Monocled Alchemist

Here are some of my random thoughts and words about obscure and in-demand garage and psychedelic revival singles over the years. 

The Rosalyns – ”Hide And Seek” EP (UT-S75) 2014

Contemporary Garage Records Review Supplement: Here’s a knock out all-star girl garage record to track down via your favourite independent stores by The Rosalyns. It was only released a couple of years ago and shouldn’t be too difficult to find.

My focus is on the savage and skull crunchin’ opener ”Der Hund Von Baskerville” with bassist Anja taking lead vocals in her native German and harmonies from keyboardist Birdy on Cindy and Bert’s take of  ”Paranoid” 

There are also rockin’ versions of ”Dream In My Mind”, ”Destroy That Boy” and ”Hold On.”

A worthy record to spin LOUD and knock some skulls together to.

notes:
recorded and mastered at Earthling Studios, El Cajon, California.

The Brood – ”But You’re Gone” / ”You Don’t Need Me” (GH-131) 1991

Yesterday I posted the original Spires Of Oxford version of ”But You’re Gone” and today it’s the turn of all girl garage group The Brood. Here they manage the near impossible and ’out-crude’ the original.

The tempo is a little faster and the guitar is buried a lot deeper in the mix. I’d rather listen to this than than awful grunge stuff that was doing the rounds doing the same period in time.

The other side is their take on ”You Don’t Need Me” by The Midnight Angels.

Steven Roback – ”Brightside” / ”Sudden Rain” (Rough Trade 45rev23) October 1993

It’s been a long time since I posted anything here not from the 60s but my plan is to post a lot more contemporary records, photos and ephemera on my blog in 2016. 

I’ll also revisit old entries and update the information, add more photos and perhaps upload a YouTube video. I have a lot of stuff and I dig sharing and finding out more information about certain items.

Take this obscure solo 45 on Rough Trade by ex Rain Parade member Steven Roback from October 1993 for instance. Steven played bass, guitar, added vocals and produced – Aided by former band mate Matt Piucci on guitar, organ and percussion. So it’s very much a project that will interest fans of Rain Parade.

There is a fine ’Paisley Underground’ Facebook group and I asked Matt to fill in some blanks. The photo of Steven adorning the front sleeve was taken by Missy Roback. The song ”Brightside” was done at the old Polymorph studios in Temescal, recorded by Stickman.

I believe ”Brightside” was very much taster for the Viva Saturn album of the same name which came out a couple of years later in 1995 although the latter was a re-recording.

The Vipers – ”Tears (Only Dry)” (PVC 8928) 1984

This is the second time out for The Vipers on my blog, the first time was way back in 2009 when I focused on their mid ’66 inspired garage fuzz punker ”Ain’t Nothin’ Like Her”

Now it’s the turn of their jangly pop tune ”Tears (Only Dry)”

Check out the cutting from Sounds magazine from 1984. I can actually remember reading this review while browsing through Sounds on the 194 bus on my way to Newcastle. I’m serious! I remember all kinds of inconsequential stuff concerning records and music.

Contemporary Garage Records Review Supplement

The Wrong Society – ”She Destroyed Me” / ”Without You” (Market Square Records MSR-11) August 2015

This single released a couple of weeks ago on Market Square Records is a two sided garage gem by Hamburg group The Wrong Society. They’ve been active for two years or so now and have more singles to investigate which of course I recommend.

”She Destroys Me” owes it’s sound to mid 80s garage revival, think of The Gruesomes or The Gravedigger Five and you’ll get the picture. The other side ”Without You” is a loner style 60s teen punk weeper with killer fuzz and happenin’ organ cascades. Both sides are group originals.

misc details:
The record was recorded by Heiko Herzog at Yeah! Yeah! Yeah! Studios in Hamburg, Germany.

Limited to 300 copies, housed in a company sleeve and including a hand-numbered postcard.

The Cynics – ”Painted My Heart” / “Sweet Young Thing” (Dionysus) 1985

This is only the second time that I’ve highlighted a Cynics record on my blog, now it’s gonna be their debut disc from 1985 on Dionysus. I’ve waited years to obtain this disc but managed to find a copy earlier this week.

”Painted My Heart” is a Cynics original. The first couple of plays I wasn’t that struck on it to be honest although it has grown on my since. I thought the vocals were just not right although the guitar sound was great including a very good guitar break mid song. It all sounds to me like an American indie rock group. It was a few plays in before I sussed out that the singer was not Michael Kastelic.

