sound punk. Some look punk. Some even look and sound punk. And some, simply, are punk. Without turning this into a game or statistics, Ruts DC were early challengers to the misunderstood notion that punk was a somewhat luddite dogma wherein complexity, creative exploration and musical prowess were considered a shameful affectation. Ruts DC songs moved with a precise muscularity and carried lyrics of eloquent and graceful rage. No two-chord thrash with shouting over the top. Go back. Listen to everything. From the very beginning to now, with the forthcoming release of new album ‘Counterculture?’, the much-anticipated follow-up to 2016’s incendiary ‘Music Must Destroy’ album, due this November 11th via their own Sosumi Recordings.
Counterculture. Now is the time. Was there ever an age with more reason to rebel? Counterculture. Do not think you can simply buy a way in. To Counter; to push against, to oppose and redress. By being a spectator, you are NOT a part of the counterculture.
“Counterculture? For us, it never went away,” says bassist and vocalist John ‘Segs’ Jennings. “We’ve always been on the outside and still are. It’s ok to be a freak. That’s why The Ruts started in the first place. If it’s still inside you, it’s time to light that flame again. Get to know what you don’t know. Come and borrow my lighter.”
Today, we get to hear the first taste of the new album in the title track and new single ‘Counterculture’. Drums and Bass building the defence wall. Guitar and whatever else lobbed in stun/attack mode. That is Ruts DC. That is all you really need to know.
See Ruts DC live in the UK November & December 2022 on the ‘Faces In The Sky / Counterculture’ tour at the following dates:
Rob has once again drafted in a whole bunch of musicians to enhance his latest album and like London busses, Rob lays low for decades then boom! two albums in quick succession. This time Rob takes the songs down a darker route with a more Gothic punk rock sound that bares a passing resemblance to the likes of Andrew Eldrich and his Sisters Of Mercy or perhaps a little Iggy DNA circa Bla Bla Bla for good measure.
There are eleven tunes and as the title suggests a few with Rocket in the title which bookends the record and to be fair two of the album’s finest moments with the finale being my personal pick of the pops with its excellent Stooges like saxophone honking up the sound and giving an added dimension to what Rob does.
Some of the playing is fantastic and Rob giving over the solos to different players is an excellent idea because having someone else’s vision and interpretation on the music add to the tapestry in nothing but a positive way with opener ‘Rocket Ship To You’ being a great example.
‘Red Beans And Gasoline’ fucks with ‘Johnny B Goode’ & ‘House Of The Rising Sun’, ‘Richard Jewel’ has a great dark swirling rhythm with yet more great guitar playing, Abaad Behram take a bow.
As we reach the meat of the record ‘Rock N Roll Ralphs and the Joie de vivre rock n rolla that is ‘Rip Van Winkle ’85’ turn up the dial to eleven and if you’re getting album fatigue these will no doubt chase it away. There is no time nor room on this record for a ballad but the tempo has dropped a tad for ‘Ink Blue Smoke’ where images of Iggy are possible through the haze with some rather splendid slide chops cutting through and adding another texture.
All in all Rob has again delivered an excellent album that turns up sonic treats in different places on each play. Go check it out and have a blast (off) grooving through the ether to some tasty tunes. Keep em coming Mr Moss its been a blast!
One of the first reviews I did for RPM online was for the self-titled Smith/Kotzen album that was released in March 2021. A great album it is too! Fast forward to November last year and the boys released an EP called Better Days which was a limited edition 12” vinyl for Record Store Day. This was more of the same blues driven rock with the edge that you would expect from two of metal’s most prestigious guitarists.
Fans weren’t too happy about it being a vinyl/streaming only release though. Worry not Smith/Kotzen fans…your prayers have been answered! Here we have a CD/digital release of Better Days along with five live tracks that were recorded on the US and UK legs of their whistle stop tours at the beginning of 2022, hence the …And Nights added to the title. Clever, eh?
For the purposes of this review, I’ll just concentrate on the live material. You really get the feeling of being there at the intimate venues that the tracks were recorded at, and the songs really come alive with a sense of urgency and a slightly faster pace. No doubt pushed on with adrenaline which is a trademark of most great live recordings. (Go and listen to Maiden’s Live After Death to see what I mean). The whole band, which are completed by Julia Lage on bass and drummer Bruno Valerde, sound fantastic. Some extended guitar theatrics are thrown in (obviously) which really add to the songs. The highlight for me is the track Scars from the debut. It takes on a life of its own live, a big fat groove along with some Hendrix inspired guitar work. You Don’t Know Me plods along nicely with some nice cymbal work from Valerde. Final track Running closes the mini live album nicely, Julia Lage really shows her prowess here.
