1. Empty Eye	9:38	
2. Tarmac City	4:55                    play
3. Slow Creep	10:49
4. Mighty Fine Pie	6:28
5. Top Dollar Speaks His Mind	8:30
6. Pack Your Bags	8:36	
7. New Pair Of Shoes	4:47           play
8. A Life Worth Leaving	22:36

Personnel: 
Paul Major (vocals, guitar); 
Jesper Eklow (guitar); 
Harry Druzd (drums).

Over the course of the last decade, Brooklyn quartet Endless Boogie have seemed about as interested in changing course as they have in associating with their peers. While very much a rock and roll band, theirs is a very singular sound, centred around the well-worn art of the electric boogaloo and pretty much ignoring anything that has happened in the musical world since at least 1975. This is music for grinding hips and shuffling shoes. Think Canned Heat, think the Groundhogs; hear Paul Major's gruff bark for the first time and try to stop yourself thinking Beefheart. These are jams, deep and long, that stew and boil and bubble and go on forever; occasionally they'll sneak in a brief rocker, but most often they lock into a groove and keep it going for eight, ten, twenty minutes. If the band are feeling generous they'll throw in an extra chord, or even bump it up to three or four (I think I even recall a key change on 'Full House Head'!), but they seem at their most comfortable tripping out on a single repeated bass riff.

Any differences between this album and its predecessor, 2008's Focus Level, are almost imperceptible; if anything the playing is slightly more streamlined, the drumming leaner, the guitars cleaner. There is less fuzz in the rhythm department, and Major's lead parts are sharper; on the opening 'Empty Eye', his wiry duel with a guesting Matt Sweeney bears a fleeting resemblance to the Lloyd/Verlaine partnership on Television's Marquee Moon. Elsewhere, 'Slow Creep' does what it says on the label, exploring a gentler, bluesier side to the band than they've shown previously, while more up-tempo numbers like 'Tarmac City' and 'Mighty Fine Pie' sound like T-Rex rubbing themselves raw against Exile On Main Street. It's still heavily psychedelic fare, but only on the twenty minute plus closer 'A Life Worth Leaving' do they really touch on the more obvious, blown-out stoner rock tendencies often exhibited in the past.

If these guys share common ground with any of their contemporaries, it would be Wooden Shjips, fellow men of a certain age paying reverent respect to the zone-out masters of a past generation, seemingly unconcerned with updating the blueprint for their own. And like that band, Major and company present a “six versus two threes” conundrum: yes, we've heard it all before, but is that a bad thing when done so well? If you were being critical, you could argue that the Endless Boogie sound is formulaic; that their unwillingness to experiment is lazy. But here is a band that seems so hermetically sealed in its own little bubble it's easy to believe that this is genuinely all they know. Of course that can't be true, especially given Major's reputation as a rare record collector of legendary standing, but as long as they're happy to keep on endlessly cranking it out, I'm happy to keep moving to the boogie. ---Michael Dix, thequietus.com

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1 	Vibe Killer 	8:24
2 	Trash Dog  	7:48
3 	High Drag, Hard Doin' 	8:47
4 	Bishops At Large 	5:37
5 	Back In '74 	6:42
6 	Jefferson Country 	11:42
7 	Whilom 	6:55

Paul Major - vocals, guitar 
Jesper Eklow - guitars
Harry Druzd - drums
Matt Sweeney - guitar, vocals
Marc Razo - bass

4th studio album from New York band who play gritty, blues-based psychedelic Stoner rock with some absolutely blistering, tasty lead guitar riffs. Paul Major’s growly, demon-deep voice (think Tom Waits meets Dr. John in a deeper register) sets the tone for a dip into the dark side. True to their name, the boogie beat lays down a constant groove for the exceptional guitar work of “Top Dollar” and “The Governor”. Recalls bands like Dead Meadow, ZZ Top, Canned Heat, Cream, Radio Moscow, John Lee Hooker, Black Oak Arkansas, John Mayall’s Bluesbreakers. If you dig the blues; if you appreciate acid-kissed licks from the delta; if your body needs to grind to the primal pulse of rock; or, if you just need your ass kicked—“Vibe Killer” is the album to bring you home. Highly Recommended. ---Charlie Edwards, allmusic.com

Just like it’s hard to imagine them ever ending, it’s hard to imagine Endless Boogie ever beginning. It’s hard to imagine Endless Boogie not existing. They just seem to have always…been.

That’s not how it really is, of course. Endless Boogie did, in fact, start way back in the late ‘90s, as a chance for some employees of Matador Records to jam. And it took a while for them to get the thing off the ground, with only occasional shows and no recorded material to speak of until the mid-2000s. But they’ve made up for lost time in the ‘10s, releasing a slew of full-lengths over the past half-dozen years. The latest, Vibe Killer, further entrenches Endless Boogie as the band that time forgot.