Further investigations and research cleared things up once and for all. The vocalist on both sides of the disc was original frontman Mark Keresman. He didn’t last long as singer after this single was released and was replaced by Kastelic.

The other side is a version of ”Sweet Young Thing.” It’s quite clear that The Cynics were ’missing’ something here though.

Both songs were recorded at Asterik Studios, Pittsburgh PA.

line-up:
Mark Keresman (vocals)
Gregg Kostelich (guitar)
Richard Schnap (guitar)
Amy Mathesius (bass)
Bill Von Hagen (drums)

The Marshmallow Overcoat – ”Groovy Little Trip” / “Stop It Baby” (Dionysus Records 8601) 1986

Back in the mid to late 80s I caught the so called ’garage revival’ disease and spent most of my spare income buying ’now sounds’ records. I have built up quite a healthy collection and whenever I see anything that I don’t have I try to add it to my boxes.

Take this debut disc by the prolific Marshmallow Overcoat for instance. I never even saw it back in the 80s so was very pleased to find a copy last week for sale on eBay.

If you don’t already know, this band were led by Timothy Gassen, who has since wrote the fabulous book ”The Knights Of Fuzz”, a perfect document for the garage and psych revival groups from the 80s and 90s. His update book covers contemporary groups with the garage sound.

Randy Love

”Groovy Little Trip” is an extended blast of garage psych noise with tremolo guitar and the unrestrained growl of ”Randy Love” a.k.a. Timothy Gassen. The original was recorded by Tommy Jett. I first became aware of the song in the mid 80s when the original was compiled on ”Texas Flashback #5” The other side is a version of ”Stop It Baby” originally released by The Heard. Check it out via Pebbles #7. It’s also a worthy take.

Tim has a regular presence on Facebook and is always happy to answer any questions about his group, book and other projects. I have been curious why he went by the ”Randy Love” alias so asked him earlier this week.

”Randy Love” was a character I invented to be the lead singer of the Marshmallow Overcoat and for a radio show I was doing — I dropped the name once we started touring.” (Tim Gassen)

misc details:
record produced by Timothy Gassen and engineered by Dave Slutes at Sitting Duck Studios in Tucson, Arizona during July 1986.

line-up:
Lead Growl: Randy Love
Bass Throb: Linda Andes
Farfisa Organ: Jeff Puhl
Electric Fuzz: Al Perry
Primal Beat: B.G. King

Contemporary Garage Records Review Supplement

Thee Jezebels – ”Black Book” / ”Cried Over You” (State Records THS-019) April 2015

Thee Jezebels are a new female trio based in Hastings on the South East coast of England who earlier this year released their debut disc on the ever collectable State Records. The self-penned songs written by guitarist / vocalist Laura Anderson were recorded in glorious MONO, ideal for their kind of brutal and primitive rhythm & punk.

”Black Book” recalls those early Glam Rock stompers, the jagged rhythms, screechin’ Quatro vocals, menacing bass and clattering drum action are out to destroy and if you just happen to be in their little black book it ain’t gonna end pretty, in fact it could be carnage.

The flip ”Cried Over You” follows the mean sound of ”Black Book” but has a faster pace and races along like an out of control train. Listen out for 70s style ”Hey Hey Hey’s” and handclaps. This is a really rockin’ side.

The single was recorded and mixed at The Ponswood Hit Factory on the 10th of January 2015.   

line-up:
Laura Anderson (guitar/vocals)
Letty Gallagher (bass)
Lois Tozer (drums)

The Neumans – ”Fuzz Filled Dreams” / ”Stroke Of Midnight” / ”What’s Wrong With You” (Wild Records) 2013

Every so often a new garage group will create a slab of genius every bit as raw and exciting as the ’66 punk swingers we all love or those killer cuts from 80s revival combos. It’s a rare event but it still does happen. Take this raucous 45 r.p.m. from Santa Ana hustlers The Neumans as your aural and visual flashback from the past.

”Fuzz Filled Dreams” is a fuzz ravin’ teen punk blast of Godliness and is already one of my all time fave rave turntable spins. Quite an achievement when I have thousands to choose from. If someone ever decides to compile a ”Back From The Grave” type set with contributions from post 1966 groups I’d be severely disappointed if this hot mind cruncher isn’t the lead off track on Side One.

