x

You are using an outdated browser. Please upgrade your browser to improve your experience.

The Returners / Press

“...I’ve seen The Returners a few times over the last several months and these guys always deliver with their punked out death rock. The Returners' live set is intense and always wins over anyone who hasn’t seen them before.”

“(Excerpt) “Lost Souls” starts off with an eerie echoing choir of “whoas” ringing guitars and pounding drum fills, before revving full throttle into shadowy punk roar. Rik Dachau’s vocals are strong and frantic, keeping pace with the music while still inciting passion. Really unique entwining of the vocals and blazing fuzzed out guitar leads, and a killer huge bass and drum break. “The Killing Game” slows it down just a little bit and really showcases the looming darkness and heart of this band. The vocals really soar and tear at your heart. Great harmonized melodic guitar leads. Outstanding lyrics that are at once personal and socially conscious.”

“(Excerpt) “We Die Alone” has crunchy rhythmic guitars. Very morose tone and feeling here that goes nicely with the lyrics. Great vocal performance that manages to croon and soar while being expressive. “Love Like Suicide” has an awesome modern death rock sound. The opening riff is slithering hard rock n’ roll that moves into a crunching rhythm. The verses has a eerie driving bass and drum riff with some occasional creepy ringing guitar. The chorus is a catchy classic punk riff. “Hybrid Fuck” is two Misfits covers combined (“Angel Fuck” and “Hybrid Moments”). Both covers keep the feel of the originals but with some subtle twists. “Angel Fuck” still has that great 50′s feel but guitars here have a more up front buzz sawing punk feel. “Hybrid Moments” is slowed down just a little and sounds great. The Returners really do the original justice as use the tones and tempos of the originals rather then just focusing on making these songs breakneck fast...”

“Though not quite a new release, Lost Souls, the trio's debut album, does sound like a modern record of its kind, for all of the many antecedents, a little more AFI than TSOL, say. The group's generally quick, fast-paced clip through things is pretty well what one would expect, but it's not without spooks and humor as well, as evidenced when a snippet of Chopin's famous funeral march, arranged for guitars, closes the title track.... The slower grind of the conclusion to "Mourning Yesterday" is brash arena rock in a different trapping, getting away with it with style, while "Killing Game" works that approach even more effectively, a total should-be-on-alt-radio number, or at least a trailer or TV placement, that has just enough character around the edges to keep it enjoyable. And when "Love Like Suicide" has the kind of snaky guitar line that just suggests Agent Orange and even older roots enough, you get the sense that somewhere Lux Interior is nodding with approval, clicking his pumps”

“The first full length release by The Returners, titled Lost Souls, is a hardcore gothic punk intensity for fans of the Misfits, GBH, and Agnostic Front. Horror punk at its finest. The CD starts out with a nice creepy dialogue from an old horror movie, giving the CD the classic horror feel. The real fun doesn’t kick in until the amazing 3rd track titled Staring into the Abyss... The Returners’ Lost Souls is a fierce gothic whip on your punk ass.”

“The Returners were more to my liking...Listening to and watching these four talented lads energetically jumping and beating the hell out of themselves and their instruments, I thought maybe they should change the band’s name to “Thrashain.” Everything was big, loud, and jackhammer strong, especially the drums, which were primal, precise, and full of death-rocky mournful strength. Even though there was only an audience of eighteen inside The Venue at the time, every member gave an effort of 110%. I watched the vibration of a plastic water bottle sitting in front of the bass amp and it buzzed so much the water looked carbonated. The tempo changes were well-placed, serving to allow the band and audience to catch its collective breath before another full-on aural attack...”

Feedback