Category: Rewind Reviews

Rewind Review: Jean-Claude Vannier – Electro-Rapide (2011)

Jean-Claude Vannier is considered one of the greatest French pop and orchestral composers ever, having created a mountain of music in his time – much of it “library” music used as incidental music in film. He also released two albums with fellow legend Serge Gainsbourg (Histoire De Melody Nelson and L’Enfant Assassin Des Mouches).

Electro-Rapide is full of short, weird, funky tracks, many of which were never released until this 2011 compilation album from Finders Keepers Records saw the light of day. “Bombarde Lamentation” is such a track to open the album, immediately making this collection a treat for Vannier’s fans.

“L’Ours Paresseux” is a showcase for Vannier’s rhythm section (Pierre Alain Dahan on drums and Bernard Lubat on percussion). “La Girafe Au Ballon” was originally recorded for children’s TV shows but has a bass groove from Tony Rubio that you could drop into any sexy spy movie from the late 1960s. “Claquez Klaxons” is another previously unreleased track original made for death penalty protests in France.

Believe it or not, “Saturnin et Le Vaca Vaca” is a theme song to a children’s show about a real-life baby duck. The short and sweet “L’Automne À Barbès Rochechouart” is Vannier’s tribute to a Metro station in an African community in Paris. “Qu’est-ce Qui Fait Courir Les Crocodiles?” is Vannier’s attempt to write a theme for a comedic film. It works, and I’m surprised it hasn’t been reused as a sitcom theme by now.

“La Douleur De L’Orchestre” is another previously unreleased track. It’s a weird, somewhat melancholy tune using a full orchestra he kept around after recording other tracks. “Thème 504” was released as TV and film library music in 1968, but not used for such a thing until 1989’s Comédie d’été. “Le Ballet Des Accoucheuses” is a vocal track using a choir of pregnant women to snap, tap, chant, and breathe beats throughout it.

“Road to Cuba” was written, according to the album’s liner notes, “…in the taxy that drove me to the studio. I’ve never been to Cuba.” Indeed, there isn’t a hint of Cuban, Caribbean, or Latin music in it, but it’s still fun. “Je M’appele Géraldine” was another TV theme Vannier wrote that was later re-recorded multiple times, including one version with lyrics.

“L’Éléphant Équilibriste” is another children’s TV show theme that playfully lumbers around your speakers. The album ends with a reprise of “Bombarde Lamentation” recorded in 1973 and not released until 2011.

This is a fun collection and a neat addition to your library music archive if you’re into that sort of thing. If you’re not, this might spark your interest in that vast, still mostly unknown genre.

Keep your mind open.

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Rewind Review: Various Artists – Life Is Dance! compilation (2011)

Bollywood music gets a lot of attention, but do you know about Lollywood (Lahore + Hollywood) music? Life Is Dance!, another excellent collection of obscure music from outside the U.S. by Finders Keepers Records, seeks to expand your knowledge of music from Pakistani films in the 1970s.

Most of the songs on this collection are by Altaf Hassain Tafo (leader of a group of family musicians), Nazir Ali, Kamal Ahmed, and M. Ashraf, and nearly all the tracks feature the stunning and prolific Nahid Akhtar on lead vocals. Life Is Dance! practically is an Akhtar album.

Her voice (along with vocals by Mehdi Hassan and A. Nayyar and weird male backup vocalist chants and shouts) get in your brain and under your skin on the crazy “Zambo Zambo” (from the bizarre spy movie Jasoos from 1977). The song combines electronic percussion and hand percussion from Tafo and psychedelic bits that might freak you out. The compilation’s title track (from the 1976 film Society Girl) is next with Ali mixing happy accordion with sci-fi synths, bold horns, and trippy guitar as Akhtar and guest vocalist Mehnaz sing / purr / roar throughout it.

