Produced by Tim Barnes, this record is a sonic leap forward for the group; combining a more adventurous sense of songwriting with a larger, wider production value. Drawing on a range of sounds that includes new wave, no wa... more »ve, punk, post-punk, and garage rock, sisters Jennifer and Laura, plus honorary Rogers Miyuki Furtado, forge a completely original sound. A record full of twitchy guitar lines, call-and-response vocals, and swaggering beats reminiscent of bands like ESG, The Bush Tetras, The B-52s, and The Slits. "Back in the day, American punk and new wave were entirely separate camps; one was for pogoing, the other for dancing. But the Rogers fuse vitriol and limber funk into a single buzz bomb, perhaps because they remember Bikini Kill better than they do The Runaways...the results are sharp enough to draw blood" - Rolling Stone.« less
Produced by Tim Barnes, this record is a sonic leap forward for the group; combining a more adventurous sense of songwriting with a larger, wider production value. Drawing on a range of sounds that includes new wave, no wave, punk, post-punk, and garage rock, sisters Jennifer and Laura, plus honorary Rogers Miyuki Furtado, forge a completely original sound. A record full of twitchy guitar lines, call-and-response vocals, and swaggering beats reminiscent of bands like ESG, The Bush Tetras, The B-52s, and The Slits. "Back in the day, American punk and new wave were entirely separate camps; one was for pogoing, the other for dancing. But the Rogers fuse vitriol and limber funk into a single buzz bomb, perhaps because they remember Bikini Kill better than they do The Runaways...the results are sharp enough to draw blood" - Rolling Stone.
"On their 2002 debut, Purely Evil, Brooklyn's Rogers Sisters - Jennifer on guitar, Laura on drums, and Miyuki Furtado, who's neither a Rogers nor a "sister," on bass - offered an occasionally thrilling garage-fuzz take on the then-burgeoning spastic Gang of Four-mat. Their latest is more sonically diverse, and more enticing. You can dance to opener "Why Won't You," but its mix of tube-warmed guitar slashes, thick bass rumble, and thumping backbeat is more Led Zep boogie than the ol' post-punk herky-jerk. "Money Matters" nicks its initial riff from the intro to "Love Will Tear Us Apart" (which Joy Division stole from Pete Townshend, so it's a wash), but the song quickly slips into Pixies/Breeders guitarsplatter-and-silence dynamics. The Rogers Sisters do better when the two siblings take the vocal lead with their sometimes sugary, sometimes shouty harmonies, as opposed to Furtado's sporadic Fred Schneider-isms. And they're at their best when the voices of all three blend, as they do so hypnotically in the woozy, flute-dappled midnight crawler "Little World.""