Featuring vintage Vox instruments, cavemen and a cavegirl, energy, pulsating beats, reverb, snarl, fuzztoned magic and the wildest and most animalistic garage punk screams you’re likely to hear this side of 1966.

You’re gonna dig this impossible to find debut disc by the mighty Neumans. It’s a huge shame that they recently called it quits because of ’musical differences.’

The Offhooks – ”Off The Hook” (DDT Records DISPLP 18) late 1988

I spent the turgid 80s listening to hundreds of 60s garage comps and turning my mind onto the (in some circles) much maligned neo-garage revival groups.

I was just in the right place at the right time to be hip to some of the better groups of the day. No hilariously BAD hair metal groups or goth rockers for me, hell no, it was the ’underground’ garage combos that filled my airwaves such as The Offhooks from Edinburgh.

This mini album came out in 1988. Check out their superb moody 12 string jangler ”No More Tears” written by John Robb from indie group Jesse Garon & the Desperados harmonizing too, there weren’t enough groups doing this in the 80s – too busy counting their cheapo tattoos and spraying their backcombed metal hair I suppose.

The location of the cover photo is at Edinburgh University, Potter Row Facility.

recorded in June 1988 and produced by Jamie Watson at Chamber Studios, Edinburgh.

line-up:
Calvin Burt (lead vocals)
Clive Fenton (guitar, harmonica, tambourine, vocals)
John (guitar, vocals)
Andy (bass)
Lenny Helsing (drums, vocals)

Contemporary Garage Records Review Supplement

The Belltowers – ”Here To Stay” / ”Lovin’ You (Leading Me On)” (Market Square Records MSR-08) March 2015

One of my fave rave contemporary groups are The Belltowers and they’ve held the highest echelon of my sonically charged mynd for several years. As a matter of fact I was probably the first person to ’discover’ them outside of their native Florida way back when…. I then wrote about them on several occasions and got to know them all via Facebook.

I’m particularly friendly with Paul Mutchler, surely one of the very best 12 string Rickenbacker guitarists there is. He’s mastered the jangle over many years in other groups including The Green Today and The Lears.

Anyway, The Belltowers have a new single out on Market Square Records. It’s a limited pressing because that’s how label owner Paul Messis likes it. So get your copy of the disc before it’s too late.

Check out ”Here To Stay” on this splendid YouTube video and transport your inner self upon their jangle pop reverie. There ain’t no comin’ down once you’re in their paisley sky.

The Satelliters – ’More Of The Satelliters’ (Dionysus) July 2014

This combo from Germany have been regulars on the European garage scene since the mid 90s releasing records on tons of labels and displaying their solid garage beat action at prestigious festivals such as the Dionysus Demolition Derby, various Mod Rallies, Cavestomp and Euro Ye Ye…plus many other tours.

The Satelliters sound has developed over the years and maybe even become a little bit more sophisticated but importantly without losing any of their raunchy garage rock moves. Their music has always, to my ears, been heavily influenced by some of the better eighties garage revival groups such as The Cynics and early Miracle Workers, indeed the lead singer has a vocal style similar to Cynics frontman Michael Kastelic.

So with this in mind, it’s usually time to take notice when The Satelliters have a new record out. Their latest offering ”More Of The Satelliters” is due to be released next month on the famous Dionysus label and it’s been a long time comin’.

An update on their Facebook page confirmed that the group had completed the recording of the album during January 2013. So just over a year and a half later fans will be able to get copies from their favourite garage/psych emporiums.

Chaputa Records

A taster for the album was released as a single on Portuguese label Chaputa Records. They released their raucous version of ”Girl It’s Over” originally recorded by The Six Deep in 1967 backed with a non album cut ”When I’m In Between.”

Their new album contains the kind of tunes fans will wanna hear ranging from fuzztoned garage rockers like my favourite ”It’s Gotta Be You” and the opener ”You Turned In My World”.

The pace is slowed with a couple of psych-tinged winners, listen out for ”I’m Up To Find” and ”Tell Me Tell Me”… It wouldn’t be The Satelliters if they didn’t tackle some sixties cover versions and they please with the previously mentioned ”Girl It’s Over” and the classic ”I Was Alone” originally recorded by The Exotics in 1967.