Ashraf’s first track on the album is “Dear I Love You” from the 1975 film Zanjeer. It’s a groovy one with accordion somehow blending with (at the time) state-of-the-art synthesizers and slick bass lines. Ahmed finally goes the party (with Mehnaz on lead vocals this time) with 1976’s “Aage Bhi” (from the film Blackmail). It’s one of the grandest songs on the record with big horn arrangements and thrilling hand percussion.

Tafo and Akhtar return for “Shalo Sa Bharka,” another track from Jasoos. It feels darker and grittier than the first, which is not a put-down by any means. Then, the duo flip you on your head with 1979’s “Naughty Boy” (from the film Adawat), in which Akhtar scolds a lover for having naughty thoughts…which might be the same ones she’s having. Sohali Rana‘s lone contribution to the album is the instrumental oddity “Cobra Sway” from the 1970 film Khyber Mail.

Ashraf and Akhtar return for “Sheeshy Ki Botal” (from 1975’s Surat Aur Seerat), which features a nifty saxophone mixed with guitars that sound like they were plugged in after being buried in an ash pit for about three weeks. Abdul Hameed steps in for one track with Akhtar, the sexy and fun “Catch Me If You Can,” one of a few in which Akhtar throws in English verses and phrases now and then to grab your attention. The horn section on it is a lot of fun, and I’m surprised it hasn’t been resurrected into a modern film soundtrack instead of just languishing on the 1978 soundtrack to Dil Ke Daag. Akhtar’s playful vocals on “Too Ne Pyar Se Dekha” (from 1976’s Shabana) are delightful, as is Ashraf’s blend of classical instruments and hand percussion. It makes you want to dance around the room.

Another track from the two of them follows, “O My Love,” from 1977’s Shama-E-Mohabbat. It’s a grand, lush tune with some of Akhtar’s loveliest vocals on the compilation. She teams back up with Tafo on “Wey Titly Non Par” (from 1978’s Cheeta Chalbaz). Tafo hands the mic to Jehan and Cheeku on 1975’s “Dil Be-Qara Mangda Ae Pyar” (from Nawab Zada). The mix of tinny guitar, rapid tabla beats, and jaunty accordion is bizarre and fun.

Ahmed comes back for two more songs, the first being “Don’t Drink” (another from Blackmail) with Akhtar opening the song with her breathy request of “Oh…Don’t be silly.” You’re under her spell right away. The second is “Jawani Meri Bijli” (from 1976’s Warrant) with Jehan belting out powerful vocals over sizzling hand percussion beats and groovy synth bass.

Finally, from 1976’s Society Girl, we have Ali teaming up with Akhtar and Mehnaz for a song that you’ll put on your holiday playlists from now on – “Happy Chrismis.” You have to hear it to believe it. You’ll love it.

You’ll love this whole thing, really. It’s full of gems.

Keep your mind open.

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Rewind Review: Viagra Boys – Viagr Aboys (Japanese deluxe edition) (2025)

Sebastian Murphy, lead singer and songwriter for Swedish post-punk giants Viagra Boys, said their latest album, Viagr Aboys, was an exploration of real life meeting high art and that the album is admittedly “a bit simple and stupid,” because he and his bandmates were exhausted by world politics and wanted to create something fun. Even the album art is goofy, as Murphy wanted the band’s name to be symmetrical on the cover and it ended up split in half.

Is life art or is art life? That’s the overall theme of the album. “Man Made of Meat” gets the album off to a fun start with call-and-response vocals about Internet culture and how it turns people into constant consumers and promoters (“I hope they see me in the drive-thru lane!” / “I don’t want to pay for anything. Clothes and food and drugs for free. If it was 1970, I’d have a job in a factory.” / “I’ve subscribed to your mom’s Only Fans.”). “The Bog Body” is based on a real museum exhibit of exhumed, preservered bodies found in bogs that Murphy’s girlfriend became somewhat obsessed with, which Murphy found fascinating. Again, life is art, and the reactions to it, often pompous ones, can be humorous (“Do you even know the difference between a swamp and an ancient bog?”).

