TWIN GUNS

Sweet Dreams is the new album from Brooklyn garage duo Twin Guns, aka Andrea Sicco and 'Jungle' Jim Chandler. The eleven tracks have a hard edged dark aesthetic, with a distinct 60's surf vibe. Fresh and imaginative, Twin Guns take a page from the Velvets with a lo-fi "factory" live feel to the record. This rock duo is original and inventive, not just another Black Keys clone. Catch the wave, stream and buy Sweet Dreams on Bandcamp. - Floorshime Zipper Boots blog (Reviews, previews and more on unique and original emerging music to en

Sweet Dreams
by Justin Hayes

Every once in a while you hear music that opens your eyes, tweaks your brain and makes your ears pop. It affects you in many ways. Most of all, it commands your attention.

Enter Sweet Dreams, an 11-track album that totally enthralled me. Filled with deep, dark, kick-ass garage and punk tunes, Sweet Dreams is the latest release by Twin Guns. It's a barn burner that showcases Twin Guns' abundant talent. Rock, punk, intoxica and even a touch of the blues inhabit Sweet Dreams' domain.

Twin Guns features guitarist/vocalist Andrea Sicco and ex-Cramps drummer Jim Chandler. They authored all of the 11 tracks on Sweet Dreams.

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Witches - Jim Chandler's hypnotic drumming paves the way for this intoxicating instro number. Distortion laden chords shimmering with tremolo, a fuzzed-up guitar and a sprinkle of feedback combine to make Witches an eerily mesmerizing tune. The hair on the back of my neck is standing on end as I hear the witches oohing, aahing and shrieking throughout the song. Double, double toil and trouble; fire burn, and cauldron bubble. Witches is too spooky for words.

The Eternal War Between Good & Evil - "I took a journey back in time to a thousand places..." By the time Andrea Sicco speaks those words, you know the journey will be something out of the ordinary. There's an overwhelming feeling of desperation due, in large part, to the intensity of Jim Chandler's rapid-fire drum cadence and instrumentation that is reminiscent of the explosions and terror of war. As long as mankind inhabits this planet there will always be a war between good and evil, but can it be this freakin' cool? The Eternal War Between Good & Evil kicks some serious ass.

No Change Our Hearts Shall Fear - "Girl you should stay near ... we cannot lose control..." Sheesh, that's easier said than done. I'd lost control before Andrea Sicco uttered those lyrics. This hyperspeed punk 'n' roll tune had my feet tapping, my legs bouncing and my head banging with enough force to give me a serious case of whiplash. Bodaciously cool number, with enough fuzz, reverb and tremolo to satisfy any FX junkie.

Carry On - Nice bluesy opening. Andrea Sicco sets the stage by nailing the downbeat on his guitar. It's 3 1/2 measures in when Jim Chandler caps off the opening phrase with a couple of laid-back triplets on his snare. Then comes Brian Hurd's harmonica ... beautiful, sexy and totally blues. "What to do when love is gone ... Carry On..." and groove on 3:25 of pure coolness.

Never Satisfied - Andrea Sicco's haunting chords and grief-stricken moans, accompanied by Jim Chandler's tastefully provacative cymbal play, immediately project a crushing sense of despair. As Never Satisfied builds toward the climax, my own despair deepens. "You know I'm never satisfied..." Yes, I know. I'm never satisfied when something this good ends before I'm ready. But I'm getting there. Never Satisfied is nearing completion and I'm now in synch with it. I'm ready. I want it to continue, but I'm ready. It's over. The song is spent. It has ended. But it didn't end too soon. I'm glad to say that my own despair is gone. Never Satisfied has me completely satisfied.

The Creeper - Super cool instro tune with enough creep factor to make you paranoid as all hell. Excellent FX lend a mysterious jungle type of feeling to the music. There's something out there. I don't know what it is. Maybe some kind of as-yet-to-be-discovered creature. Whatever that thing is, it's creeping me out. I knew I took a wrong turn on my surfboard and now I'm up this creepy river without a paddle. The Creeper is going to get me and there's nothing I can do about it. I'm screwed, blued and tattooed.

Teenage Boredom - "I can't stand still... I need a thrill..." Oh, brother, do I ever remember those days. It sucked to be bored. There was nothing to do except drink beer, smoke cigarettes, race cars and mess around with the chicks. Oh well, ya can't win 'em all. But the poor guy in this song is really suffering from a severe case of Teenage Boredom. He's got to "...get out this zombie town..." At least the chicks I knew weren't undead.