This is a nice little package for fans and shows that the guys really do think about the content they are releasing to ensure there’s something for everyone. Tidy stuff!
If you’re going to bow out after almost half a century then you might as well go out windmilling slinging out banger after banger and no sign of going out with a whimper at all. It might have gone under the radar a little or rather slipping out of the party without fanfare which is unfair really because Knox and the band have endured and managed to leave behind them a fantastic catalogue of albums and singles and recent output has also been worthy of carrying the name and produced some of the bands best offerings. Every time I think this is it and maybe the latest album will be the death knell and they go and dish up an album full of excellent tunes. over twenty full-length albums, a heap of live recordings, eps, singles, compilations, and a whole lot more besides. You can add ‘Fall into the sky’ to the illustrious list and the band can bow out with their heads held high and bursting with pride.
What you have here is quintessentially a Vibrators album – it’s classic – it’s a fuckin’ Rock and Roll record – no reinventing the wheel, no drop in standards, no bullshit just fourteen tunes with melody, distorted guitars and a band who bloody-well know what to do with it. From the opening hard rocker ‘The Owl And The Kangaroo’ you know all the vital components are present and raring to go. ‘He’s A Psycho’ continues with an agressive punch then ‘Burning Me Up’ wraps up an impressive triple threat to open up the album. They might not have been ‘Whips And Fur’ or ‘Baby Baby’ but they have the upper eshelons of Vibrators tunes happening.
The pace drops but the quality reains for ‘Battlefield’ and ‘Rock My World’. But then we have ‘Dry Down Under’ which is amazing with its Bowie-like melody and vocal delivery and the Rono guitar break is exquisite. To be fair I thought ‘Mars Casino’ was excellent and had they bowed out there and then – then so be it. This however is next level. The title track closes out side one of the album and with Knox’s vocal sounding warm and engaging the ebow howling on the solo is a great arrangement and send the song soaring with a really warm yet raw guitar chord sequence chopping out the rhythm.
Side two begins with the measured ‘Tomorrow’ before getting in a more rapid frame of mind with the groovy ‘Devils Playground’ where they certainly show “the Kids” a thing or two in delivery of a great Rocker. ‘Love Changes’ is one of those Knox melodies that enters your head on a subtle melody then the riff twists and turns towards the chorus before laying back down. Theres a familiarity with some of the riffs but theres no denying they have energy and with the usual great production sound fresh and vibrant especially on ‘Part Of Your World’ before we reach the end of The Vibrators road and ‘So Long’ is a teary acoustic number which might have been predictable and a check of the rear view mirror of a career that had its ups and downs but is going out in style. You can’t stop time we know that but bowing out with your head held high isn’t something a lot of bands do and havign the grace to know when to go shows their class. Thanks for the music guys its been a blast and this set of songs will be as cherrished as ‘Pure Mania’ is. My advice is buy it, its a time capsule of class songs by a class band. Goodnight Vibrators its been a pleasure and never a chore.
The Candy Snatchers – ‘Shame Shivers’ / ‘Must Be The Cocaine’ (I-94 Recordings) Formed in 1992 in Virginia Beach Their first new recordings in over 10 years! Hans Molnar (of The Hellbenders) steps in to fill the big shoes of the dearly departed Matthew Odietus. Larry May wails over it all. Larry’s unmistakable voice has held up perfectly well. This shit sounds like vintage Candy Snatchers even on a Trash Brats tune. It’s frantic punk rock and roll kids but you knew that didn’t you?
The Candy Snatchers need to make a new record, a long player like now. So, Larry get those pipes in order and get to work the world needs a new album from Candy Snatchers. This is their first newly recorded material in 12 years! way too long! but they’ve lost none of their piss and vinegar and knock their tribute to the Trash Brats right outta the park. Fill yer boots with quality Rock n Roll Here Available in a bazillion colours of wax this is the shit we all need Get on it!
Michael Des Barres and Prima Donna – ‘Aint Nothing You Can Do About It’ (Wicked Cool Records) Wicked Cool Records label-mates Michael Des Barres and Prima Donna have teamed up for a single release, ‘Ain’t Nothing You Can Do About It’. Co-written by Des Barres and Label Owner Steve Va Zandt has shades of a Springsteen rocker going on from the choppy chords and the party going on in the rhythm section of course its quality. ‘Waves’ is another uptempo rocker with plenty of foot-stomping Stones meets The Faces via the Georgia Satellites vibes going on its sunshine on a 45 kids upbeat, smiling and a rock n roll hoot. Pretty much everything a 45 should be! Go get it!