Their version of ”I’m A No Count” by Ty Wagner with the Scotchmen is decent enough but doesn’t have the primitive power of the original from 1965 – no surprise though, how could any contemporary group come close to even matching that crude snarler?

A highly recommended album for this Summer’s garden parties.

The Higher State – ’Same Title’ (13 O’Clock Records 015) November 2013

This was England’s very own The Higher State’s fourth album and third for Austin, Texas label, 13 O’Clock Records. I’m uncertain as to any reason why the group decided not to give the album a title, maybe they just didn’t want to, after all the band name alone is so killer, why detract from a Higher State?

Out of interest 13 O’Clock Records are a new label who’ve been busy recruiting talented groups and performers from around the globe, mostly European I may add. Their roster also includes Paul Messis, who is the new bass player for The Higher State, The Flight Reaction (from Sweden), Os Haxixins (from Brazil) and Arsene Obscene (from France).

They also reproduce wonderful thick card album sleeves and use heavy vinyl. Satisfaction is guaranteed for the purveyor of a quality record. If this wasn’t enough, The Higher State have recorded their new long player in MONO and it all sounds sublime.

The album was officially released on the 12th November 2013 but I got a sneak preview of it’s folk-rockin’ greatness via a very limited edition promo CD that Higher State’s drummer Mole kindly sent me during October. It’s taken me nine months to get my act together and write a review!

Line-up change

In hindsight, the year 2013 was quite busy for The Higher State. They replaced bass player Ben Jones with Paul Messis. I have exchanged many emails with Paul over the years and I can say for certain that he was thrilled to be joining such an amazing group, after all, The Higher State are the U.K’s foremost exponents of authentic folk-rock. Who wouldn’t want to be associated with and part of such a class act?

With this album, Kent’s finest have gone all out to create a purist ’65/’66 Los Angeles / Sunset Strip folk rock masterpiece. It’s a direction that they’ve hinted at ever since they began recording but in 2013 it seems that The Higher State focused their efforts wholly on this style of music.

The music is expertly recorded by Marty & Mole at Sandgate Sound Studio where they have custom built an 8 track recording facility. All twelve songs have beautiful multi-layered harmonies over the soundscapes of Rickenbacker jangle, tambourine splashes and drum patterns that are at the very least the equal of anything laid down at the ’epicentre of jangle’ during mid 1965 to mid 1966.

It’s difficult to pick my favourite cuts from the album as I dig them all, they really are stupendous and ooze a classy commercial folk beat. Back when The Byrds were having their hit records these boys would surely have also hit the big time. They have received rave reviews in the notable music magazines and fanzines as well as online blogs etc but underground critical acclaim aside, The Higher State have already hit the big time in my forever mid 60s world.

Why don’t you prove it

Paul Messis provided one song in the set, the driving folk rocker ’Why Don’t You Prove It’ which adds clattering Keith Moon style stick work and stellar guitar tones. Marty’s opening gambits ’Need To Shine’ and ’Jagged Words’ are sublime and so too is his mournful ’Sky Clears To Blue’ which sounds like the same kind of 12 string moody trip Westchester, LA combo The Roosters were so adept at recording.

Side two opens with the exciting single ’Potentially (Everyone Is Your Enemy)’ and continues on an unrelenting folk jangling trip until the powerful ’Try Slowing Down’ where Marty spits out some insightful and thought provoking words seemingly about ’plastic people’.

Here comes another trend

”But look here comes another trend
Now you look just like your friend
Where will it end – where will it end.

You’ve laughed at me for all these years
It helps to divert from your fears.
Get the latest style from the salon
as the band wagon rolls along – rolls along.”

line-up:
Marty Ratcliffe (12 string guitar, harmonica, vocals)
Daniel Shaw (guitar, vocals)
Mole (drums, percussion, vocals)
Paul Messis (bass)

Prior to the release of this album in November 2013 The Higher State released a single on their own label State Records as part of their ”Sandgate Sound Acetate Series” This came out in July 2013, limited to just 500 copies on super heavyweight vinyl.

’Potentially (Everyone Is Your Enemy)’ was backed with the non album cut ’All Ties That Bind’ written by Mole. This could easily have nestled on the album but the 60s purist creatures that they are could not have a thirteen song album. The classic 60s albums never had more than twelve songs.