Bloodline - Cool tune that begins with Jim Chandler's steady eighth note beat on the tom-toms, reminiscent of Indians dancing around a campfire. Just when you think Bloodline will take off into an Apache type of song, well, it ain't gonna happen. Things turn dark in a hurry. There's "...a sense of danger ... mystery ... psycho..." The spirits are restless tonight and I don't want to stick around and suffer their wrath. I'm getting the flock outta here. Neat, neat, neat track.

Mystery Ride - Grab your bootstraps, hang on to your ass and get ready for a mind-blowing ride to Psychoville. Mystery Ride is a full-throttle, kick-ass, in-your-face trip to hell. "See a devil inside of you..." Hey, I told you so. Let me repeat, Mystery Ride is a full-throttle, kick-ass, in-your-face trip to hell. It's got more thrills and chills than a Mad Mouse carnival ride. It's a white-knuckle, teeth-clenching ball-buster for sure.

Motorcity - Somebody has their paws on the car radio and they're busy searching for a station. Cool, they've dialed one in and away we go. "It's late at night, really wired..." Yeah, like about 83 cups of coffee wired. The caffeine is ripping at my brain and Motorcity has me wired so tight that I could scrape those white lines off of the highway with my teeth. Motorcity is a rush of adrenaline for those late night drives.

Wild Years - Deep reflection fills this song. "Broken souls in the switchblade moonlight ... soft white skin ... playing games in her room..." I hear a tremendous amount of melancholia in his voice. My empathy for him is so overwhelming that I almost can't stand it. "We were sinking a black hole ... love carries a little death..." The heaviness, the suffering. My God, somebody please give this man a happy pill. Wild Years is deep, reflective, incredibly passionate and very cool.

:: :: :: :: :: :: ::

Twin Guns create a brilliant musical dichotomy in your mind. How can music be so dark and yet be so cool? Whatever the answer, Sweet Dreams is sure to please.
- surfrockmusic.com

Twin Guns are Dealing Western Devils Out of Brooklyn


The double-edged sword of contemporary, ubiquitous music releases on the Internet is that bands like Twin Guns are out there and you haven’t heard them yet. While a reviewer might use this line for many albums by bands recently discovered, “Scene Of The Crime” by Twin Guns, released in March 2011, is the one that inspired it.

The Twin Guns are extremely generous with the devil’s chord in the opening tracks of Scene Of The Crime, taking on a rockabilly-Black Sabbath tone that is almost too easy to get into… like a contract with the son-of-the-morning himself. Twangy guitar and corrugated sheet-metal roof thumping drums are continuous through the dusty tracks that Andrea Sicco and “Jungle” Jim Chandler laydown on their range, making spurs jingle-jangle through a backdrop of urban chaos that evokes a backroom punk show at Gooski’s (for Pittsburghers who know that effect from experience).



Vocals come through big, like old-timey tunes… listen for wailing and lamentation, as well as coyote calls. At first it is a bit off-putting, as the instrumentals are so pounding and jarring the ear looks for a clean line in the lyrics. However, by not finding a clearer tonic from the sound engineering of the voices the sound of Twin Guns has a consistency of grit and tormented musical structure that is satisfyingly unsettled (perhaps extending the theme of buttering up the listener for an unholy commitment to a deal with the devil). It also goes a long way toward selling the lonesome cowboy emotion that seems to drive the wagon onward. This trend comes to an apex, in well managed order, with track 4, “Safe,” when pedal effects on both vocals and guitars take you over a canyon cliff somewhere out in the unpopulated vastness of the west Rocky Mountains.

Instrumentally the album doesn’t stop inventing. For example, use of essential piano tones, coming over where the mind’s ear envisions rhythm guitar laying on top of the lead. Confessing a slight aversion to the overdrive effects of synthesizer and soundboard background sounds through the first four tracks, it all comes together for resolution in track 5, “Druggy and Suicidal,” which is every bit the homage to rock n’ roll stars burning out like meteors that the title suggests. This is immediately justified by track 6 (“One More Night Of Sin”) opening with a church bell beat that sets up a lead guitar packed with glissando & crescendo. Listen for super-subtle alt-surf guitar and arching vocal deliveries on what balances out as a mellower song compared to the first half of the album. This mellowness seems to groove-on into the remainder of the album… for moments, but then the moments are gone.



