- Translucent blue vinyl (Limited Edition)
- Superpusher '69
- Escape From Reality
- Atomic Race
- Am I Daemon
- Let the Birds Fly
- Brother in Time
- The Black Widow
- The Day of the Melted Ice Cream
- I Wanna a Woman Like You
Release Date: March 9, 2018
Label: Heavy Psych Sounds Records
As I’m sure someone much wiser than myself once said, sometimes you got the boogie in you, you gotta let that boogie out. Such would seem to be the Marvel Cinematic Universe-esque origin story of Roman classic-style heavy rockers Killer Boogie, whose 2015 debut, Detroit, and subsequent participation in a four-way split with The Golden Grass, Wild Eyes and Banquet has still left them with plenty of dancing demons to exorcise — or at least put to tape, depending on how you want to look at it. The band’s second long-player, Acid Cream, is an 11-track swirl-and-fuzz-o-thon that takes the heavy ’70s crotchal thrust of the first record and pushes it cosmic; an upward trajectory of caked-on reverb and vibe, vibe, vibe that makes songs like “Escape from Reality” and “Atomic Race” as tripped out as they are clued in.
That spacebound progression is a marked difference between Detroit and Acid Cream, and while no rule is absolute — “Am I Daemon” certainly has its earthbound shuffling aspects — the shift could hardly come at a more interesting time. Killer Boogie is comprised of drummer Luigi Costanzo, newcomer bassist Nicola Cosentino and guitarist/vocalist Gabriele Fiori, the latter also the founder of Italian heavy psych forerunners Black Rainbows and the head of Heavy Psych Sounds Records and Booking, whose work promoting the Italian underground and really the wider sphere of boogie rock and heavy psych over the last five years is near-unparalleled. As Fiori brings Black Rainbows down to a more grounded approach with their new album, it somehow makes sense that some of those spacier impulses would show up in Killer Boogie, but there’s still plenty of proto-punk to be had in “Let the Birds Fly,” the odd interlude “Mississippi,” the Sabbath-chugging “The Black Widow” and even the grunge-laced penultimate cut, “The Day of the Melted Ice Cream,” which gives way to the testosterone space-drift of “I Wanna Woman Like You” to close out.
The fact that Killer Boogie have worked at a pretty quick clip isn’t such a surprise — between signing bands to his label, booking tours for himself and others, writing, recording and playing live, Fiori doesn’t seem much the type for stillness — but it’s the fact of the stylistic movement leading to Acid Cream, as well as the integration of Cosentino on bass, that most intrigues when it comes to the band’s second album, where it’s taking them sound-wise and how they might continue to push forward and perhaps outward from here. Do they have interplanetary boogie? Does it exist? We may get there yet.
- The Obelisk