When group of workers from Matador Records started occasionally playing together at the end of the 90s, they didn't expect their sessions to transform into a serious career, that reached its pinnacle after 20 years and 5 albums.
Shy and slow in the beginning, and confident later on, Endless Boogie found the formula that defined them: heavy, cyclic, blues riffs that utilize reiteration and set themselves free in long psych-stoner jams lead by Beefheart-like growl of Paul Major. On their previous effort, 2012 Long Island, the band managed to create a sound that perfectly fits their name - 80 minutes of boogie incessantly pulsating from blues rock to stoner rock. Although the frontman Paul Major is over 60, Endless Boogie has never sounded more juvenile on Vibe Killer. This is an easy, dark psychedelic blues - "deterioration, eradication, dissolution, humiliation, annihilation, extermination, demise..."
Title track determines the rhythm and the atmosphere of the album, and it can only compete with Back in '74 on which Major, accompanied by inexorable guitar riffs, turns to narration by reminiscing about the concert of Kiss from the festival of dragons at the University of Saint Louis, MI. Temporal coordinates in which the album was created are set here. Even though they are massively influenced by the 70s, they posses creative distance and nurture irony and fresh euphoria. Whilom and Temple Dog are slow and demanding psych introspections that bring you down after blues-rock jams such as High Drag and Hard Doin'. Jefferson County is a long blues lament resembling The Doors that will get stuck in your head. The effect of the whole album is similar - echo and reverb that kills vibe and leaves persistent mild feeling of paranoia.