The whammy bar gets just ridiculous, in the best of ways, on the latter tracks. What’s more, there is a surprising operatic coolness to track 8 (“She Cried”), where a neo-Quadrophenia sound of the ocean waves opening and another lonesome, wild-west yodel ride out on another set of silky and surfy guitar waves. Some spoken word aspects accent the song with a sort of hipster-Meatloaf result that does more to make the listener replay the track than to cast doubt on the, at this point of the album “signature,” sound qualities that it has just condensed through the cochlea.

The album might be best for the big finish of the final track. Using a recording of a subway car taking off, and singing about the same, it seals the listener’s fate with a guilty pleasure-inducing familiarity that forces the question… is that a Kink’s song? …the Clash? …funky early, Peter Gabriel-era Genesis? …nope, it’s Twin Guns.
- Pittsburgh Music Magazine

Taking a brown bag bourbon approach to the garage/surf rock revival, Twin Guns deliver dirge gems galore on Scene of the Crime. Though they borrow and touch on everything rock’n'roll (you can catch everything from Oasis to My Bloody Valentine to Iggy and the Stooges all on the same track), they take a refreshing approach to their influences. Lyrically, they take a cue from the Ramones by filtering 60's girl group clichés through a distorted, dark lens. Though these components may sound familiar enough, they ultimately form the marble out of which Twin Guns sculpt a flawless monument to rock’s past and present.

The sixties garage vibe is completely unshakeable throughout, though this is endearing. And it would be easy enough to write another review praising another band for sounding like the Animals or the Kinks. Fortunately for me (and you), Twin Guns dig a little deeper than that: “Little Subway Rider” is the first song in years to earn a comparison to “Hey There, Little Red Riding Hood.” With its echoing riffs and howling vocals bouncing around the jungle drums, the song projects a lost-in-the-woods-at-night vibe. Many modern bands have attempted such a feat, but fail to capture that true 60's essence because they are too self-conscious to really let it all hang out—they’re sneering instead of screaming, posturing instead of prophesying. Twin Guns instead find an unabashed wealth spring, delivering rave up after rave up.

The band also demonstrates a variety of avenues from which they approach their grimy and gritty sound. “Scene of the Crime” sounds like the schizophrenic cousin of “Misty Mountain Hop,” with the main riff dementedly warbled instead of methodically hammered. The song also features banshee vocals, giving it a feel borrowed from pre-goth bands like Joy Division and Depeche Mode. Oh, and all the guitars are played by Dick Dale. No, just kidding… that’s Andrea Sicco: although he does show technique, skill, and range like Dick Dale. Anyway, the song is another stellar example of how good this band is at combining and reinventing old sounds.

Unlike recent albums by other independent bands, Scene of the Crime actually gets better as it goes, each song finding new and interesting little grooves of their style in which to strut around. “Safe” keeps the surf rock feel, but now it’s contemptuous, riding waves of mutilation. If you can imagine the Ventures meets the house band in hell, you’d be on the right path. They also manage to throw in some frothy feedback toward the end, forming a killer wipe out.

“Druggy and Suicidal” is next, and easily one of the standouts with its climbing and angelic chorus. Without warning, the beautiful verse/chorus structure gives way to dissonant modulations and electronic oscillations. The whole thing comes to a head, building a gloriously noisy thrashing freak out. The end result sounds like 50’s sci-fi film score meets surf punk. When the end result is this beautiful and threatening at the same time, you can call it whatever you want: IT KICKS ASS!

“One More Night of Sin” shows the space that their arrangements can conjure—even with Jungle Jim’s (ex-Cramps) pummeling cathedral-reverb drums against church bells, Sicco still has room for some three or four echoing guitar parts. Then his vocals strike a bizarre and sublime middle ground between Iggy Pop and Keith Relf on “End of the Ride.” Again, Jungle Jim’s drums show restraint, precision, and killer instinct, holding together a steady beat while the guitars feedback like hell over the top.