“Uno II” is a goofy tale about Murphy’s dog and the constant veterinarian bills she produces. Elias Jungqvist’s synthesizers and Oskar Carls’ flute turn the story into a somewhat dreamy tune. “Pyramid of Health” has Murphy facing how his partying life is affecting his body and all the weird advice he’s received to fix it. “Dirty Boyz” is another witty takedown of bro-culture with killer beats from Tor Sjödén.

“Medicine for Horses” could be about ketamine, but it’s really about wanting to do something significant before one’s death and being remembered afterwards. Carls’ saxophone is as lonely as Murphy’s voice. “Waterboy” references dancing, singing raisins and aimlessly wandering through life without purpose (“Livin’ like this, you won’t live long.”). “Store Policy” is so angry and rough that it’s probably based on a true story that happened to Murphy. Henrik Höckert’s bass is, as always, thick and crushing. The grooves he creates are often jaw-dropping. The whole band hits hard on it. Carls’ flute notes stab at you, Linus Hillborg’s guitar sounds like a bandsaw breaking down, Jungqvist’s synths throb like Bruce Banner turning into the Hulk, Sjödén’s beats go full-cyborg, and Murphy snarls and growls the whole time.

“You N33d Me” gets you dancing (again, that bass by Höckert!) and is another spin on how many people have gleefully allowed their lives to become art / products to be consumed by others. “Best in Show Pt. IV” (another one about life being displayed as an exhibition) is the longest track on the album as Murphy seems to be speaking stream-of-consciousness lyrics about weird trips and how he’s losing his mind (“I need access to heaven, or ain’t none of this is gonna work out.”). “River King” is just Murphy’s voice, Jungqvist’s piano, and Carls’ saxophone spinning a tale of Murphy’s desire for a lost relationship.

You get four extra tracks if you pick up the Japanese deluxe edition of Viagr Aboys: “Therapy II” (a bit of a riff “The Bog Body” grooves with a definite Devo influence), “Middleage(d) Humanoid” (with Höckert’s bass as heavy as Thor’s hammer), “Watching You” (a cool showcase of Jungqvist’s skills and Sjödén’s programmed beats), and “Cumboy” (in which Hillborg demonstrates that he can play shoegaze anytime he wants).

Yes, art is life and life is art. There’s more to it than politics, Internet clicks, maxing, and fleeting fame. Viagra Boys have been reminding us about this (and warning us of the embrace of toxicity) for years, and Viagr Aboys is another important message from them.

And it’s silly, which is much needed in today’s world.

Keep your mind open.

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Rewind Review: Pale Blue Eyes – This House (2023)

The cover of Pale Blue Eyes‘ This House features a photo of the house and parents of lead singer / guitarist Matt Board. Everything in that photo is gone now. Well, the house might still be there, and Board’s memories of it are still intact, but it has new inhabitants now. The lawn is probably different. The decorations in it are different, and the people now living in it are building their own lives while Board, after losing both his parents within five years of each other, is still building his. The album is about loss, but also embracing the change that comes with loss.

The album begins with “More” (as in there is more after loss, if you allow it) as Lucy Board‘s synths and programmed beats immediately bring light and hope, and Aubrey Simpson‘s bass groove gets your feet tapping. As if that wasn’t catchy enough, “Simmering” is even peppier and encourages us to examine the “before and after” when you’re faced with a life-changing event.

After all, there’s “no turning back” after such a thing. You just want to “Hang Out” and let it drift by you “because I don’t want to talk about it anymore.” Sometimes you have to be still…although this track is tailor-made to get you to dance. Put it on at the party you throw to alleviate your sadness. It’s perfect. Mrs. Board’s synths and programming on “Spaces” sounds like transmissions from outer space.