Killer Hearts – ‘Doctor, Doctor / Demolition Love’ (Screaming Crow Records) Next in the Action Rock Jukebox 45 series are one of the best exponents across the pond of sleazy punk rock n roll the Killer Hearts. One cover one original that’s the deal and boy have they got a treat in store for you 45 rpm lovers. Doctor fucking Doctor sure it’s a tough one to get anywhere near the original but if anyone can this bunch of sleazy reprobates can and for a take on a classic they come pretty darn close. Monster version is done with all the respect and tribute to such an underrated band.
Killer Hearts dont need me telling you how fanfuckintastic they are they let the music do the talking and on ‘Demolition Love’ they knock out a cock sure slab of sleazy punk n roll from the vocals oozing with attitude and menace the band are killing it for sure. Had Larry May not been delivering a single this month then this would have been my pick of the pack for sure. Maybe it should be in for next month when it actually hits the streets but hey were punk as fuck round here.
Hell, they even have the shithousery to steal Motley Crue’s best riff and fuck with it! Killer 45. Killer Heart 45! Fuckin right it is.
The Penetrator’s-‘Time Is Mine’ (CODE 213RECORDS) What a banger this is. With a sound that’s as cool as Iggy the Penetrators cut the mustard with ‘Time Is Mine’ with its driving rhythm and slashing overdriven guitars its got a cool spoken sunk lyric that’s top drawer. the kings of basement rock is about right on the money having been doing this whole garage punk rock since the latter half of the 70s their endurance is admirable and their craft is of the highest standard.
The Speedways – ‘A Drop In The Ocean’ (Snap!!/Hurrah Musica & Beluga Records) Lifted from ‘Talk Of The Town’ which is released in November, this lush slice of power pop is more of the same from The Speedways who can’t put a foot wrong when releasing records they love and believe in starting out as a vehicle for Matts songs they’ve grown into the finest purveyors of the genre in the UK and probably wider world with a steady line up that really compliment the songs and never fail to deliver the good. Instant and long-lasting they understand what it takes to write genuine top-notch tunes as you can tell from this retrotastic video.
No Fun At All – ‘See The Splendor’ (SBÄM Records) Coming on like a European Bad Religion No Fun At All see the splendor in taking on the Swedish Royal Family. This track is their second single off their upcoming album. Founded in 1991, split up and re-united over the years, the 2022 album will be the first album since 2018. SBÄM Records based in Austria is releasing their new album exclusively since they have already re-released “EPs Going Steady” in 2021.
The album “Seventh Wave” will be released exclusively via SBÄM Records on October 14th.
Soraia – ‘I Seek Fire’ (Wicked Cool Records) Upcoming Shows with Joan Jett and Tours With Josie Cotton and Hayley and The Crushers Announced for these exciting Philly rockers. They’ve also go ta pretty cool take on the Kiss classic ‘Strutter’ coming this month that you should check out.
The Slackers – ‘Second Best’ (Pirates Press Records) NYC ska vets The Slackers released their first album in six years, ‘Don’t Let the Sunlight Fool Ya’, and now they’ve got a new video for one of its songs, ‘Second Best’ It’s a dreamy groove and one of the album’s slower songs, and the video is an animated deal that was directed and illustrated by Paulo Rocker and animated and edited by Fabricio Timm.
The Prize – ‘Easy Way Out’ (Anti Fade Records) Second single from young Melbourne champs ahead of their September tour with The Chats. It’s classic ’70s punk/70’s power pop style, with killer dual male/female lead vocals, twin leads and skills that bands who’ve been at this game for many more years would kill for. The ‘Wrong Side Of Town’ EP that this is lifted from is a killer addition to your collection and one that we highly recommend you check out.
It bears comparisons to a mash-up of quality from the likes of The Boys, Thin Lizzy and the Flamin Groovies they’re all in there somewhere coursing through the veins of The Prize and there is a fire raging in their guts as well. Single of the month? Hell yeah!
Wax On Water – ‘Mexicola’ (Self Release) didn’t see this coming. Wax On Water cover QOTSA with their interpretation of ‘Mexicola’. The song is uniquely crafted by singer Maya Damaris to be a kind of ‘response’ to the protagonist in the original Josh Homme penned track Facebook
Paradise Alley – ‘Bad Timing And Silver Lining’ (Bombshell Records) Not content with releasing an excellent solo album Steve Vincent has got Paradise Alley in the studio for a four-track EP that shakes its shit from the off they ask if you dare close your eyes and be transported back – Hell, I can’t open my eyes from late night flashbacks from the early 90s and this slice of Rock n roll hits the spot with some nice gob iron honking from Steve on ‘Soho Daze’ the solo is straight outta Thunders guitar case for what makes a great opening tune.