The Higher State released one more song in 2013 when they provided a cover of  the classic ’Don’t Run And Hide’ for the Fruits de Mer, Hollies tribute ”Re-Evolution.”

I wonder what 2014 holds for the group, we’re already half way through the year without any offerings although I believe that they have been active in the studio last month cutting a couple of 13th Floor Elevators covers for a forthcoming Fruits de Mer 7” box set, ”7 And 7 Is”. 

Where to buy The Higher State records:
13 O’Clock Records 
State Records

The Brood – ’Knock On My Door’ / ’I’ll Come Again’ (Estrus Records ES-735) 1992

This is the first time that all-girl garage band The Brood have featured on ’Flower Bomb Songs’ and as far as I know I’ve chosen their final single to review. I’ve got plenty more Brood records in my archives so I’ll dig out some more of their feline punk soon.

Both songs on this disc are 60s garage classics and can’t be improved upon but I’m sure that was not The Brood’s intention anyway. They obviously had a great time in the studio laying these killer songs to tape that were probably a staple of their live performances.

’I’ll Come Again’ has got some great tough female vocals by Chris Horne aided by a rockin’ backbeat. The original was recorded by The Legends and can be found on an early ’Back From The Grave’ compilation.

I actually own an original Primates 45 and it was the latter who released the bone crunching ’Knock On My Door’ – The Brood give a good account of it here.

Tyrnaround – ’Uncle Sydney’ / ’Uncle Jack’ (PolyEster LUV 21) 1990

This is the second time out for Tyrnaround on ’Flower Bomb Songs’, check out my previous entry here. ’Uncle Sydney’ is obviously inspired by English psych from 1966/67 but the guitar leads are definitely contemporary. There is not a lot of studio trickery or gimmix, just straight ahead guitar psych.

I’d like to think that Uncle Sydney is Syd Barrett and maybe the song is Tyrnaround’s homage to him.

Flip the disc over for more psychedelia, this one is about another uncle, ’Uncle Jack’.
It’s taken me a while to find a copy of this 45, it’s become quite a tough score nowadays.

The Timelapse – ’It’s Child’s Play’ EP (Sneaky Pete Records 391001) 1988

A recent purchase has been this four song EP by German group The Timelapse, who on evidence of this platter, were very much influenced by the English mod freakbeat sounds of 1966/67. It has been suggested that the group were based in Bonn.

All four well known songs on the disc are cover versions, which could fill some with horror, but believe me when I say that The Timelapse really do this material justice. In every way this is a classy reproduction with nailed on vocals, guitar sound and authentic drums ’66 style.

My highlight is their take on the mod psycher ’Desdemona’, originally recorded by John’s Children which goes into a Pink Floyd trip at it’s conclusion. An excellent sound that reminds me of the same kind of trip that early Plasticland were on.

The back of the sleeve credits The Timelapse in their English named alter egos:

Sir Francis Deekaye (bass)
Mitch Mason (drums)
Andy Bowland (vocals / guitar)

songs on EP:

Desdemona (John’s Children)
Brown Paper Sack (The Mods)
Jagged Time Lapse (John’s Children)
Rain (The Beatles)

Contemporary Garage Records Review Supplement

Os Haxixins – ’Under The Stones’ (Groovie Records GROO 0024) 2010

Second time out for Brazilian group Os Haxixins on my blog ”Flower Bomb Songs”. I’ve been playing their second album ”Under The Stones” for the last few days and the songs are really burying deep in my mind.

They’re clearly fond of mid ’66 garage sounds but have combined this with some spooky Doors like organ. I was actually very intrigued by the organ sound and I’m led to believe that they’re using a Diatron.

Also in the mix is a heavy use of fuzztoned guitars and reverb. Most of the songs (apart from the two covers) are sung in their native language which is a huge bonus, for me anyway. No need to criticize unusual or wrong pronunciation of English words.

Hard to pick out a favourite as the whole album runs along smoothly, most songs have a fast tempo, no ballads. I’m not sure if Os Haxixins could pull off a slow love-song or ballad. I don’t think it’s their style.

The Miracle Workers – ’Inside Out’ (Voxx Records 200.031) 1985

Currently immersing myself with ”Inside Out” by The Miracle Workers. This was released on Voxx Records back in 1985 and became a dominant presence on my turntable back then.

