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Alias Punch / Press

“Quentin Tarantino would probably like Orlando's Alias Punch. Their sound, an ample helping of fuzzed-out guitar tones wrapped in the cheeky badassery of a 1970's-era B-movie, seems right at home in the background of some afroed-out she-ninja fight scene, western church massacre, or whatever other imagery would surely get Tarantino's directorial rocks off. Snakeskin, their latest EP and single, is not a far cry from that sentiment either. Produced for (or as?) the score of a locally-produced horror flick of the same name, the title track is a 10-minute epic venturing from dark and brooding to frenetic and weird. At times, it hinges on the verge of complete deconstruction — random swells and roars pushing needles into the red with no discernable backing rhythm — before suddenly roping you right back in with reverb-soaked passages just born for the background of some moustache-heavy car chase scene awash in a haze of warm film grain.”

“They kicked off their set playing fast and never letting up. The Ian Curtis style vocals from Mondy, the dancy bass lines, the fast post-punk guitar work and the insane drumming kept the crowd dancing around all set. While some of their new songs like the hilarious “Halloween ‘93” are well crafted and show a musical maturity in the band, “A New Shade of Blue” (free download) which I hadn’t seen them play live until Saturday night was a true highlight of the set. The intensity on drummer Arkie Calkins face was indicative of his furious beats on the drum kit. The set left me smiling realizing how much talent Orlando has grown over the past couple of years, but a little perplexed at how a band like Alias Punch hasn’t been found yet.”

“...the slop-rock/garage/post-punk music these guys make is pretty damned good, like “Snakeskin,” a morphic 10:21 soundtrack they made for a indie horror b-movie of the same name. Then I noticed that Canadian Winter was following them and, well, I trust Kobi. Now a follow and twelve hours later, here I am having played through their entire discography and made ready to preach Orlando Florida punch. Oh, the power of twitter mon amis. Use it well.”

“If you miss early Talking Heads, Television and Syd Barrett, you’ll get some fond reminders of the weird-cool acts of way back when – but with a fresh melodic twist that keeps it all from sounding too retro and derivative”

“...Alias Punch offers a curious blend of ’60s garage and left-field ’80s post-punk that actually has some merit.”

“Alias Punch is as good, or better than most of their contemporaries. Drummer Arkie-Jay Calkins has found a way to be explosive and intense yet precise, and tasteful. Jasper Bleu’s Guitar work transcends generational influence, musical knowledge, and tone exploration and Dusty Mondy’s Bass melodies provide the color and movement that the band is so meticulously built upon. ”

"Orlando’s Alias Punch creates noisy garage rock with dissonant, off-kilter guitar riffs and basslines, and nonsensical lyricism delivered via wobbly vocals that sing in wild cries or talk in nasally near-yodels."

"...This skill shined through when the band launched into "Grapefruit Head," a song that began with a 30-second blast-your-face-off drum solo. With a plastic mask covering his face, Jay moved his hands so fast there was no clear distinction between hand and air. His body was a blur and raised the energy on the stage from high to heaven..."

"Local experimental indie rock trio Alias Punch was born in December 2007 and has traveled to Portland, Oregon and back in the pursuit of rock-and-roll. Now that they've finally settled down, it looks like they finally found what they were looking for. Alias Punch is comprised of "thumpster/wailer" Dusty Mondy, "six-string sorcerer" Jasper Blue and "slave to rhythm" Archie Ray. Not only do they have excellent names, this trio also lays down cheeky, irreverent punk-flavored indie rock that sounds like the result of an orgy between Iggy Pop, The Doors and Joy Division, which might have actually happened at some point."

The Orlando Sentinel

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