The Peculiar Pretzelmen / Press

““Listening to the Peculiar Pretzelmen is almost as much of a treat as seeing them live. The sounds they produce are brazen and raw — rootsy music with a punk rock attitude, including homemade percussion and guitars, and emotive screaming vocals a la Tom Waits.””

““The Peculiar Pretzelmen has elements of Modest Mouse, Les Claypool and Primus…There is darkness to it. I love the choice of instruments in their songs and that some are home made. I don’t think there is anything that I dislike about the Peculiar Pretzelmen.””

“these guys came flying out of the gate like a runaway train full of screaming banshees. Think tin pan alley and Tom Waits cranked up to 160 bpm an you'll get the idea. Many of the instruments played were of the home made variety. It's quite the calamity of clangs, bangs, crash, and kerrang sounds you could ever imagine but somehow it works well. Imagine if the Warner Brothers' Foley artists made a band out all their junk. The Pretzelmen take things right to the edge of reason, turn up the tempo and blaze on by. It's something best left seen and heard than explained. The Peculiar Pretzelmen are a good out of town act to catch.”

“The California duo play a murky, hard-to-categorize blend of blues, folk, rag and rock — a little like the Dresden Dolls if you plucked them out of Weimar cabarets and deposited them in a dusty bankrupt carnival on the wrong side of Saturday night.”

“The Peculiar Pretzelmen, are from LA, but their sound's decidedly from another world. Think early-twentieth-century blues, making hot monkey love with Screaming Jay Hawkins in a packed speakeasy while Tom Waits mixes absinthe cocktails in a rusty metal bathtub; only weirder. The touring version of the Pretzelmen was pared down to a duo, but they made more than enough racket on their own, thanks. Lead Pretzel M. Incroyable howled out the combo's catchy and scratchy blues from Hell in a sandpapered yowl that sounded like Tom Waits by way of Roky Erickson. He attacked instruments ranging from a banjo to a cigar-box guitar, while percussionist Deacon drove the whole contraption with a kit that made generous use of a metal bucket and washboard. It was a cacophony of the most sublime order, played with total abandon and more scratcy-catchy hooks than you could shake a fishing pole at. All that, and they rock neckties that kill.”

“Kevin Incroyable and the rest of the Pretzelmen take junk store cabaret, broken blues and kitchen sink americana and fuel the whole mulligan with a driving, spastic, manic, gotta-call-it-punk energy that grabs me by the shoulders and makes me bounce around my living quarters like a human pin ball hopped up on cheap hooch.”

“Imagine if you will, Tom Waits meets the ghost of Spike Jones in some deep-south cemetery. In his 1930′s era step-side pickup truck he has a trash can with lid, some chains, buckets, skillets, a washboard, kid whistles, an accordion, a saw, banjo and an old guitar. They light some candles, and maybe a couple kerosene lamps and evoke a nightmare circus dance of the dead to rattle the bones of the living.”

Paul Hupert - The Alchemist

““This debut (Uncanny Eyes) is one of the best albums Waits never made.””

Bizarre Magazine, UK