In true album-rock fashion, Twin Guns save the best song for last: the Crystals meet the Velvet Underground in the bittersweet pop of “She Cried.” Of course, this equation can trace its roots back to the Jesus and Mary Chain. (This song even implements the same “Leader of the Pack” beat that the JMC ripped-off for “Just Like Honey”—Hey, it’s all relative.) But, as stated above, Twin Guns score serious points for diving in head first, with Sicco actually singing more like Ronnie Spector than Lou Reed. Acoustic guitars weave their way in and out of the track, showing that the band is just as smart as they are noisy. The acoustics gently push the track, even as the vocals stretch past Sicco’s comfortable range. Instead of sounding amateur, the vocals play into the unrestrained, juvenile love song appeal of the track. In short, they encapsulate the frustration, joy, and hatred that result from the loss of a first love… and very few bands in New York would take off their sunglasses long enough to cover such material.

Then again, Twin Guns may be that rare gem: the great band that comes out of an already established scene to make their own mark (at least in an underground sense). They’re certainly talented and different enough, yet also familiar enough to connoisseurs of similar sounds that they should attract fans by the droves. Scene of the Crime manages to sound cool and gutsy at the same time, instead of favoring one over the other. Twin Guns seem to have mastered this equation and can only stand to improve as their reputation grows with their talent. - SoCalMusicToday.com

Taking garage punk down some of its shadier alleyways, the Brooklyn-based duo Twin Guns has cornered a specific niche within New York City's underground music scene. It makes sense when you discover that "Jungle" Jim Chandler, one half of Twin Guns, once toured Europe with The Cramps, as his new band emulates much of the scuzz-rock riffing and slightly sinister vibes of the punk legends. Twin Guns' shows have developed a reputation around Brooklyn for their impromptu rowdiness and sheer volume. (cityseekr.com) - cityseekr.com

When Lux Interior and Poison Ivy invited "Jungle" Jim Chandler to join the Cramps in 2003, they could hardly have asked for a more willing co-conspirator. After all, the Pueblo native totally wore his admiration for the psychobilly band on his sleeve.

"About eight years prior to joining the Cramps, I had gotten tattoos of Poison Ivy on both of my forearms," says Chandler, who started out commuting to Colorado Springs as the drummer in an early version of the Mansfields and is now half of the New York City band Twin Guns. "That's how important they were to me. They were my favorite band, and probably my biggest influence."

Chandler later joined Down and Outs, the Denver punk band that's since evolved into the Omens (who will be opening for Twin Guns at the Zodiac). After relocating to Seattle, he was playing with garage band the Makers when he first hooked up with the Cramps for a European tour promoting their Fiends on Dope Island album. "I was just a fill-in drummer, and then things went really well and they invited me to join the band."

So Chandler moved again, this time to Los Angeles, and took up residence with the singer of another garage band called the Gravedigger Five. Unfortunately, Fiends on Dope Island turned out to be the Cramps' final album. After playing with them for a year, Chandler moved back up the coast to Portland, then back to Pueblo when his mom died, and finally on to New York City, where he's been for the last five years.

Avant guarded

It was in New York that Chandler met Andrea Sicco, a like-minded singer/guitarist who'd grown up in Italy and shared Chandler's musical interests: surf music, spaghetti western soundtracks, Spacemen 3, Nick Cave, Johnny Thunders, Echo & the Bunnymen, Jesus & Mary Chain, the Count Five, even Jefferson Airplane.

"He definitely was a black sheep on the Italian scene," says Chandler, "very into American music, and even Americana stuff like Neil Young and Waylon Jennings and Bruce Springsteen. So he was walking around Tuscany wearing a bandana, listening to these bands."

Of course, Chandler had to keep quiet about those sorts of influences during his time with the Cramps.

"I definitely had to learn to keep my guard up and be careful about what I did and what I said in the band," he recalls, "because they were very threatened by the Internet. They told me a story once that the singer, Lux, was in a record store somewhere and was curious about this hippie band — I think it may have been the Grateful Dead — that his previous tour manager was really into. And someone saw him in the record shop checking out a Grateful Dead album, or whatever it was, and all of a sudden it was all over the Internet.

"That kind of stuff really bothered them. They had a certain mystique, and they really guarded their image well."

Druggy and suicidal

It was in the wake of Lux Interior's 2009 passing that Chandler and Sicco, who were then playing in a band called My Happy Gun, shifted to their current lean-but-loud formation.

"There was this Cramps tribute night that a promoter friend of ours was putting on, and he asked us to play it. We had just gotten rid of our bass player at the time, so we almost turned it down, but we decided to just do it as a two-piece. It was supposed to be a one-off thing, but the response we got from the show was so good that we've just continued on as Twin Guns."

