In The Red

Lavender Flu “Barbarian Dust” (In The Red)

2020-03-13T20:34:37+00:00February 20th, 2020|

“In contrast to their prior mobile-unit hole-ups and home-taped fryers, Barbarian Dust, the third album from Lavender Flu, marks the band’s first raid of a proper studio. Extending the formalities further, the conceptual impetus for the sessions stems from a collective meditation on cosmic biker rock. Smokey, sure—and that peculiar, chunky ether seeps into the resulting collection—but it all ultimately serves to a liquid frame, a set of parameters imposed purely to burst through. Compositionally and thematically, Barbarian Dust alternates between hope and anger, each idealized, a sway thoughtfully achieved through an often-soaring, occasionally busted version of rock heaviness (without ever approaching ‘Heavy Rock’, thank heaven / hell). In every sense of the word, it’s their most aggressive work to date.
“Barbarian Dust collects songs that move in and out of wobble and explosion, each pushing forever forward, just as the composers themselves do. Galaxies past cool-but-copyist trips, Lavender Flu—brothers Chris and Lucas Gunn, Scott Simmons and Ben Spencer—slaughter the trivial in favor of a newer, deeper, more meaningful sound, indifferent to any path other than their own. Time to transform, yet again.”

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Victims “Victims” (In The Red)

2019-11-22T03:13:31+00:00November 22nd, 2019|

“Punk music, at its most effective, its most important, exists at a nexus of a few simple but important ideas. Punk needs to be youthful, it needs to be reactionary, it needs to be short-lived and it needs to be controversial. So for a group of twenty-something Australians, excitable as the frontline first wave of kids responding to both the Ramones and the Sex Pistols (yet still influenced by the New York Dolls and Stooges and Flamin’ Groovies), who existed for but barely for a year from 1977-1978 and wrote songs about serial killers, high school girls and hating disco…well, I’d argue they are the most perfect punk band ever. “The band was Dave Flick (aka Dave Faulkner later of the Hoodoo Gurus) on guitar and vocals, Rudolph V (Dave Cardwell) on bass and James Baker on drums. Best known for their classic ‘Television Addict’, that song is but the tip of the iceberg of the band’s powers. Having self-released two godhead 7-inches during their brief existence, the seven songs on those singles are absolute cannon at this point. Quintessential, pure, unfuckwithable. And all that is just side one of the LP. “Side two contains a bounty of unreleased-for-decades demos of nine otherwise undocumented Victims originals. Demos in name alone, these properly recorded songs brim with all the identifying marks of the known Victims classics…irreverence, taking the piss, murderers and an invigorating youthful attitude. “The last thing to remember about punk as a theory, an aesthetic, is that its ‘ideas’ are all bullshit anyway. That’s easily proved by the 7-inch EP released alongside this release of new recordings of ‘Charlie’, ‘Horror Smash’, ‘I Wanna Be With You’ and ‘Everynite’ which proves that the Victims now (featuring Ray Ahn from the Hard-Ons on bass), some 40 years after their heyday, could still easily take on any au courant band half their age.”

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Dum Dum Boys “Let There Be Noise” (In The Red)