The formula is pretty simple: Take grimy electric blues licks, stretch ‘em across some relentlessly steady rhythms and play in perpetuity. A couple chords are enough; one is even better. Make room for frontman Paul Major’s meandering growl and a few greasy guitar solos and you’re there. Riff, rinse, repeat.

Endless Boogie has been described as “stubborn,” and that’s fair. On Vibe Killer, though, the band pulls back just a bit from the 79-plus-minute run times of some of its previous albums. The total here is well under 70 minutes, with only one track—the particularly lethargic “Jefferson County”—stretching beyond the nine minute mark.

Otherwise, Endless Boogie keeps things fairly tight on songs like “Let It Be Unknown,” which blossoms from a tangle of fuzzy wah-wah guitars into a pulsating drone as Major sneers “Gimme a nickel and I’ll show you Don Rickles.” Later, “Bishops at Large” finds the band vamping on one chord over a stuttering dance-rock beat. Just as they pick up momentum, however, they pivot into a Southern rock riff. With this band, whiplash happens at 5 mph.

Elsewhere, the title track hovers on one melodic idea for more than eight minutes as Major sings of deterioration, humiliation and expiration. “High Drag, Hard Doin’” is a bluesy Stones jam slathered in psychedelic gutter-gunk. And “Back in ‘74” is probably the highlight here, thanks to its agile groove and some welcome lucidity from Major, who recounts a story about seeing KISS at a radio-sponsored kite festival in St. Louis back in the day. The guy’s normal croak is cool and all, but it is nice to hear him in a stronger, clearer voice.

He’s back to his old self, though, on “Whilom,” a song that seems to fade into existence and then slither undetected out the back door and down into the sewers, where it will live, happily, forever. Just like Endless Boogie. ---Ben Salmon, pastemagazine.com

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Volume 1 (Black)
A1 	Stanton Karma 	24:10 	
B1 	Outside Of My Mind 	8:40 	     play
B2 	Dirty Angel 	9:58

Volume 2 (White)
A1 	Came Wide, Game Finish 	12:25 	
A2 	Style Of Jamboree 	3:40 	     play
B1 	Morning Line Dirt 	23:46

Bass - Mark Ohe
Drums - Chris Gray
Guitar - Jesper Eklow
Guitar, Vocals - Paul Majors

Meet Endless Boogie, the best-kept secret in New York's rock scene. They have the best name (taken from John Lee Hooker's 1971 album), the best onstage vibe and the best head-nodding jams. In a sea of derivative and freshly outfitted young bands, Endless Boogie -- with a combined age of 169 and members who count Canned Heat as one of their influences -- doesn't have a big agenda. They just want to rock with you, preferably all night long. "We try boogie sometimes, but boogie's hard," says guitarist Jesper Eklow (aka "The Governor," second from left) self-effacingly. "Boogie takes skill and we haven't honed those skills yet." The band's sound is a meltdown of metal, psychedelic and classic rock with a heavy dose of riffage, a kick-ass beat and super-cryptic lyrics. It's thunderous and mellow at once. To put it another way, it goes well with beer.

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1. Smoking Figs in the Yark	7:23
2. The Manly Vibe	9:39
3. Bad River	3:02                      play
4. Executive Focus	11:34
5. Gimme the Awesome	5:21	          play
6. Steak Rock	7:28
7. Coming Down the Stairs	5:17
8. Jammin' With Top Dollar	10:21
9. Low Lifes	16:19
10. Move Back!	2:38

Personnel: 
Paul Major (vocals, guitar); 
Jesper Eklow (guitar); 
Harry Druzd (drums).

The musty reek of a record collector’s basement must follow Endless Boogie around everywhere they play. The Brooklyn blues jam conglomerate riffs on classic touchstones such as the heavy Texas rumble of Z.Z. Top, the Woodstock noodling of Canned Heat, and the brown acid haze of Blue Cheer. FOCUS LEVEL’s pleasures rest in the band’s ability to crawl inside these sounds and explore them. Endless Boogie isn’t exactly trying to reinvent the playbook, but they want to rewrite every page their very own way. Tracks such as “The Manly Vibe” and “Smoking Figs in the Backyard” strut and swagger in the classic blues-rock manner. ---Tom Forget, AllMusic Review

The musty reek of a record collector's basement must follow Endless Boogie around everywhere they play. The Brooklyn blues jam conglomerate riffs on classic touchstones such as the heavy Texas rumble of Z.Z. Top, the Woodstock noodling of Canned Heat, and the brown acid haze of Blue Cheer. FOCUS LEVEL's pleasures rest in the band's ability to crawl inside these sounds and explore them. Endless Boogie isn't exactly trying to reinvent the playbook, but they want to rewrite every page their very own way. Tracks such as "The Manly Vibe" and "Smoking Figs in the Backyard" strut and swagger in the classic blues-rock manner. --- www.cduniverse.com

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