At what point does a revival become a new movement in its own right? The kind of fuzzed-up, 1970s protopunk that aptly titled trio Killer Boogie peddle has never fully gone out of fashion, but the rise in popularity over the last 5-10 years has arguably seen its star shine more prominently than ever before over a land where the riff is God and fuzz a measure of religious fervour. The band’s sophomore album, Acid Cream, doesn’t break any new ground, nor does it uncover any new tricks, or try anything even remotely new (since when was that the spirit of the 1970s!), but instead goes all-in on a hand of greasy guitars and rumbling rhythms, sleeves wet from diving into the sonic pools of MC5, Cream, Steppenwolf and Grand Funk Railroad. Progress is not a word normally associated with this kind of music, and it’s certainly not one that applies here, but the band are arguably pretty good at what they do, and if you dream of finding a long lost album from those heady days of big riffs, loud waistcoats and even bigger, louder hair, then Killer Boogie may well be the big, loud boys for you. For the rest of us, there are fleeting moments of modernity to keep the interest piqued, for example Brother in Time, which has a whiff of modern-day The Bronx about its opening riff, and The Day Of The Melted Ice Cream, which swings with a slinky, bluesy White Stripes-esque simplicity. However, the album struggles to find that killer groove to drag it out of the past, swaying like a Weeble in a middle ground between go and slow, with neither the speed and urgency of The Atomic Bitchwax, nor the languorous haze of Uncle Acid & The Deadbeats. In the week that Wayne Kramer has announced he will be touring Kick Out The Jams in full to mark its 50th anniversary, an album like Acid Cream is at best a fun diversion, at worst a further reminder to reacquaint yourself with the classics.
Acid Cream is released 9 March via Heavy Psych Sounds Records