2019-09-13T06:32:21+00:00September 13th, 2019|

“Often obscured by the ascent of Flying Nun’s legendary roster is New Zealand’s late 1970s / early 1980s punk scene. Based in Auckland, a cadre of acts influenced by The Ramones and Stooges briefly thrived. The Dum Dum Boys—the first NZ punk band to record and release a full-length in their native country—were hooked on the Ann Arbor sounds of Iggy Pop.  “The Dum Dum Boys’ Let There Be Noise (1981) is chock-full of James Williamson and Deniz Tek riffage; it also contains elements of Iggy Pop’s nihilism. Take the lyrics to “Something To Say”—it’s refrain repeatedly asking ‘What am I living for?’—and juxtapose them to the band’s namesake track from Pop’s The Idiot (1977): ‘What happened to Zeke? He’s dead on jones, man.’ ‘Stalking The Streets’ taps into the meaninglessness of James Taylor and Dennis Wilson’s Two-Lane Blacktop journey through the American Southwest. “The Dum Dum Boys understood the proto-punk sounds of 1970s Ann Arbor and Cleveland. More importantly, they also got the vibe. Life stinks—sometimes in the places (Auckland) you’d least expect it.  “As the title suggests, Let There Be Noise is anything but a record incessantly focused on introspective doom and gloom. ‘Don’t Be A Bitch’ rivals Radio Birdman’s ‘I-94’ for lyrical thick-headedness—like sticking a hot 454 in a Ford Falcon gasser, the song’s simultaneously awesome and dumb. That’s a difficult balance to strike.  “Let There Be Noise (1981) was self-released and copies quickly became damn near unobtanium, even in New Zealand. (I should know: I lived there.) In The Red has performed a major service by reissuing this obscure and outstanding record. Independent New Zealand releases from the early 1980s didn’t get their due; distribution out of the country was essentially non-existent. It’s nice to see that finally getting corrected.”

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CFM “Soundtrack To An Empty Room” (In The Red)

2019-08-02T03:15:18+00:00August 2nd, 2019|

Charles Moothart is releasing his third album under the moniker CFM. It’s called Soundtrack For An Empty Room and keeps it cookin’ off 2016’s Still Life Of Citrus And Slime and 2017’s Dichotomy Desaturated. Moothart is a frequent contributor on many of Ty Segall’s solo ventures but also as a co-conspirator in bands like the blazing jam unit Fuzz, and a fantastic monster of a group called GØGGS, which throws Segall and Moothart in with Chris Shaw of Ex-Cult.
Something that’s immediately apparent on this album is that it’s a harder record than its predecessors. The shift isn’t subtle but it is tremendously cool. A lot of the material was written while Moothart was on tour with Segall and working on the GØGGS Pre Strike Sweep album. The first two CFM efforts gave Moothart the experience to work effectively on his own in the studio, the live shows infuse this with the confidence and attitude that comes from a lot of nights playing where there are no second takes. It is an exciting follow up and further proof that Moothart is one of those people with a lot of music in him.

“If I may speak completely for myself. It’s musicians like Charles, Ty, Chris Shaw, John Dwyer, Tim Presley and Mikal Cronin who are not only revitalizing Independent Music, but have forced the idea of the monolithic album, endless tour and then a year before another release to be but an antiquated and megaboring option. It’s a blast trying to keep up with their output. Super exciting. Lastly, all three CFM albums are great but Soundtrack To An Empty Room is the best one. It rips from start to finish.”

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LTD “Stop Und Fick Dich!” (In The Red)

2019-06-07T02:59:54+00:00June 7th, 2019|

King Khan has scoured the earth to find the most rocking freaks of nature this side of the planet to form what he calls “an all-star cream of the crop rock ’n’ roll lifers association” aka Louder Than Death aka LTD—Looch Vibrato and Aggy Sonora (of the legendary Magnetix) on guitar and drums, and Fredovitch, the mighty organ surfer of the Shrines, throws out the keys and picks up the bass. King Khan assumes the position of frontman / lead shouter / effeminate cult leader (by choice). What is born is a maelstrom of pure unadulterated, unhinged, unbelievable rock ’n’ roll baptized in the salty sea water of Bordeaux, France, waterboarded with the finest wines, choked with the smelliest cheeses, dipped into a vat of oysters, octopus and shrimp. This is not just a band, its an orgy of the damned!
King Khan summons the punk rock demons buried in his bodacious brown back side, lathers up the listeners in his mystical oils and leaves the audience thirsty, horny, riled up, ready to dance upon the apocalypse and punch it in the face all in one mighty fell swoop. King Khan on the other players: “I once saw Looch Vibrato take a pair of glasses off someone’s face and stick them in his mouth and crunch them into dust, all because he warned him not to drink a warm can of beer filled with his own piss. Aggy Sonora, is the love child of Peggy from the Gories and Anaïs Nin. She beats her drums as senselessly as sensually. The sound of lust and labour rammed into one mystical inauguration of the pleasure dome. Fredovitch (aka Freddie Rococco) was once mistaken for the son of Roky Erickson by Japanese music magazines. He is in fact a son of a gun and the greatest bass player since sliced brie. When he isn’t playing bass he is conducting orchestras in his mind and preparing to take over the world of classical music. His motto is : you slap my bass, I’ll slap yo’ face… and fuck your mom.”
Tired of the smoke and mirrors of the modern music world? Then trust in this Union of Lifers. They chose the path to enlighten lives with simple, pure, decadent ordering of chaos. They found the beat in the slow death of the human race, and they have come to save your uncool niece.

