Outrageous Cherry were formed in Detroit in 1992
by singer-guitarist Matthew Smith
(who also plays in the Volebeats),
bassist Chad Gilchrist (also in His Name Is Alive),
guitarist Larry Ray and drummer Deb Agnolli.
The single Pale Frail Lovely One/ It Always Rains (Third Gear, 1993)
led to Outrageous Cherry (Bar None, 1994), a slice of feedback-driven
garage-rock a` la
Jesus And Mary Chain ('Til I Run Out)
with an tribal Bo Diddley-esque beat.
Stereo Action Rent Party (Third Gear, 1996) is a collection of covers.
Nothing's Gonna Cheer You Up (Third Gear, 1997) introduces a poppier
sound and an atmospheric pace reminiscent of later Velvet Underground
With Aran Ruth replacing Gilchrist on bass,
Out There In The Dark (Del-Fi, 1999)
is a cynical exercise in retro-ism, a faithful reconstruction of the
flower-power civilization, from
the late Beach Boys (Where Do I Go When You Dream)
to the Byrds (Georgie Don't You Know, It's Always Never)
from Merseybeat (Where Do I Go When You Dream, Corruptable)
to the sunny, dreamy San Francisco sound of the Sixties
(Easy Come Uneasy Glow, Out There in the Dark, Togetherness);
and the album ends with a tribute to feedback-drenched psychedelia,
the eleven-minute There's No Escape From the Infinite.
The Book of Spectral Projections (Poptones, 2001 - Rainbow Quartz, 2002) has a trippier sound,
thanks to an arsenal of vintage effects (wah-wah, fuzz, and reverb) and to
(Through Parallel Dimensions, The Hour Glass,
Astral Transit Authority).
The band can still count on sprightly songs
(The Unseen Devourers, Of Transparent Versions)
and romantic ballads
(Here Where The Stars Are Cracking Up,
My Demon Friend, When You Emerge)
but the mood has clearly changed.
Matthew Smith fronts a brand new line-up on
Supernatural Equinox (Rainbow Quartz, 2003), another step in the
retro-direction of melodic psychedelia.
The childish ditty Saturday Afternoon,
the ethereal Girl You Have Magic Inside You
and the simple A Song For Someone Sometimes
hark back to Los Angeles' Paisley Underground of the 1980s, itself a revival
of something that was exactly essential.
Our Love Will Change The World (Rainbow Quartz, 2005) is less obviously
derivative but also less hummable, and the exceptions are fewer
(Why Don't We Talk About Something Else).
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