Earlier this summer, the band released its debut album, Scene of the Crime. From the title track's urban swampiness to the psych-rock of "Maybe Tomorrow" and the echo-drenched mood swings of "Druggy and Suicidal," the band's bracing originals take listeners on an entirely engaging journey into the heart of garage-punk darkness. You can also check out their artfully cool video for "End of the Ride," a song that evokes the best qualities of all-too-underrated bands like the Unknowns and Panther Burns.

Scene of the Crime closes with an unlikely cover of "She Cried," which was originally recorded by early '60s star Del Shannon and then given the "Wall of Sound" treatment by the Phil Spector-produced Shangri-Las. The song was also a hit for Jay & the Americans, and later recorded by punk icon Thunders and Patti Palladin.

"The '60s Shangri-Las, that's the version we were most familiar with," says Chandler. "I think it was originally called 'She Cried,' and then the Shangri-Las, when they recorded it, they changed it to 'He Cried.' And then of course when Twin Guns did it, we changed it back to 'She Cried.' Because, you know, we don't want to sing about a guy crying.

"I think we did it pretty true to form, as far as that kind of Phil Spector-esque beat and stuff, but we definitely have a lot more of a reverb band-buzz going on. And it's not quite so, I guess, innocent-sounding."

And while Twin Guns' amps may not go up to 11, the duo definitely knows how to sound larger-than-life. "Andrea plays through two amps at the same time, and since we don't have a bass player, I play pretty floor-tom-heavy beats to provide that bottom. A lot of people can't believe that we're a two-piece because of that wall of sound we have." - The Independent, Bill Forman

When Brooklyn’s Twin Guns play at the UMS, they’ll be bringing not just a gritty, sinister Phil Spector-meets-Nick Cave style of rock ’n’ roll to the stage, but an impressive musical pedigree with some deep Denver roots. The duo features Colorado native “Jungle” Jim Chandler—along with guitarist/vocalist Andrea Sicco—who served time as drummer for The Cramps, Seattle rockers The Makers, and, closer to home, was a member of Denver’s own The Down And Outs, now known as The Omens. His UMS set represents his first time playing in Denver in more than five years.

“It’s been like six years since I’ve been back, but I’m very excited to bring Twin Guns to town, because I think it’s definitely one of my strongest projects,” Chandler says.

Recorded live over a nine-hour stretch in an abandoned church, the band’s recent release, The Scene Of The Crime, is 34 minutes of no-frills, straight up rock ’n’ roll sucker punch.

“There’s definitely a darkness […] but there’s also some surf elements and even a little spaghetti western—pretty primitive,” Chandler says in describing the band’s sound, citing diverse influences from classic guitar hero Link Wray to Suicide.

Chandler’s last local show was with The Makers back in 2005, and he’s excited to come back and take the stage with Twin Guns at this year’s Underground Music Showcase, a show he has not yet been a part of.

“I don’t think they used to have that when I was living there,” he says.

As far as homecoming shows go, the UMS should be a happy one for Chandler. With grimy gems like “The End Of The Ride” and psychedelic, reverb-soaked jams like “Druggy And Suicidal” in the repertoire, he’s sure to find some new fans in his old home. - Onion A.V. Club, Matt Pusatory

Something rattles inside you and it's jarring to think that everyone else can hear it too. It's an ethereal reverberation - does leather have a sound? - that fills the room so that all inward breath is rock and roll. From their current New York City home to Pueblo, Twin Guns is ready to shoot psychedelic echoes and reverb in a spooky path around the chambers of your heart.



Twin Guns claims to play music that reflects highlights of a golden past, forgoing modern trappings indicative of the current state of musical mediocrity, but their sound could only exist today. Every song is delivered as a modern fusion of classic garage, fuzz, surf, R&B, Detroit soul, NYC original punk and, naturally, old-school Pueblo rock.

The band's July 18th show at Phil's Radiator flaunted their unique style for a full crowd of Rock and Roll True Believers who appreciated not only the chance to listen to first-rate underground rhythms, but who also looked forward to seeing a real-live hometown Rock Star.

Growing up on Pueblo's South Side, little Jimmy Chandler listened to his older brothers' heavy metal records, went out to see local music shows and discovered that the furious beat behind the music would forever claim him. Since high school, Chandler has played drums everywhere, including a stint with the Makers, Denver's Down-n-Outs and psychobilly legends, The Cramps. No matter where Chandler played, however, he remained true to his Southern Colorado roots.