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The Revenge “Four Song 12″ EP” (In The Red)

2019-05-10T19:07:02+00:00May 10th, 2019|

If the original intent of punk rock was to reject the excesses of mainstream rock, strip things back to bare bones basics, jettison slickness and embrace a DIY ethic, then The Revenge were punk rock personified. Formed in 1977 in Cheshunt, London by Lol Hammond (vocals / guitar), Ian Strange (bass / vocals) and Dave Edgar (drums / vocals), these teenagers played most of London’s punk clubs, including the Roxy. The band self-released two singles in 1978 on their own Loony Records before disbanding in 1979. Both 7-inches were pressed in incredibly small amounts and now have legendary status amongst collectors going for ridiculous sums. According to Lol Hammond, “I was totally blown away to learn our second single was changing hands at £400 a pop! We probably recorded it for less!”  The recordings are extremely raw, even by punk standards—particularly on the band’s first single, where the guitar sound is so tough and scuzzy it would not sound out of place on a volume of Back From The Grave. Needless to say, the singles received little press and vanished without a trace. Nowadays Lol Hammond is one of London’s well known DJs who has recorded as Drum Club and Girl Eats Boy, collaborated with Roger Eno, directed film scores and has remixed the likes of Jah Wobble, Killing Joke and The Fall, to name but three. In The Red is proud to issue the first legitimate (these singles have been bootlegged) reissue of The Revenge’s two singles. Sonically restored by William Hayter and masterfully mastered by Mikey Young, these tracks sound better and louder than ever before.

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Scientists “9h2o.sio2” (In The Red)

2019-04-11T21:52:13+00:00April 11th, 2019|

The Scientists are the ultimate cult band! Mysterious, undefinable, and yet many quite distinct things to many people. Some blame them for grunge, some think they’re a power pop band, some think they’re experimental. Tav Falco describes them in Ghosts Behind The Sun thus: “Mercurial individuals who’s science is strictly alchemical.” Originating in Perth, Western Australia, in the beginnings of post-punk, they travelled to Sydney, then London, cutting a swathe through the indie scene throughout the 1980s, only to vanish. Sited as a seminal influence by so many —Sonic Youth, Jon Spencer Blues Explosion, Mudhoney, Nirvana—the band had to return some time.  In 2018 they returned with two new singles and tours of Australia, Europe and the U.S. (their first time ever in the States!). Now In The Red is proud to announce the release of 9H2O.SiO2—a 12-inch E.P. featuring five brand new originals just in time for the band’s follow up U.S. tour in April. These new tracks prove that the band is still as original, brutal, rocking and scientific as they ever were. This is not to be missed!

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The C.I.A “The C.I.A” (In The Red)

2018-12-21T05:44:30+00:00December 21st, 2018|

This S/T, by The C.I.A. is an urgent musical notice. I feel it immediately.  The pointed vocal cadence & lyrics of Denée Segall (Lamps, VIAL) is a sharp scythe, and the actual time is…Now.