Simpson’s bass on “Heating’s On” sounds like something from a lost Go-Gos track. Mr. Board’s guitar goes all shoegaze on “Our History,” and it’s a gorgeous wash of sound crashing over you. “Million Times Over” slows things down just a bit, but the dance beats (and spooky synths) return with “Illuminated.” “Sister” is another shimmering shoegaze stunner. Looking for motorik? Don’t worry. Pale Blue Eyes have you covered with the snappy “Takes Me Over.”

The record ends with the lush “Underwater,” as if you plunged into a backyard pool at the end of a long day or late at night when the party is winding down and it’s just you and a couple close friends. You know things will be okay. You can embrace the shock, the cold, and you can embrace the support and the warmth. It’s all okay.

Keep your mind open.

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Rewind Review: The Limiñanas / Laurent Garnier – De Pelicula (2021)

Take psych-rock / ye-ye giants The Limiñanas and combine them with DJ / producer Laurent Garnier and what do you get? De Pelicula – a super-groovy, super-trippy album that tells the tale of two lovers in a film soundtrack format. The album’s title even means something akin to “like something out of a film.”

“Saul” is a mysterious track about a man who loves film and music but isn’t happy with life until he meets a young woman and decides to leave everything behind to follow her. Saul (“A small town guy.”) and this woman, Juliette (A “beautiful and gentle” prostitute), are prominent figures throughout the record. “Je rentrais par le bois…BB” (“I was returning / coming home through the woods…BB”) is a slightly frightening psych-drone track with Garnier’s synths creating a weird landscape and Marie Limiñana‘s beats creating a slightly paranoid sense.

“Juliette dans la caravanne” (“Juliette in the trailer.”) has Saul meeting Juliette in her 1960s trailer for a rendez-vous that changes his world and unsettles him. “Que calor” brings in Spanish lyrics instead of the French you’ve heard so far. Lionel Limiñana uses a mellotron and organ to neat effect here and the entrance of his fuzzy guitar turns your head into a strong wind.

“Promenade oblique” is another solid instrumental track with a groovy bass line from Lionel. “Te tournes en boucle” (“You’re turning / going in circles.”) is a twisting, looping track that details Saul feeling lost until Juliette shows up to pull him back into a clearer headspace. “Steeplechase” races along with some of Marie’s snappiest drumming and Garnier’s spy movie car chase scene-like synth pulses.

“Juliette” is the tragic backstory of the female half of our lovers in this tale, told through haunting synths and raging guitar. Juliette, born to a single drug-addicted mother, drifts into drugs and eventually kills a pastor who takes advantage of her…only for her to end up a party girl on drugs and having sex for money. “Ne gâche pas l’aventure humaine” (“Don’t spoil / waste the human adventure.) repeats the lyric of “Je t’aime.” (“I love you.”) again and again as siren-like synths give us a warning of what’s ahead for our star-crossed lovers.

“Au début, c’était le début” (“At first, it was the beginning.”) has Garnier taking lead vocals that sound like he’s mourning for lost times, reflecting Saul’s wish for something better for he and Juliette. He doesn’t get those better times, however, because at the end of the album, on “Saul s’est fait planter,” (“Sault got stood up.”), Juliette leaves him. She gets on a train and never returns. That’s French cinema for you.

It’s a cool record telling a cool story with cool grooves. You won’t regret taking this trip.

Keep your mind open.

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Rewind Review: St. Germain – Boulevard (1995)

Widely regarded as one of the breakthrough albums of French house music, let alone one of the classic 1990s house music albums, St. Germain (AKA Ludovic Navarre) premiered on the scene with Boulevard and stunned everybody.

The opening track, “Deep in It,” clocks in over seven minutes and drops killer vibraphone beats from Miguel “Punta” Rios on top of snappy electro-beats to get you deep into the sexy Parisian nightclub at 2am. That track is practically a warmup for “Thank U Mum (4 Everything You Did),” which is over twelve minutes of sizzling percussion and smoky bass and sounds like it samples Lightnin’ Hopkins vocals to make the track even groovier.

