Click for a larger image... Band name: Tadpoles
Release title:
Whirlaway
Catalogue number:
CAM0
31CD
Format:
CD in jewel case
Length:
71:07
Release date:
15 Oct 99
(US$15.00 shipped anywhere)

AFTER RELEASING THREE STUDIO ALBUMS, one EP, and a live album on their own Bakery Records label, Hoboken, NJ psych-rock group, Tadpoles have teamed up with Camera Obscura Records, to release their fourth studio album. The epic Whirlaway. is possibly the finest achievement by the enigmatic Tadpoles, who eschew live performance for prolonged rehearsal followed by periods of creativity in the studio. Ironically, for a group that rarely performs live, Whirlaway is closer to the band's heavier live sound than any of their previous studio efforts.

Whirlaway is typical of the cross section of the sound that Tadpoles have developed throughout their career: from the Butthole Surfers-ish heavy rock of "Lyman Bostock", and the punchy Flaming Lips style psych-pop of both "Dusty Baker" and "Crash of The Bug" to the hypnotic New Order bass grooves of the title track and the Spacemen 3-influenced "Jimmy Colored Glasses". The album also contains two instrumental excursions: the trippy, tape-loop filled "Smile If You've Crossed Over", and "Horse And Buggy" - the first real psychedelic jam song that the band has ever committed to tape. A laid back, psych rock take on Dylan's 1967 Basement Tapes, traditionally country-tinged, classic, "You Ain't Goin' Nowhere", offers variety and a glimpse at another side of the band.

This is the band's first album without their long time producer Kramer (Shimmy Disc/Bongwater); although, he did record "Horse And Buggy" at the new Knit Noise studios in New York for the group. Although the album was self-produced, the band enlisted the help of Hobokenite producer Gene Holder (the dBs) to assist with overdubs and mixing on a few of the tracks. The bulk of the record was recorded in the heart of downtown Youngstown, Ohio, in an out of the way, warehouse studio called Ampreon Recorder where engineer Pete Drivere (the Infidels) gave the recording the warm, analog sound the group was looking for.

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