I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. in fact, if you took that…mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari teenage riot) and even Dinah Cancer (45 Grave) “Autopsy” era, you can get a feeling. And Similarly to those mentioned, Denée is putting a time stamp on THIS time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing.

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Jon Spencer “Spencer Sings The Hits!” (In The Red)

2018-11-09T15:45:52+00:00November 9th, 2018|

Jon Spencer, the Blues Explosion man who put the “Bellbottoms” on Baby Driver! The top cat who spread the secret sauce in Boss Hog! The rockabilly right-hook from heavyweight outlaws Heavy Trash! The swank-fucking master of Pussy Galore! Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last! This is Garage Punk for Now People! A wizard’s brew of rhythm and blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover. Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Spencer opens up his heart like never before, exploring man’s modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, “Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock ’n’ roll?” The answer is yes—on Spencer Sings The Hits! This is the truth serum America has been craving, the beginning of a rock ’n’ roll rebellion that takes no prisoners and puts the squares on ice!

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Ty Segall “Fudge Sandwich” (In The Red)

2018-12-17T00:54:31+00:00October 25th, 2018|

Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it.  Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output.

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Goggs “Pre-Strike Sweep” (In The Red)

2018-09-28T03:31:08+00:00September 28th, 2018|

With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one.
Singer Chris Shaw uses terms like “space rinse” and “roadside surgery” to inform the listener that this is a strange and different trip, far and away from the “Glendale Junkyard” he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.

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Lavender Flu “Mow The Glass” (In The Red)

2018-07-06T17:53:59+00:00July 6th, 2018|

The new Lavender Flu album Mow The Glass was recorded in the living room of a small house on a cliff overlooking the Pacific Ocean. One can hear it in the music: the Oregon coast, the dream life of an Axolotl, the open sound of a band playing to an audience of endless water, sun, and sky. A bald eagle flew by the window every few hours as if to remind the band where they really were. Still, the laughter was real, the freedom was magic, and the tambo was sprinkled like sugar.
Heavy Air, the previous album, was a home recording project. The songs started with Chris Gunn (The Hunches) on a guitar or a synth or a bowl of cereal and were built up from there. A rotating cast of friends and family helped flesh out the material. It could have been made in deep space or at the bottom of the ocean. Transmissions from a bedroom at the bottom of Pill Hill.
This new album is a reflection of the live experience. Four people playing together; working within the template of pop classicism. thirty-five minutes of music. This time, the Flu comes out of the water and spends a little more time on land: pop kicks, psychedelic derangement, beauty, spells cast via hate raga and rocker. The band moves backward, forward and sideways; often within the same piece. The music breathes. It doesn’t deal in nostalgic regression or self conscious futurism. It just sounds like the Lavender Flu.

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LTD “LTD” (In the Red)

2018-04-12T22:57:04+00:00April 12th, 2018|

What happens when you put King Khan and Sean Wood from The Spits together? The results are Louder Than Death aka LTD. This mini-album is the first collaboration between the two titans of garage-punk and the results are as bonkers as you’d hope. Sci-fi inspired punk meets weirdo synth damage that’s as deranged and dumb as you’d hope. Since the recording of this debut release the band have added Aggy and Looch from the Magnetix to the line up and recorded an album (out later this year on In The Red) of blistering, whacked-out punk rock that is guaranteed to blow minds. Watch for the band on tour!

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Simply Saucer “Cyborgs Revisted” (In the Red)

2018-03-01T20:03:13+00:00March 1st, 2018|

Simply Saucer’s Cyborgs Revisited is an explosive time capsule from one of the great Canadian cult rock ‘n’ roll groups. Formed in Hamilton, Ontario, these sci-fried proto-punks created a sound fusing Hawkwind, The Kinks, Pink Fairies, Syd Barrett-era Pink Floyd, and the omnipresent Velvet Underground. Originally recorded from 1974-1975, the album became a critically revered classic when it was finally unearthed in 1989 by Mole Records. Now, In The Red is proud to release the definitive, remastered double album edition featuring new liner notes by band biographer Jesse Locke, unseen images, and the complete live recordings available as a second album for the first time ever.