“Street Scene (4 Shazz)” has great flute work from Malik throughout it that elevates the 15-plus minutes into a great jam. “Easy to Remember” has a great trumpet line throughout it from Pascal Ohsé. Édouard Labor‘s saxophone takes the lead on “Sentimental Mood” and pairs with Alexandre Destrez‘s poppy piano quite well.

“This is what we call easy listening, underground house music,” someone says on “What’s New?” before the floor-filling dance beat drops. “Dub Experience” is a laid back change of pace from the house beats that have propelled the album through the first six tracks, and the closer, “Forget It” is something you’ll remember thanks to its wicked beats and sensuous grooves.

It’s a classic album that still sounds like it could’ve been released yesterday and set the time for Tourist, which is one of the greatest make-out albums of all time.

Keep your mind open.

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Rewind Review: New Candys – Vyvyd (2021)

Back in 2021, we were just coming out of a catastrophe that shut down the entire world. Everyone was euphoric from being able to get outside and see each other again. We’d seen how gorgeous the Earth is when we all pause and stop screwing with it. Rivers cleared, smog abated, dolphins swam in Venetian canals. We were given a vivid reminder of how vivid the world is.

New Candys are from Venice. Those dolphins might have swam right by their apartment building for all I know. They saw the change in the city, and the world from the pandemic. The clear waters and skies, and all of what had happened and what we lost before, during, and (they saw it coming) after them sureley inspired Vyvyd.

The album starts off with a killer bass line from Alessandro Boschiero on the track “Twin Mime” (a song about suppressed rage and desires finding companionship in them). Fernando Nuti‘s vocals are layered with echo effects, making him sound both present and distant at the same time. “Zyko” is a play on “psycho” and has a bit of grunge guitar flavor from Andrea Volpato. The title “Factice” might be a play on “practice” or “fact is” or “fuck this.” I doubt it has to do with rubberized oil (a “factice” arises from mixing oils with sulphur), but I’m willing to believe it could be a reference to display perfume bottles (“factices”) that are filled with colored water. I’m leaning toward “fact is” or “fuck this” with Nuti’s lyrics of feeling trapped (“We look so sick, I’m gonna lose my mind…Need to get out of here, somewhere to go far from my mind.”) and the lack of accountability by so many (“Are you forgiving what went wrong? I keep forgetting what we want.”).

Volpato’s guitar on “Begin Again” is beautiful and haunting. “Evil Evil” is fuzzy, frantic, fierce garage-psych with blasting guitar work from Nuti and Volpato and a driving, almost relentless beat from Dario Lucchesi. “Vyvyan Rising” has a great sound and feel to it across the whole track and, I think, is about Nuti questioning his faith (“All that I wanna know, are you speaking the truth? When everything around is getting so bright but ends up not being pure white.”).

“Helluva Zoo” slows things down just a touch, adding acoustic guitars to their soundscape. “The Clockmaker” has Nuti musing on how time gets away from us and how precious it is (“I feel lost since I have no memory. We should spend the time ahead as one being.”). The use of a ticking clock sound in this track is a great touch, as loud as a cowbell beat at the right time. “Q&K” stands for “Queen & King” and is about two people trying to find some kind of equilibrium, an allegory for the entire world in 2020 (“Are we alone together?”). The closing track, “Snake Eat Snake,” is about the desire to retreat within, which can eventually lead to a never-ending, meaningless introspection if you’re not careful.

Vyvyd was made during a weird time for weird times (which have only kept coming). Hearing it in 2026 still feels relevant. New Candys are still evoking vivid sounds and memories, and are currently on tour (soon to be at the 2026 Austin Psych Fest, among many other shows).

Keep your mind open.

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Rewind Review: John Digweed – Live in Brooklyn Output NYC (2017)

I’ve long been a fan of DJ John Digweed. His mixing skills are top-notch and he’s one of my biggest influences when I break out my dusty decks. You can imagine my delight when I discovered this Live in Brooklyn Output five-disc collection for sale at a Gilbert, Arizona wrecka stow for twenty bucks. It’s almost a complete eight-hour set by him.

