L.A. Weekly (USA):
"...a nonstop barrage of punk & roll leavened with keyboard-driven garage rock."
Sana Fe New Mexican (USA):
"The Mess is back with another electrifying collection of 13 fast-and-furious neo-garage/quasi-psychedelic pounders... Though the group is a self-proclaimed “mess,” there is nothing slapdash about this tight little unit."
Reverendo Lys blog (Italy):
"...they collide power-pop, glam-rock, garage-punk and street rock 'n roll... the tones and poses are far more "street-wise" and rougher, stuffed songs of stinging solos and sufficiently articulated and personal to stand out from the average of similar productions. Lower the car roof while listening to it. Or maybe just saw it in half. It will make you look good."
Ox Fanzine (Germany):
"8 of 10 stars - The New Yorkers sign up with a fine new slice and show again their amazingly idiosyncratic garage rock, which is almost playful to them with astounding elegance. The band throws elements of mid-sixties trash, a bit of glam, some punk 77 and the Eighties garage revival sound into a pot, then finally their very special sound mix comes about. Front woman Esther Crow gives everything and more, and in her back the band plays impressively powerful and focused. They stomp with unbridled passion through the 13 (all self-composed) numbers, and are distinguished by their very own, distinctive high-energy sound that does not require the clichés of the genre in a pleasant way from many of their colleagues, they leave nothing burn and cook always at the highest level, sound dangerous through and through."
Dig It Fanzine (France):
"Already ten years ago that The Electric Mess pointed their nose on the front of the garage revival scene. Today, it is their fourth long format "The Beast is You" which is delivered to the garages of all kinds. From the first notes, we notice an affiliation with combos like the Love Me Nots or The Lords of Altamont, but with more advanced guitar solos without making them clumsy by way of guitar-hero. The Electric Mess clearly play on many paintings. The pop rating is as powerful as Paul Collins at his best."
Fanzine Making Time (Spain):
"From New York we get news of some old acquaintances of the blog, The Electric Mess, who return in top form and with a new album under his arm, THE BEAST IS YOU, which can be collection of more punk songs, with harder guitars and compositions of structures more direct and immediate, exceeding by little the three minutes of duration of twelve of the thirteen pieces... demonstrate in this, their fourth album, their powerful and seamless sound and a more refined compositional technique discarding superfluous aspects to focus on energy and an aggressive rock with a solid rhythmic base, abundant and flamboyant guitar solos and the characteristic solo voice of the Electric Mess by Esther."
Reviews for "House on Fire":
"...a rip-roaring combination of '60's Brit band songcraft freely mixed with the snot-nosed arrogance and too-cool-for-school attitude of U.S. punk - and it all works rather beautifully."
Indie Music.co (USA):
"There are hooks, fat organ riffs, edgy camp attitude and one amazing song after another... Agitated and subversive, this is garage flavored rock at its best. More refined than most three chord bands because of the panache and aplomb with which they attack the songs...this whole damn thing kills from start to finish."
New York’s Electric Mess returns with a new album that intensifies their Farfisa-laced mid-60s garage rock with the raucous bombast of the Stooges and Dolls. Esther Crow still spits out her lyrics with the ferocity of a latter-day Paula Pierce, but this time the organ plays from the sidelines as the group’s louder, harder instrumental attack takes center stage... You can still hear the band’s mid-60s roots, but the location has changed from a suburban garage to a downtown squat. [©2014 Hyperbolium]
DYNAMITE! Magazine (Germany):
"4 stars... seventies-affinity an ear with fast paced garage punk and a good pinch of regular rock... their models on board, Eric Clapton's Cream, The Animals and The Rolling Stones. It all fits."
"Powerplay Magazine (UK):
"...there never was a more apt name for a band who encompasses such a massive range of influences under the banner of some sort of rock.... a real kaleidoscope of sound, rapid fire lyrics, sheer unadulterated urgency, and a real rock and roll attitude."