To be fair this isn’t your bubblegum LA hairspray glam pop this is dirty fingernails sleazy late-night Rock n Roll its got silver-tipped cowboy boots on and staggering round Soho in some nice Chelsea boots vibe. ‘Backstabber’ sees the lyrics going for some rock n roll therapy sit back relax and let it all come out. ‘Walk Away’ introduces some acoustic strumming to add some variety to the EP and it works well with the gang vocals. Wrapping up this most enjoyable EP is the title track that’s the time and memorial hard lick story about exactly that Bad Timing and Silver Lining at least Steve has perspective and can look back fondly on what he did and not what he didn’t achieve. These songs are now out there forever and along with the other music released nobody can take that away from the boy. Take my advice and grab a copy and get the Thunderbird on ice. It’s only Rock and Roll but I love it! Buy Here
The Chevelles – ‘Something About You’ (Wicked Cool Records) Super cool garage rock from down under has a have love will travel vibe about it. the song is a slow burner that hangs on a cool garage rock vibe its got shades of Chesterfield kings about it and being on wicked cool shows exactly how good this is because the label doesn’t have duds amongst its ranks. Pick it up Here
Hell Diablo – ‘Push Comes To Shove’ (Self Release) OK so the name lacks originality but hey it’s just a name. You can imagine this foursome of Canadian reprobates get into mischief and love booze beer and birds Hell Yeah! they do. Fuck it I love a cliche who doesn’t? It’s got a dirty riff, tub-thumping and a freaking cowbell. It’s sleazy rock n roll kids don’t be afraid to throw them horns aloft and just enjoy it. I did. Hell Diablo – Nice. I like the piano hammering away and I love those Stonesy WooHoos. get on it! Lifted from the second album their upcoming album “Bad News Travels Fast” I bet it does. Bandcamp
Berlin has always been a Punk Rock n Roll City and it shows no sign of stopping post-pandemic with these new long players courtesy of punk n power pop n rollers Not The Ones. It’s not rocket science it’s a simple formula – just write top tunes and lay em down on a record and get a super cool label like Wanda to release them out into the wild.
To show how serious they are they’ve even recruited the services of power pop punk rock n roll legend Matt Dangerfield to turn in some Backing Vocals & guitars. It kicks off with the jangly ragged guitars in sprightly fashion as they take it ‘On The Chin’ which sort of sets the tone for what’s to come. Choppy guitar chords over a melodic pop song with a rhythm section that keeps surging on sounding like it could all fall apart at any moment and just nick off down the pub instead but it doesn’t – obviously. ‘Remote Control’ is possibly the finest example of this. Stabbing electric guitars over a punchy backbeat and melodic vocals.
It has a feeling of early 80s post-punk or New Wave as we used to call it. the charts always churned up some interesting tunes that would hang around for a lifetime inside our heads popping up every now and again ‘Out To Sea’ is a great reminder of this time period for me – it’s super catchy and feels like you’ve heard it before even though you know you haven’t.
The title track comes with added snot even with the quirky keyboard stab it’s a thrilling rip snorting white knuckle ride with great boozy gang vocals and then it just ends, great stuff. as the album lists from side to side spitting out tunes, it’s ‘Tightrope’ that kicks back and moves slower with a cool purposeful riff adding something different to most of this record. This only leaves ‘Let’s Go Psycho’ to close off the record which holds a candle for a Boys melody and is a fine way to end the record.
New wave, old wave, power pop, punk rock, who cares what label it has – Not The Ones dish up a sweet platter that matters – get on it kids it’s a good time on 33 1/3 revolutions per minute.
Indiana based thrash/death metallers Assimilator unleash their self-titled album on Sep 16th. Mixing up a myriad of influences ranging from Kreator to Deicide, the band delivers a pummelling nine tracks of metal fury. It’s not all death metal grunts and breakneck speed though, I can hear some doom influences too. The light and shade of the songs work well, the band have obviously tried to construct the songs in such a way that you don’t lose interest. The songs aren’t too long either, I really like the way that the album flows. I can even hear some NWOBHM influences, Angel Witch for sure.
The production is slightly too muddy for my taste but it’s more than adequate. The band are extremely talented musicians and delivers some blistering performances. There are lots of melodic moments too, with some fantastic guitar work. The band have shared stages with the likes of Suicidal Tendencies, Phil Anselmo and the Illegals and Obituary to name but a few. I’m sure they deliver the goods live.
All in all, a solid album, if you love your metal on the heavier side, check out Assimilator, you won’t be disappointed.