Digweed wastes no time in getting the place moving on the first disc with thumpers like Slow Hearts‘ “Dione” (the “Alexander Aurel She Wasted the Olymp” remix) sounding like something he beamed in from a club in the year 2150. Rampa‘s “Necessity” is a good example of Digweed’s looping skills. His transition from Last of Me‘s “Circle of Life” to the “Jericho Dub” remix of King Roc‘s “The Beginning” is so subtle that you almost don’t notice it. Kevin Yost‘s “Dancer Dancer” might induce a trance.

Tripmastaz‘s “Blossomz” starts off disc two with bass designed to get your hips and shoulders shaking. You can hear the crowd cheering as he quiets Rampa‘s “The Touch” and almost turns it into a motorik track. Lopezhouse‘s “Crosses & Angels” (the “Guy J” dub featuring Angela) smoothly rolls into the “Drifter” remix of “Let Your Body Control the Beat” by ZK Bucket. Isaac Tichauer‘s “Higher Level” (the “Bicep” remix) is another lesson in beat-looping. The Justin Martin remix of Claptone‘s “The Music Got Me” ups the bass and the team-up of Adam Port (who remixes the tune) and Stereo MCs on “Changes” will possibly have you tripping by this point.

The dub version of Collective Machine and Philipp Straub‘s “Revolution of House” is an early banger on disc three and slides right into Mia Lucci‘s sexy “Audrey Hepburn.” The Nick Curly remix of “It’s Time” by Gorge goes from house to haunted house and back again. The hand percussion on Inaky Garcia and Luisen‘s “Chimisi” is a neat addition to the beats in the set. Saints & Sinners‘ “Pushin’ Too Hard” (remixed by Guy Mantzur) is a perfect “chill house” track that’s ideal for the second act of this mammoth set by Digweed. He gives you time to adjust your posture, hydrate, find another spot on the floor, or just slow down your groove for a couple moments. It’s a marathon, not a sprint.

You’ll need that breather for the start of disc four and Darren Emerson‘s “Osaka rework” of “Fanfare” by Mr. Emerson, Mr. Digweed, and Muir. The hot synths and electronic hi-hat sizzle across the floor-filling beats on it. We reach a weird euphoria just a couple tracks later on the “Love Over Entropy Repatterning” (whatever that is) of Fabio Montana‘s “Ortygia.” “Chirality” by DJ Tennis is another thumping bumper of a track that practically crawls into the pajamas of Mantzur’s “Blooming Fields.”

Disc five starts with the nearly ten-minute-long “2 Miles Away” by Rodriguez Jr. I’m sure the audience at Brooklyn’s Output club were somewhere between raved-out bliss and desperately wanting and needing some eggs and hash browns by now, so Digweed gives them a late night / early morning dream track with “Jetlag” by Tiefschwarz and Ruede Hagelstein. The rolling synth-bass of André Galluzzi‘s “Bold” is great and will wake you right up if you’re dragging from dancing all night. The crowd is still cheering, whistling, and jumping during Citizenn‘s “Confide.” They give him a loud send-off as he closes with Ian O’Donovan‘s “Seeker.”

It’s a stunning recording, and a clinic on how to put together a mammoth set.

Keep your mind open.

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Rewind Review: Dry Cleaning – Stumpwork (2022)

It doesn’t feel like Dry Cleaning‘s Stumpwork album came out nearly four years ago because it still sounds as fresh now as it does then.

The first words out of lead singer Florence Shaw on the album are “Should I propose friendship?” on “Anna Calls from the Arctic.” Shaw’s inviting us to go on this journey with her and her bandmates, but she wants to know if we’re willing and our company will be worth her time. “I like it when you can see inside houses from the car,” she says / sings, ever mysterious and intriguing. Most of the lyrics for this album were improvised by Shaw in the studio, taking inspiration from things she saw during walks around London.