Ruta 66 Magazine (Spain):
"...what they take in their hands continues to be a proposal of robust garage rock, which is transmitted with sonic intensity, rock purity and a lot of muscle. But within the genre they move is highlighted by a virtue which many colleagues suffer stylistic, a remarkable opening of a view. They start with cards on the table with "Better to Be Lucky than Good" with a powerful burst of gunfire reminiscent of The Stooges, but as the songs succeed it is felt far beyond the aforementioned openness, shown veiled psychedelic pop in "There's Nothing You Can Do," they allow to be possessed by the spirit of the '77 in "Beat Skipping Heart" and end this treaty with garage pedigree with the delightful and filling psychedelia musical wisdom with the most extensive "Every Girl Deserves a Song." You also can not leave out other of the tricks they play very well that is the marvelous singer Esther Crow, tough female who gives each song what it needs, exuding testosterónic energy in each tune that she attacks. After repeated listens I'm anxious to meet them in short distances, promise to be the bomb."
Jason's Jukebox (U.S.):
"The Electric Mess hail from New York City and embrace the ethos of honest, in your face Rock ‘n’ Roll. This isn’t a revival – this is music that could have been recorded at any point in the last 45 years or so. The band describes lead singer Esther Crow as “androgynous and dynamic” which is an apt description for her unique affectations. The band also features Dan Crow on lead guitar, Derek Davidson on bass & vocals, Craig Rogers on drums, and Oweinama Biu on keyboards & rhythm guitar. Garage punk mixed with a bit of The Doors? Think along those lines, and you might be getting warm."
Records Romantic (Japan):
"60s garage punk with keyboard, 70’s mod punk rock, Motor City rock’n’roll.... the level is crazy high... it’s danceable, garage, punk rock, straight rock -- raw and mashed up... The best feature of the Electric Mess are the “is it a guy or is it a girl” teetering vocals of Esther Crow, but the level of the rest of the band is also crazy high. Guitar playing with a great balance between a modern sound and a 60s sensibility, uber-hip keyboard playing, and holding it all up, the perfect beat in drums and bass...Beat Skipping Heart, Leavin’ Me Hangin is a rock ‘n’ roll and soul punk fusion the likes of which you can’t hear anywhere which leaves you no choice but pick your jaw off the floor and admit defeat....such sounds becoming more available in the world-- that the more people love it, the better, I think."
"8 of 10 stars: The voice that drives THE ELECTRIC MESS is probably its most unusual feature... the songwriting is moving at a level of precision and sophistication, so does not need to be under the "lo-fi" label to mask and wears polish instead... THE ELECTRIC MESS strive for a mature, clear sound... witty and intensely groovy. With every fiber of avoiding it to be for the umpteenth Teenpunk facsimile."
The Vinyl District (USA):
"...House on Fire finds them operating with energy and precision. Exhibiting impressive musicianship led by loud guitar and distinct vocal flair, the Mess’ sound is instantly familiar and yet loaded with personality as they deliver an assured punch.... they continue to display a level of refinement and preciseness in their work that solidly differentiates them from the strains of much recent garage-punk activity. Rather than lo-fi scuzz, the Mess are vivid, polished (though not especially slick) and unapologetically pro in execution... The Electric Mess’ finest record so far."
New York Music Daily (U.S.):
"The Electric Mess distinguish themselves from the legions of garage rock imitators out there in a lot of ways. For one, they have a heavier, more Detroit- and Australian-influenced sound. Much as they’ve got the swirly Farfisa organ and the stomping rhythms, they aren’t just recycling old riffs: you know, one-one, FOUR-FOUR, one, chucka-chucka-chucka, repeat for two minutes thirty seconds. And where most bands are lucky to have a single strong songwriter, the Electric Mess have three: singer/percussionist Esther Crow (aka Chip Fontaine), savagely Deniz Tek-influenced guitarist Dan Crow and bassist Derek Davidson. Fans of this era’s best garage and psychedelic retroists like the Allah-Las will love this band."
Uber Rock (UK):
"One thing I can say from giving this record a few spins was the more I played it the louder I wanted to turn up the volume... This album is most enjoyable and a band that are as tight as my trousers currently they don't half rock up a racket. There is a lot borrowed from the '60s garage scene, especially some of the manic drumming but that just adds to the excitement of songs like 'Leavin' Me Hangin' which house some great rip snorting lead vocals. 'Lemonade Man' is another great tune - hell, there's plenty of great tunes on offer here. It's a shake your shit, let your hair down and throw caution to the wind kinda record that's flying by the seat of its pants and getting groovy to whatever takes their fancy.... The Electric Mess just kicked my backside and next time I'm at a loose end and don't know what to play I'm going to sling this in the player and turn the fucker right up!"
Jester Jay (USA): "On House on Fire, they capture the raw energy of the garage more strongly than ever... a vivid spark to their performance that puts the listener right at the edge of the stage, looking up in wonder."
