At long last The Jackets have released their fourth album, Queen of the Pill. It’s a brilliant record that shows off the logical evolution of the sound that made Way Out and Shadow of Sound great.
Queen of the Pill boasts the raw snarl of the fuzzed out garage-punk found in Way Out and combines it with Shadow of Sound’s refined freakbeat influenced garage-psych style. However, what sets Queen of the Pill apart from the previous records is The Stooges-esque proto-punk attitude twisting with elements of King Khan & The BBQ Show’s style, which should come as no surprise since King Khan was involved in this record’s production.
ROLANDO BRUNO Y SU ORQUESTA MIDI CUMBIA REACTION Voodoo Rhythm Records Street: 10.14.2013 Rolando Bruno y su Orequesta Midi = Los Peyotes S.A + Jean Paul “El Troglodita”
This Cumbia Reaction EP is a true gem among the rough. Hailing from Buenos Aires, Argentina, Rolanda Bruno—formerly of Los Peyotes—comes blasting out with his one-man-band act. Unlike Los Peyotes—which is amazingly raw 1960’s-inspired garage punk music—Bruno brings out something different through this cumbia trash with a mix of psychedelic garage rock and Latin funk. This is his first release since 2013 and was recorded by Bruno at his Midi Home Studio. It’s an infectious four tracks that will keep you moving about like an idiot, as if being hexed.
THE REVOX TALK ABOUT HER / SICK OF YOU Voodoo Rhythm Records Street: 12.09.2016 The Revox = The Sevens + The Dynamites + The Rippers + The Monsters
Screaming from the frozen utopic wastelands of Switzerland come The Revox. According to Voodoo Rhythm Records legend The Revox were recently resurrected from their ice-cold graves in the Swiss mountains to annihilate planet Earth with fuzz-guitar-driven rock n’ roll. With a sound like theirs, I’d be hard-pressed to believe otherwise. This band embodies the devastating yet hedonistic power of the untamed nature of garage rock n’ roll. Their sound is unbridled and crushingly raw. Within this release are sounds that bring up a passion for 1960s garage rock but with the shocking energy of punk rock.
THE JACKETS BE MYSELF/QUEEN OF THE PILL Voodoo Rhythm Records Street: 06.30 The Jackets = The Seeds + King Khan and the BBQ Show + The Satelliters
Hailing from Bern, Switzerland, The Jackets are Jack Torera (aka Jackie Brutsche) on vox/lead guitar, Sam Schmidiger on bass and Chris Rosales on drums. With a combined love for The Seeds, The Music Machine, The Lyre and The Gravedigger V, The Jackets boast an exposition of untamed garage rock that is uniquely executed. It’s a style that is well refined, raw and carefully delivered. I would have thought it would have been hard to top their last record, but it’s not necessarily a surprise that this single breathes new life into their already vibrant sound.
DESTINATION LONELY DEATH OF AN ANGEL Voodoo Rhythm Records Street: 04.14 Destination Lonely= Brain Bagz + The Devils
Destination Lonely’s Death Of An Angel is swampy garage punk at its boggiest. Hailing from Toulouse/Bordeaux, this group delivers sounds infused with heavy guitar distortions and groove moods. It’s a style that’s been heard before, but not with this group’s approach. This is not surprising, given that this album is named after the Donald Woods & Vel-Aires soulful 1955 track of the same name.
The opening track, “Dirt Preacher,” is a cover by the 1980s Memphis-based rockabilly outfit, The Gibson Bros. It’s a sort of chaotic, bluesy, psych-punk tune from the inner depths of the smoke-filled garage. Its swirling distortion effects are enough to make the head spin—given the right additives. Listening to this sober might invite headache or bits of enlightenment.