Her bandmates, Nick Buxton (drums), Tom Dowse (guitar), and Lewis Maynard (bass), always craft neat post-punk, krautrock, and just…odd soundscapes around her. It’s almost like two different performances happening at the same time, and it always works. “Things are shit, but they’re gonna be okay,” Shaw says on “Kwenchy Kups.” She was right then. She’s right now.

“Gary Ashby” is a rousing, rocking song about a lost turtle the band adopted during the pandemic. Dowse’s guitar sounds a bit drunk on “Driver’s Story.” “If I could live across a Boot Fair, wouldn’t that be something?” Shaw asks on “Hot Penny Day” while Maynard’s bass funks and fuzzes like it walked in from a 1970s disco.

Buxton’s drums on the title track have a bit of a jazz feel while Shaw playfully talks and sings and Dowse’s guitar chords could fit into a Lush song without trouble. “No Decent Shoes for Rain” has an underlying growl to it that I like. The breakdown in the middle is great, with Shaw pausing to say, “It’s so great to meet you, but not here.” The whole tune changes into a new sound. It’s impressive.

The bounce of “Don’t Press Me” is a fun counter-balance to its snarky title and Shaw’s slightly snarled lip delivery. “Conservative Hell” has Shaw dreaming about escaping from reality, at least for a bit…and the end sounds of it seem to reflect a hallucinogenic trip. Maynard’s bass strolls on “Liberty Log” with a simple groove while Buxton shuffles behind him, Dowse’s guitar sounds like a distant leaf blower or a whale or a whale with a leaf blower, and Shaw sing-speaks about how reality shows about isolation became reality during the pandemic (“This seems like a weird premise for a show, but I like it.”). The album ends with “Icebergs,” which might be a metaphor for global warming because Dowse’s guitar strings sound like they’re melting as he plays.

Dry Cleaning is one of those bands that isn’t for everyone, but they’re so damn intriguing that, once you “get it” (if there is indeed anything to “get”), you become fascinated by them. Stumpwork was a weird response to the post-pandemic world, and a lot of it still feels relevant.

Keep your mind open.

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Rewind Review: Satan’s Pilgrims – Plymouth Rock: The Best of Satan’s Pilgrims (2004)

If you’re in need of some fun modern surf-rock, look no further than Satan’s Pilgrims. They showed up on my radar when I heard their song “Gravewalk” on a Halloween-themed rockabilly / surf compilation, and I’d been intrigued by their “monster-surf” sound since. Lo and behold, I stumbled upon Plymouth Rock: The Best of Satan’s Pilgrims in a Las Vegas wrecka stow (Record City) and snatched it up for less than ten bucks.

“Vampiro” starts off disc one (of two) with cool horror-rock grooves, and then “Que Honda?” shows off wild drumming. The squeaky, skronky guitars of the title track are bonkers. “Super Stock” covers a favorite subject of surf-rockers – fast cars. “Grave-Up” has that weird kind of spooky organ sound you want in horror-rock. “Creature Feature” is another great horror-rock tune that uses samples of old horror movie scores to good effect. “Soul Pilgrim” adds, yes, soul to the mix with the funky, groovy, soulful organ notes throughout it. “Badge of Honor” brings in some spaghetti western guitar riffs.

Highlights from disc one include the snappy opener “Soul Creepin'” (with some downright sexy bass and organ). “Haunted House of Rock” slinks and slithers all around you. The jangly guitars on “The Outsider” mix well with the harmonica riffs on it. A fun riff on Chuck Berry‘s “If You Wanna Dance with Me” (“If You Wanna”) makes you want to find a sock hop somewhere. “Green Chili” is another Morricone-flavored track with its great guitar work.

Again, if you’re a fan of instrumental surf-rock, this is for you. If you’re not a fan, this is still for you.

Keep your mind open.

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