Let’s face it, in ’85 the music scene around the entire world was uninteresting apart from the odd scene here and there. You had to dig a little deeper beyond music weeklies like NME, Sounds and Melody Maker…..good rock ’n’ roll music was out there untouched by lousy 80s production and synths.

All songs on this stellar album are Miracle Workers originals apart from a choice cover of ’Hey Little Bird’ (The Barbarians). If you want your garage beat undiluted with fuzz, maracas, tambourines and pissed off snarl I can recommend this, shame it was recorded in stereo and not MONO though.

Impossible to pick out a favourite track as they all simmer and explode so I closed my eyes and settled on the intense ”One Step Closer To You”, written by lead singer Gerry Mohr.

The CD version of the album released many years later came housed in a different cover. 

Information from Dan Demiankow

I contacted Miracle Workers guitarist / organist Dan Demiankow via Facebook this week and he kindly answered some questions I put to him. Some time later Dan became a ‘wet weekend’ and unfriended me on Facebook for no reason, seemingly because I was embroiled in a Brexit thread. What a CLOWN!

DAN: ”The above album cover that you posted, was the first pressing. We hated the bamboo lettering and the yellow background. Then there were 2 other Bomp versions, and 1 Virgin Records versions pressed. My favourite was this Virgin Records cover”.

”Funny story about this photo. We did several photo shoots with different photographers. After getting the pics back on this shoot/photo, we decided to not use any photos from this shoot. But, somehow, these pics got out there.”

”When I asked the guys who let these pics out, everyone shrugged their shoulders, ”Gee, I don’t know. Wasn’t me.” Well, that’s show biz. Looking back, I now like these pics and am happy they are out there. Still, OK, who’s gonna fess up?”

EXPO67: What are your memories about recording this album?
How many hours / days did the recordings take? Any songs abandoned because they weren’t working? Any songs unreleased?

the album took two days to record

DAN: ”As I recall, this album was done in two days. First day, all the songs were recorded live, in the studio. Meaning, we played together, like we were on stage. No song was over three takes. Usually, the second take was the one we kept.”

”We had a philosophy that we had to get it in three takes or less. Our great engineer, Gary Bomb, was so fast, he made it possible for us to hurry and re-play the song right away, if we wanted to. The second day, we did some overdubs, and mixed down the album.

In my opinion, it was Gary Bomb that suggested aggressive mixes and played the most major role in mixing the album. If it were a different engineer, I don’t think we would have sounded so aggressive.”

”No unreleased recordings in this session. No songs were abandoned. We never fought over what songs go on our albums. We had the attitude that, oh well, we’ll put any songs not yet recorded on our next album.

Greg Shaw asked us to record an album. We had no idea it would be well received. To us, we were just another 60s style garage band, happy to record an album. Overall, we just recorded what we played on stage. That’s probably why the music had the energy that it had.

OK, here’s a fun note: during the excitement of the sessions, the engineer accidentally grabbed a Herbie Hancock tape and we recorded over it. Oops!” (15/02/14)

The Rain Parade – ’This Can’t Be Today’ (Warf Rat SLP 0183) 1983

The compilation LP titled ’Warf Rat Tales’ was released in small quantity during 1983 and as the liners suggest, contained tracks from the murky bowels of L.A. Underground acts compiled were The Last, 100 Flowers, The Leaving Trains, Wednesday Week, Pothead, The Clockwatchers, The Question? and of course the wonderful Rain Parade.

The Rain Parade have two songs included, ’I Look Around’ and ’This Can’t Be Today’, both are earlier versions of songs that would be re-recorded for their stunning album of 1984 ’Emergency Third Rail Power Trip’.

Reading the liners of ’Warf Rat Tales’ it becomes clear the the phrase ’the paisley underground’ hadn’t been coined yet as there is no mention of that particular tag, although they do state.

”This is garage music by the way, raw, loud, real and best of all , it’s alive, which is more than I can say for…but no, let’s not say bad things about the dead”.  

The music contained within the vinyl grooves of ’Warf Rat Tales’ is not my idea of garage, it’s mostly early 80s indie music with screechy guitars and not particularly that interesting to me apart from The Rain Parade songs, which is why I bought this disc in the first place.

line-up:
Matthew Piucci (guitar/vocals)
David Roback (guitar/vocals)
Will Glenn (keyboards/tambourine)
Steven Roback (bass/vocals)
Eddie Kalwa (drums)