Santa Fe New Mexican (USA):
"If you like wild, frantic, high-energy rock 'n' roll, you really need to acquaint yourself with The Electric Mess."
Voix de Garage Grenoble (France):
"A superficial listening of this album could make it fit in the box of classic 'Garage Rock', whereas it is so much more than that! A touch of Power Pop and also a quasi-Mod elegance, not in the look rather in the key and the interpretation. What marks the most listening to this album, and it strikes me at each of the many listens that I have made: it is the quality and the interest of all the songs, which are delicately composed (but interpreted with force) to make their uniqueness. Located throughout its 13 tracks the balance between robustness and elegance!"
Ride With the Devil (UK):
"The chemistry and skill of all these musicians is immediately apparent to the person listening, fitting together and operating like a fine tuned race engine, almost as loud too. Having been together as a group for 7 years now, I'm sure that sort of familiarity plays into their cohesion, but sometimes nothing can replace sheer talent. For fans of The Kinks, MC5, The Ramones."
"***** stars - More cool loud rockin' stuff from the hip folks in The Electric Mess... Many folks may describe this band's sound as garage rock but it's actually much more than such a descriptive term might imply. These folks combine rock, power pop, and elements from early punk to create a loud and aggressive whirlwind of intense energy. The rhythms are tight and propulsive, the guitars in constant overdrive, and Ms. Crow's vocals must be heard to be believed. Can't say enough about how groovy The Electric Mess is...we're TOTALLY diggin' House On Fire. Highly recommended. Top pick."
Fanzine MAKING TIME (Spain):
"Thirteen compositions in a rock album filled with fury that demonstrate their mastery of their particular style based on and open to other influences, but always intense and abrasive garage.... a wonderful collection of songs, The Electric Mess have done it again, and how ... An album fully recommended!"
Reviews for "Falling Off the Face of the Earth":
"The Electric Mess? Nothing could be further from the truth! Fronted by the mercurial vocal talents of androgynous lead singer Esther Crow AKA Chip Fontaine and backed by four intuitive musicians... the New York City-based outfit produce tight, inventive, white knuckle ride garage-punk."
Record Collector Magazine (UK):
"*** ... features Esther Crow's snarling androgyny ploughing through punked up garage in the style of 90s bands on the U.S. based Estrus Inprint"
The Vinyl District (USA):
"New York’s The Electric Mess are a garage band, but not in the contemporary sense of the term. No, this group could easily soundtrack any number of the dreams that have unraveled on the back of Lenny Kaye’s beautiful eyelids. It’s the unfettered sound of the ‘60s one-hit Farfisa drenched wonder also known as Nuggets, and on Falling Off the Face of the Earth, they largely do right by it."
Get Bent (USA):
"On their follow up, Falling Off the Face of the Earth, the band holds on to their winning formula, mixing all of the best from the 60’s and 70’s into uptempo songs with a punk attitude and a lot of fuzz and farfisa.* And lyrically, this album is just as quirky, fun and psychedelic as their s/t release.
"...if a swirling organ, 100mph grooves, screaming guitars, a driving rhythm section and an authentic 60s-style production is right up your street, you’ll love this album... there isn’t a duff tune on here. If you love late ’60s garage or are a fan of Paisley Underground you’ll probably be a fan of this too."
"*****... it's a wowzer. These tracks combine the classic garage rock sounds from the 1960s with the originalwave of snotty attitude-driven punk rock from the 1970s. The playing is furious and focused...and should appeal to just about anyone who digs classic garage rock. Thirteen growly rockers... Top pick"
"...an orgy of old school garage punk bursting with Farfisa...a delightfully wonky side that ends up winning membership of the listener... energy, The Electric Mess has it in spades, the group linking the tracks with this sense of urgency which animates those who usually do not know what tomorrow will bring... Fun Fun Fun."
"On their sophomore release, these NYC upstarts show their prowess for creating an acid flashback you’ll be eager to relive time and time again, and establish they’re some of fiercest cats to prowl out of the psychedelic garage yet."
Rocktober Magazine (USA): "
Beautifully desperate 60s garage pop fortified with orgasms, girls-in-the-garage vocals, and beautifully ugly guitar goo! Mess-ianic!"
