CHROME CRANKS release 1st all-new album in 15 years

By on January 29, 2012

Since the 2009 reactivation of the classic 1990s lineup of the Chrome
Cranks fans have been grinding their teeth for a new album of the
influential New York band’s volatile, high-octane blasts. But finally this
soft, pain-deserving world has something new to choke on: “Ain’t No Lies
in Blood,” the first album of new Chrome Cranks material since 1997, being
released on Thick Syrup Records (CD) and Bang! Records (LP).

In these chokingly bleak, post-ironic times there simply aren’t any other
acts out there like the Cranks, who play unapologetically confrontational,
utterly incendiary rock ’n’ roll like they mean it with every poisoned
pore. Like few bands before or since, the foursome—singer/guitarist Peter
Aaron, guitarist William G. Weber, drummer Bob Bert, and bassist Jerry
Teel—simultaneously embraces and destroys rock’s very traditions.

Cut and mixed in three blistering days with producer Kevin McMahon
(Walkmen, Swans, Titus Andronicus) in Upstate New York, Ain’t No Lies in
Blood is the eighth album in the Cranks’ nearly 25-year history—and their
hardest, noisiest, heaviest, and nastiest by far. In keeping with the
band’s earlier oeuvre, it’s another swirling hell of dark, raw, distorted
blues-based squalls; hypnotic, labyrinthine detours through primordial
swampland; and searing flashes of deep, torchy drama. This release,
however, strips the outfit’s minimal, no-bullshit M.O. even farther down,
to its most savage and primal essence. There’s the locomotive,
open-wounded wail of “I’m Trash,” which flattens all in its path and hints
at early ’80s hardcore angst, and “Rubber Rat,” a screaming, stomping mess
of bony, cartilage-cracking fists. Three radically remade covers include
an epic trawl through the Byrds’ “Lover of the Bayou,” and of course the
Cranks’ trademark murky ’n’ moody side is present in all its black, jagged
glory: Check the swaggering decadence of “Let it Ring” and “Star to Star.”

“[The Chrome Cranks] had me screaming with joy,” says Swans/Angels of
Light front man Michael Gira, who witnessed the reunited band’s return
show in 2009 and later drew the demonic cover art for Ain’t No Lies in
Blood. “I almost threw my beer at them, I was so happy.”

Formed by Aaron and Weber (G.G. Allin’s Murder Junkies) in Cincinnati,
Ohio, in the late ’80s, the Chrome Cranks moved to New York in 1992 and
acquired Teel (Honeymoon Killers) and, eventually, Bert (Sonic Youth,
Pussy Galore). The quartet’s explosive sound, capped with Aaron’s
paint-scraping voice and feral stage persona, quickly saw the Cranks rise
to the top of the Lower East Side trash heap. After a split EP with
Foetus, the band’s eponymous debut on PCP Entertainment arrived in 1994;
Dead Cool (Crypt Records, 1995) and Love in Exile (1997, PCP
Entertainment) followed, as well as several live and archival releases.
The outfit toured Europe, the US, and Canada incessantly and appeared on
MTV before splitting in 1998, leaving deep marks on future members of the
White Stripes, Mooney Suzuki, and other acts who’ve cited the Cranks as an
influence. The group reunited for shows in the US and Europe in 2009 and

“This is music that could have popped up in any bar over the last forty
years, give or take a few squeals,” writes the New Yorker’s Sasha
Frere-Jones. “If you aren’t particularly interested in this year’s most
unusual trend and want to cut to the chase, the Chrome Cranks will be
there, grinding away at their Platonic ideal of rock ’n’ roll.”

A horrifically powerful record, Ain’t No Lies in Blood shows that for the
Chrome Cranks mellowing with age is simply not an option. Back to the

● Nine-track, 36-minute album features classic, influential 1990s
● Album co-produced by Kevin McMahon (the Walkmen, Swans, Titus
● LP and CD boast original artwork by Michael Gira (Swans/Angels of


Author: DaveHHM

Dave Luttrull: Owner/Editor in Chief of Hellhound Music. Star Wars nerd, Gamer, Destiny homer, blogger, writer and lover of all things music.