Pre-orders for this LP are available now. The coloured 'Marble' vinyl is very close to selling out. Due for release on June 30th. (C19 permitting)
The third album from these garage rocking pop-psych heads, is very possibly their best one yet.
Taking their 60’s influenced Garage rock music a step further, ‘The Time Traveller’s…’ finds deeper darker depths. Influences are worn on the front of T Shirts, quite openly yes, but you can actually believe these guys know what they’re wearing!
The last LP was described as “Highly recommended for the mod in your life who’s started taking acid and growing their hair out a bit and dancing kind of weird.” Which could also apply to this one.
TTR’s new LP builds on the raw sound of it’s predecessors with a further blast of psych n’ roll. Tremelo and wah wah pedals get abused to squalling effect, Keith Moon-esq drums clatter and the Hammond wails. It’s ALIVE! And THRILLING!
The songs are stuffed with pop melodies and the sound has it tentacles over all manner of 60’s bands – the cover of Bohemian Vendetta’s ‘Enough’ gives a clue as to where the band’s collective head is.
Elsewhere, the opener ‘Gravy’ is taut and desperate before giving way to the fuzz bass driven ‘Drilling Holes Into The Sky’. The ghost of Dr. Robert & Boyce & Hart oversee ‘Too Late I'm Gone’ and ‘She’s Gotta Go-Go’ brings the 60's pop stomp.
Standout track ‘Fly’ starts off like a violent ’65 Who before turning into a Hawkwind style psych-wig-out and the meditative ‘Caravan’ gives a pause for contemplation.
'Weeds' pushes the pace back to full throttle with it's squalling guitars and non-stop-clatter-drums. ‘Next Time I See You Around’ cheekily proves you can indeed get some 60’s ‘Satisfaction’ in the 21st Century. ‘Tracy Said’ is a breathless tale of slapstick teenage naughtiness before live favourite, The Mod-tastic ‘Ain’t Gonna Lie To You’ leads into the mighty closer, ‘Distress Signals From A Planet On The Edge Of Destruction’.
This final track is a fuzzy, violent, claustrophobic assault on the ears – A frenzy of throbbing keyboards, wah guitar and all manner of sonic mischief and madness, vibrations and sensations,
The album is beautifully produced in a way it sounds like it wasn’t produced at all. Totally raw and occasionally rough-edged, exactly how music was recorded, before technology smoothed everything out.
Guitars twang, chime, fuzz and wah-wah into a frenzy of excitement, Vocals stretch beyond their abilities and occasionally scream and break, while the drums biff bang and pow (er) their way through, while somehow holding everything together. Organs swirl, and a variety of ‘strange sounds’ all of which were created by experimentation, rather than using modern day ‘plug ins’ or ‘pressing buttons’, will have you wondering, what is that?...
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