Rock Around the Blog (Portugal):
"...comes packed with the same feverish kind of 60’s garage psychedelic punk explosion (as their debut), continuing to keep some of the fascinating characteristics of the music of The Electric Mess... it's a brutal menacing voyage to the sound of psychedelic escape with the sheen
of punk as redemption, fueled by the thundering divine beat of 60's Garage."
Kick Out the Jams (Spain): "From the streets of
NY, The Electric Mess remind me of the bands that created the scene around Midnight Records record shop in the Big Apple... thirteen songs that move through the garage punk label perfectly...a band that makes a wall of sound 60's with total conviction."
June 29 issue of "The Santa Fe New Mexican"
"...the Mess’ basic sound is based on the mid-’60s Nuggets-era sound of fuzz and Farfisa put through the punk-rock grinder. This album rocks even harder than the group’s self-titled 2010 debut."
Burning Wood (USA)
"...uncompromising and unpretentious sounds of the great garage bands of the 60s, without ever skimping on musicianship. The Mess can play... songs that catch fire right out of the gate and conjure images of The Yardbirds, the 13th Floor Elevators, The Stooges, and at times, even early Stones... Esther Crow is up front, singing, howling, and begging. She is soulful and contagious."
Ice Cream Man Power Pop and More (Ding Ding) (UK):
"Gorgeous gem... really cool sixties styled garage pop punk... will have you dancing in some way shape or form all night long... one hell of an album and will make a few 'Album of the Year' spots."
Rif Rock (Spain):
I already had long been waiting for this, and finally last week came to my hands. This is the second album of New Yorkers The Electric Mess, probably the best part of a new generation of revival scene in NYC. Furious garage, power-punk rock, rhythmic beat, beautiful voices and psychedelia acid games.... Tremendous disc."
Nosotros Somos Los Muertos (Spain):
"I expected this album as rain in May since I heard his impressive self-titled debut... The garage, punk, rock'n'roll and R & B come together in powerful new album."
"...ear-piercing Farfisa, raucous guitars, driving rhythms and sneering vocals... echoing the surge of original punk that rocked a thousand suburban basements... suggests earlier revivalists like the Lyres and Three O’Clock, period inspirations Question Mark and the Mysterians, and half the bands who’ve appeared on Nuggets and Pebbles collections. Great original songs, blazing guitar riffs with neo-psych shades."
Reviews for our S/T debut album:
"Wide range of influences, but it sure ain't a mess... a very tight unit with a bunch of strong tunes possessing a fine melodic edge... (Crow's) tuneful vocals a major asset... songs are sufficiently strong and original to avoid any accusations of pastiche."
All-Music Guide (USA)
"**** of 5 stars. (The Electric Mess) have the vintage approach and feel, they can write great songs, and the band isn't afraid to hit ‘em hard and make their music move... Anyone who wonders if there's anything left to be said on the garage revival scene ought to give The Electric Mess' debut a listen."
"The New York City quintet has been thrilling garage-punk for almost eight years, beyond cliché. Their third album released the unconventional troupe in 2014 on Soundflat Records, so now it's time to re-release the debut of 2010, for the first time the unnamed work now appears on vinyl. The strength of the combo is clearly in the songwriting, ELECTRIC MESS know about their influences, but they never slavishly stick to any formulas, they write simple but effective songs with memory effect. The skeleton, that much is clear, of course remains primitive garage punk. But there is also a whole host of influences from Soul, Psych, Rock'n'Roll and Powerpop, which greedily absorbs the band like a sponge and puts on their own quality mix. The secret weapon of EM is certainly the androgynous lead vocalist Esther Crow (aka Chip Fontaine), who is quite vocal with DETROIT COBRAS frontwoman Rachel Nagy. Among the highlights of a not short on highlights plate certainly count the furious opener "You've become a witch" and the almost lardy "Remember to Forgot Today," a song that I would like to hear as a cover version of the MUFFS ! It remains to be hoped that the business and creative partnership between ELECTRIC MESS and Soundflat will continue for a long time, yielding many more records of this quality.”
The Huffington Post:
"The Electric Mess entertain as a unit and still keep the music heads happy with their solid musicianship, a "too cool for words" repertoire, and one of the most electrifying front men I have ever seen."
Short and Sweet NYC (USA)
“The Electric Mess has the ability to transport you back in time. Their new self-titled album is a sound that is unheard of these days....there is no way not to be interested in these guys.”
Rock Around the Blog (Portugal):
"...as a debut album, could not be better. This is a record too valuable to remain hidden.”