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Chain & The Gang “Best Of Crime Rock” (In The Red)

2017-06-24T20:50:29+00:00June 24th, 2017|

Chain & the Gang are different than the rest. You won’t see their name on the garbage heap of hyped bands pushed by paid-off web-zine tastemakers. They’re not “jingle-core,” tattooed onto your subconscious via Madison Avenue mind-control ad campaigns. They’re not middle brow NPR indie-listening for Prius-owning cubicle rockers or a tiresome teenage retread of ’90s surrender sludge. No, Chain & the Gang are singular, terrifying, and unparalleled. Not only the most ferocious live combo ever witnessed but also the world’s only anti-liberty rock ‘n’ roll group. Their motto? “Down with Liberty… Up with Chains!” This band doesn’t care about grades, likes, traffic or hits. They don’t petition publicists for goofy hype or pander to the corrupt institutions who molest rock ‘n’ roll and use it as their plaything. Chain & Co. Don’t play that game. They want total destruction of the insipid rock ‘n’ roll status quo and the foul system from which it purports to offer relief, but in fact keeps afloat. They’ve released five uncompromising records, each one a brilliant, tossed-off sketchbook of insolence and provocation: Down with Liberty… Up With Chains, Music’s Not For Everyone, In Cool Blood, Minimum Rock ‘n’ Roll, and Experimental Music. Now only one is needed: Best Of Crime Rock. Just recorded, it’s easily the best record, with the most passion, the most accuracy, the most cunning, and the most vigor. Every song on these records is a classic, each lyric an anthem. The tunes are simplistic to the point of parody; call and response rhythm chants which infiltrate the consciousness and leave the listener forever transformed. Each group member is a star. But together they’re something greater than the parts. An irresistible combo that provides the best hope for the future and the only answer to the embarrassing slime pit called “culture.”

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Boss Hog “Brood X” (In The Red)

2017-04-08T21:02:39+00:00April 8th, 2017|

Boss Hog returns from the wild with their most subversive record – this is the seductive soundtrack for the second coming of militant rock ‘n’ roll, and the groove has never been stronger. Brood X – emerging from the dirty streets of New York City after seventeen years of gestation – is a futuristic brew of 21st Century blues, toxic punk rock beat music, and hyper-focused, outer-space psycho assaults. Thermonuclear chanteuse Cristina Martinez blisters the hypocrites, the haters, the heartless, and the clueless hangers-on with a full-tilt microphone attack. A sex-bomb salvo for troubled times, Martinez gives voice to America’s pain while pulling no punches. This band does not negotiate. This is scorched earth rock’n’roll for the resistance, barbed-wire blues battling for the future of the planet. Recorded and mixed at the fabled Key Club, using Sly Stone’s legendary There’s A Riot Goin’ On console, the album channels the subversive mojo of the underground and brings next-level sonics to save your very soul.

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Tyvek “Origin Of What” (In The Red)

2016-11-17T01:12:00+00:00November 17th, 2016|

Tyvek have long stood as one of the more steadfast and dependable punk institutions of the last decade. Each record has been great and has improved on the one before it without struggling to reinvent or overwrite their past. Line-ups and life events shift but the energy always comes through as new and raw as it did on the first single. Origin of What, their fourth album, is something of a departure, if a cryptic one all the familiar elements are in place and yet a pervasive darkness that these strangely disjointed songs. Working again with Fred Thomas who recorded their most recent album, 2012 burner On Triple Beams, band members from the earliest incarnations to it’s most recent showed up for various recording sessions, with initial tracks captured quickly. Later, far more extensive editing, mixing and overdubbing ensued, resulting in a fragmented production style that slowly disintegrates the standard punk fare until it starts to resemble dub experimentation before decaying even further. Tyvek’s future, like it’s origin, is up for grabs.