THE SEX ORGANS INTERGALACTIC SEX TOURISTS Voodoo Rhythm Records Street: 01.24 The Sex Organs = The Jackets + The Anomalys
By reading this, one would hope that the reader has a keen taste for the primitive sounds found in the garage or in the absurdly kinky. Ideally, one would have both well in hand. The Sex Organs are Jack Torera of The Jackets and Bone of The Anomalys. Together they have ventured to the deepest reaches of outer space and have come back as fuzzy sex organs. Onstage, they morph into the incarnations of members of “…the planet cunt, the other part of band, from the planet prick.” Complete with vicious teeth and a huge eye, their purpose on Earth is clearly to destroy all that is sacred by desecrating listeners with the trash-driven sounds of their raucous rock n’ roll. Listening to Intergalactic Sex Tourists, the result will be just that. Any other reaction might reveal a lack of humor or even taste.
THE MONSTERS M Voodoo Rhythm Records Street: 10.28 The Monsters = Guitar Wolf + The Rippers + Sex Organs
The Monsters are the distant cousin, or even perhaps the slightly removed and deranged child that comes from the tales of the black lagoon. Admittedly, the charm that comes from a listening session with The Monsters’ records stems from their simple take on a savage noise. Sure, it may be a bit repetitive, but its energy is wild and dangerous. Think something along The Cramps, but so thoroughly revolting a sound that it germinates within the confines of the garage and remains to fester there.
VARIOUS ARTISTS THE MONSTERS: BURN IN HELL Voodoo Rhythm Records Street: 11.11 The Monsters: Burn In Hell = The Devils + The Failed Teacher + Sudden Infant + The Seniles
To play for The Monsters, each group performs a song that they would consider their favorite by the legendary group. In doing so, each band draws on their respective talents for this compilation. It is also of note that each band has a personal connection to The Monsters and are held in high regard and treated like family. It is therefore not surprising that these groups carry on a sound that emphasizes the beauty that defines Reverend Beat Man’s label Voodoo Rhythm Records. To be fair, there are probably many who may read this in Utah and the surrounding region who have yet to bear witness to this labels’ unique sounds, much less anything by The Monsters. So lets say that what is on this compilation is unlike anything that has yet to assault your ears—with maybe an exception for anything from the Memphis, Tennessee—based label Goner Records.
THE DEVILS SIN, YOU SINNERS! Voodoo Rhythm Records Street: 06.24 The Devils = The Jackets + The Monsters
If you like The Cramps or The Gories, then The Devils would be good company to add to your record collection. Imagine a sound that totally devastates in its raw deliverance of absolute damnation. If your mind’s eye allows you to contemplate this scene, then your attention should be on The Devils. Hailing from Napoli, Italy, this group takes its name from the 1971 movie of the same name, directed by Ken Russel and starring Oliver Reed and Vanessa Redgrave. The film was said to be so controversial that it was subject to remain in cult-like obscurity for years after release. In some countries, the film even faced total banishment. There is no doubt that this is a hard reputation to live up to. After subjecting myself to the fury that is Sin, You Sinners!, I am confident to say that The Devils do just that. Sin, You Sinners!, came out June 24, and would be the perfect album to instill anarchy all the way from the downtown hipster bars to the quiet and complacent suburban boroughs. This is an album that is meant to fully enjoy as you pop it into the boombox and proceed to crash the local hipster or neo–new waver’s party. In doing so, you might even make some friends, or more likely, loads of trendy enemies.
THE MONSTERS THE JUNGLE NOISE RECORDINGS Voodoo Rhythm Records Street: 04.08 The Monsters = The Sonics + The Jackets
From the gritty streets of Bern, Switzerland, comes the raw and primitive recordings of The Monsters. Fronted by Beat Zeller, aka Reverend Beat Man—owner of Voodoo Rhythm Records—the band formed in 1986 and made a name for themselves as a wild garage rock–meets–rockabilly outfit. They toured Europe and presented themselves as a force to be reckoned with. The Jungle Noise Recordings was originally recorded in 1994 and was the first album that saw The Monsters use an electric bass rather than an upright. The album was recorded at home instead of a studio so that the record could better boast the raw elements of The Monsters’ sound. It was originally released as 10” record via the underground German label Jungle Noise. After The Jungle Noise Recordings came out, The Monsters conducted a lengthy tour that saw them established in the Europe’s rock n’ roll scene. Giving this compilation a thorough listen some 20ish years later, I can see why.