"The Fanatics were my favorite," Chandler says of the hometown scene from his teenhood. "They played a very important role in building a local music scene in Pueblo. They brought bands from all over the country and beyond to play in their basement behind Independent Records on 4th Street. And they got outta town and toured the country themselves as well as putting out records. They did a lot more than most local bands at the time, and they did it all themselves!"

Respect for dues-paying scene-builders was obvious at the band's Pueblo debut. The Omens, guitarist Michael Daboll's reliable Rickenbacher-go-go-dance-party outfit (and Chandler's former band), were vocal about their affection for Chandler and brought him in to play a song during their opening set. "We're a family," Daboll explained.

Chandler later returned the love, dedicating a song to his former bandmates.

That commitment to promote the people and bands you admire is exactly the kind of support that keeps music scenes alive, even in small cities like Pueblo that count so many ravenous music fans among its citizenry. And giving credit to those behind the scene isn't lost on Chandler.

"Kevin Abeyta has really done a great job with creating a healthy rockabilly scene in town and [bringing in] bands that are more roots-rock oriented, so I think Pueblo will have a better idea of the influences we're channeling."

And credit must be shared because alone, Chandler is only one gun. The thrust of Twin Guns' visceral spookiness comes from Tuscan native Andrea Sicco's customized wall-of-sound. Sicco explains, "I have always been a fan of psychedelic music, and the sound that each effect provides. I like to refer to it as if they were colors from a palette that I could choose from to create the musical soundscapes."

With Twin Guns, Sicco is aiming for a straight-ahead, stripped down approach. He primarily plays a Fender Jaguar, a guitar that he says has "played a key role in the definition of the Twin Guns sound. It really offers a nice variety of sound combinations; it personally feels like an extension of my voice, and a great vehicle for expressing the different moods of our songs."

Chandler and Sicco met playing shows with other bands in Brooklyn, where both now live. Chandler explains, "Now that it's just him and I together, we're a straight shot with our influences, style and aesthetics right in line with each other. And I tell ya, a band with two similar people can be much more powerful than a four-piece band of people with different tastes and ideas about what they want to do!"

Twin Guns closed the show with Motorhead's metal masterpiece "Ace of Spades," reminding everyone that you can take the boy out of Pueblo, but you can't take Pueblo - and its indelible cultural markers - out of any of us. - P.U.L.P., Johanna Woelfel

“One of Brooklyn’s newest and hottest acts, TWIN GUNS combines equal parts tight black leather jumpsuits, massive electrical guitar and acoustic percussive force! Expect minimalist blues reminiscent of Suicide, Jesus and Mary Chain, early Spacemen 3. If the term “Wall of Sound” hadn’t yet been invented by Phil Spector, it would have to be invented for TWIN GUNS!” - Ian Sorceress

“In the early summer of 2011, the band released its debut album, Scene of the Crime. From the title track’s urban swampiness to the psych-rock of “Maybe Tomorrow” and the echo-drenched mood swings of “Druggy and Suicidal,” the band’s bracing originals take listeners on an entirely engaging journey into the heart of garage-punk darkness. You can also check out their artfully cool video for “End of the Ride,” a song that evokes the best qualities of all-too-underrated bands like the Unknowns and Panther Burns. Scene of the Crime closes with an unlikely cover of “She Cried,” which was originally recorded by early ‘60s star Del Shannon and then given the “Wall of Sound” treatment by the Phil Spector-produced Shangri-Las. Twin Guns’ amps may not go up to 11, but the duo definitely knows how to sound larger-than-life.” - The Independent

"Twin Guns flail with a furious, drug-addled post core drenched in reverb, and make a rock noise that recalls Spacemen 3, Alien Sex Fiend and BRMC and a few more like them. Sure to leave you massaging your ears, grinning, possibly sleep-drinking (or feeling like you have been)." - Denver Thread

“A Phil Spector-meets-Nick Cave-style of rock n’ roll. Recorded live over a nine-hour stretch in an abandoned church, the band’s recent release, Scene Of The Crime, is 34 minutes of no-frills, straight up rock ’n’ roll sucker punch... with grimy gems like “The End Of The Ride” and psychedelic, reverb-soaked jams like “Druggy And Suicidal” - Onion A.V. Club