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GØGGS “GØGGS” (In The Red)

2016-08-03T19:52:37+00:00August 3rd, 2016|

It might be easier to count the records Ty Segall hasn’t been on over the past few years than the ones he has. He’s a truly prolific musician, so in love with creating sound, both for himself and in collaboration with his friends. And as exciting as hearing his distinctive caterwauling layered over the buzz of his guitar, some of the most interesting projects he’s taken on are the ones that see him take a back seat to another vocalist, concentrating his energy on shredding his axe or pounding the drums.

That’s the story of GØGGS, Segall’s new project with Ex-Cult’s Chris Shaw at the microphone and longtime collaborator Charles Moothart completing the trio. Though Segall may have written and produced the self-titled album’s ten searing tracks, the music is truly a showcase for Shaw’s gruff bark, an ultra-refined take on Ex-Cult’s ’80s hardcore worship with razor-sharp, overdriven guitars and waves of distorted synths running high in the mix. The versatile Segall and Moothart rotate instruments on nearly every song, trading off lightning-quick guitar licks, bass lines, and drum fills, with guests like Mikal Cronin, Cory Hanson of Wand, and Denee Petracek of VIAL dropping in on the fun as well.

Moothart is a natural choice for a creative partner, having not only played guitar with Segall in Fuzz, but also throughout the gonzo garage rocker’s nine solo records, including Ty Segall Band’s Slaughterhouse. The two multi-instrumentalists approach each song for GØGGS as an individual idea, taking on whatever role best fits the track, and the album benefits from their communal approach. Every track bursts with creative energy, tonally consistent as a whole despite their different arrangements. Whether its Moothart blazing through “Shotgun Shooter” and “Smoke the Würm” or Segall shredding on the excellent single “She Got Harder”, they’re both tentacles of the same writhing, rumbling monster coming to smash your house to rubble.

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Boss Hog “Brood Star” (In The Red)

2016-08-03T19:37:05+00:00August 3rd, 2016|

It’s curious to realize that Boss Hog spent 16 years away from the recording studio because their lead singer was busy being a responsible adult. But now that Cristina Martinez is able to take a break from being a working mom, the good news is Boss Hog can still cut a raw, nasty, and satisfying groove. Even better, Brood Star, the four-song EP that marks Boss Hog’s return to active duty, sounds darker and grittier than 2000’s Whiteout, with the drums booming harder, the samples and keyboards bursting even farther out of nowhere, and Jon Spencer’s interjections full of more frantic energy than he possessed last time out. Stylistically, Brood Star doesn’t break much new ground for the band — this is still downtown rock walking in lockstep with mutated funk, with some hip-hop accents as seasoning. But for all that time away, the band has picked up where it left off with admirable strength and no loss of energy. And even though this music still has Martinez and Spencer written all over it, bassist Jens Jürgensen and drummer Hollis Queens perform the all-important task of holding down the rhythms with flying colors, and Mickey Finn’s keyboards add a good share of atmosphere to the tracks. Boss Hog are all about getting that party started on the wrong side of town, and their hiatus hasn’t changed their mission or dampened their skills. Brood Star is meant as a prelude to a full-length album being released later in 2016, and these four tunes suggest Boss Hog should have no trouble kicking out the proverbial jams with their comeback LP.

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Action Swingers “Quit While You’re Ahead” (In The Red)

2015-09-21T00:23:23+00:00July 5th, 2015|

“After Quit While You’re Ahead’s first song, “Kicked in the Head,” it’s pretty obvious where the rest of the album is going — each song highlights a single, gritty, repetitive riff, and a single, screamed melody. The simplicity and repetition give the songs the potential to grow extremely annoying, but the lo-fi, Dinosaur Jr.-esque feel of the production keeps them from sounding like poorly written rock; in the end, the tracks sound like the hard-rock parodies on Ween’s early albums (“You Fucked Up,” etc.) Julia Cafritz of Pussy Galore and Free Kitten is also featured.”

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