Eye eye what do we have here then? A new Eye-inspired release from Germany’s finest Berlin Blackouts. If you’ve not already seen it they have put together eleven Eye inspired tunes on this eye-catching new record. It’s twenty-five minutes of punk rock inspired by your peepers. splattered amongst the original tunes they have some right spectacles covered like the classic ‘Gary Gilmore’s Eyes’. but more eye-opening is their take on the ‘Dirty Dancing’ slushy pomp rock-lite that is ‘Hungry Eyes’.
So it’s not just a lame cover album, it’s not patchy either, the Blackouts deliver quality melodic power pop, punk rock and from the off, they dish it up from the punchy ‘Kubrick Eyes’. They then kick in with the sultry saxophone intro of ‘Hungry Eyes’ and you won’t be able to look away they’ve covered a tune perfectly. Sure it’s a huge melody overload and the Ramones-like chorus is simply delicious. Ten out of Ten for having the balls and for the interpretation. Nail, head, hit! Hell, when you’re on a roll why stop? ‘Bette Davis Eyes’ is tackled next and again it’s sublime in its delivery and interpretation.
They sound like it was the best of fun to have recording an album and speeding through ‘In The Eyes Of’ and ‘Eyes Of 84’ before smashing ‘Dead Dogs Dancing In Your Eyes’. The ebb and flow of the record is excellent and out there from the punk rock smashers to the pop-like bop n roll of ‘Doctor My Eyes’ taking us back to the ’70s and a pair of creepers with some teddy boy drapes for added authenticity this could and should be a leg up record to bigger and better things and radio bods should be all over this album filling the airwaves with these tunes.
I loved Radio Dead Ones and Berlin Blackouts are a fine post project I’ve gotten my beady eye on what the band were up to and have the records and this is the finest project the Blackouts have managed thus far and its great to hear they still have the chops to stay in the game and deliver excellent music. Take the plunge and check out these tunes and delve headfirst into the Berlin Blackouts they deserve it – They rock and love to make a spectacle of themselves and eye think this album can and will be enjoyed far and wide – get on it kids this album is a banger!
Born from the Red Bank of New Jersey, the early days of Monster Magnet were a cosmos away from the major-label, alternative rock boom that would suck the band into the shiny MTV world of the early to middle 90s. Originally formed by Dave Wyndorf, John McBain and Tim Cronin, Monster Magnet lysergic oozed into the world in 1989 with two demo tapes – ‘Forget About Life, I’m High On Dope’ and ‘I’m Stoned, What Ya Gonna Do About It?’ – making it perfectly clear from the start where they were coming from. This was a band revelling in bad trips and the death of the hippy dream with a Manson Family stare, playing squelchy lo-fi psychedelic music with a rabid punk rock sneer, like The Stooges terrorising Hawkwind at the most unpleasant free festival imaginable. There were tales of entire audiences at their gigs being spiked with LSD. It didn’t matter if this was true or not, it all added to the mystique. This was indeed a satanic drug thing, you wouldn’t understand.
Those two demos formed the base of what would become their pivotal ‘Spine Of God’ album from 1991 and the ’25…Tab’ EP, which featured the mesmerising 32-minute opus itself, ‘Tab’.
Long considered to be the true essence of Magnet’s early psychedelic voyages, ‘Tab’ is finally returning to earth’s stratosphere with the release of ‘Test Patterns: Vol.1’, available November 11th via God Unknown Records on 12” vinyl.
‘Test Patterns: Vol. 1’ features a 2021 remix of ‘Tab’ by John McBain, alongside the original demo, recorded in 1988 and then released on the aforementioned ‘Forget About Life, I’m High On Dope’ in 1989.
“When Magnet started, John and I worked in record stores in Red Bank and Dave worked in the comic bookstore and we made a lot of tapes for each other,” recalls Tim Cronin. “A lot of ‘check this shit out’ kind of stuff…Hawkwind, early UFO, Amon Duul, Can, Skullflower, Morgen, Loop, Crystalized Movements, early Alice Cooper, Walking Seeds, Butthole Surfers, Spacemen 3. When we recorded the first demo and got to TAB, we just beat the shit out of it until it became heavy, noisy, weird, mean and either too long or not long enough, depending on your mood. Everything we wanted in a song (at least everything I wanted in a song), punishingly psychedelic. Jersey Shore krautrock.”
‘Test Patterns: Vol. 1’ will be available in two 12” vinyl editions – a deluxe gatefold sleeve with acid blotter inner sleeve and a special Rough Trade Super Deluxe edition with gatefold sleeve, limited to 300 copies with 4 postcards, blotter inner sleeve, ‘orange sunshine’ coloured vinyl and alternative cover artwork.
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