GET LOST! - never come back - FULL ALBUM
I didn’t know this. Great album. If someone, ignorant about garage and its surroundings, wanted to “come to terms,” this could be one of the contenders. Varied, essential, high-quality. Butler and Mohr, not your average duo.
Recorded in just four days, Never Come Back is the “comeback” of the Miracle Workers that everyone has been waiting for since Inside Out. As if everything that happened after that album never existed, Robert Butler and Gerry Mohr find themselves almost by chance in Switzerland and decide, along with another American refugee (currently serving with the Jackets) and Kat Aellen, who was already by Butler’s side in Bishops Daughter, to set up an impromptu project that sounds like the Workers did back in the days of Moxie, more than fifteen years ago. The resulting album is a crunchy old-school garage punk gem, where everything that spills over is fermented in fuzz and every note seems to take us back to the times of Gravedigger Five (the cover of Spooky), Gruesomes (the fun yé yé of Mdmation), Chesterfield Kings (the Hey Tiger of Topsy Turbys already in the repertoire of Cavemanish Boys and here reaching peaks of absolute brilliance), Fuzztones (the cryptic and sinister Elevator that closes the album), Morlocks (their version of One Way Ticket is absolutely devastating), Tell-Tale Hearts (the Dutch beat dirtied by Outsiders and Q65’s Love Is a Garden).
In short, it’s like having to compile a collection of the best neo-garage from the ’80s and finding it already ready.
Convenient and devastating.
Franco “Lys” Dimauro
I didn’t know this. Great album. If someone, ignorant about garage and its surroundings, wanted to “come to terms,” this could be one of the contenders. Varied, essential, high-quality. Butler and Mohr, not your average duo.
Recorded in just four days, Never Come Back is the “comeback” of the Miracle Workers that everyone has been waiting for since Inside Out. As if everything that happened after that album never existed, Robert Butler and Gerry Mohr find themselves almost by chance in Switzerland and decide, along with another American refugee (currently serving with the Jackets) and Kat Aellen, who was already by Butler’s side in Bishops Daughter, to set up an impromptu project that sounds like the Workers did back in the days of Moxie, more than fifteen years ago. The resulting album is a crunchy old-school garage punk gem, where everything that spills over is fermented in fuzz and every note seems to take us back to the times of Gravedigger Five (the cover of Spooky), Gruesomes (the fun yé yé of Mdmation), Chesterfield Kings (the Hey Tiger of Topsy Turbys already in the repertoire of Cavemanish Boys and here reaching peaks of absolute brilliance), Fuzztones (the cryptic and sinister Elevator that closes the album), Morlocks (their version of One Way Ticket is absolutely devastating), Tell-Tale Hearts (the Dutch beat dirtied by Outsiders and Q65’s Love Is a Garden).
In short, it’s like having to compile a collection of the best neo-garage from the ’80s and finding it already ready.
Convenient and devastating.
Franco “Lys” Dimauro
IlConte
4 apr 23
DeRank ™: 23,60
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