This is rad:
Allmusic.com - There is a brutal, joyful simplicity to the Epsilons garage rock attack. In the new millennium, garage punk can often be the domain of tongue-in-cheek hipsters or borderline musicologists posing as the lumpen proletariat. But this (really) young band from Orange County, CA sound like the real, raw deal: with singer Ty Segall's primal howl, piles of white-hot guitar fuzz, and a cheap synthesizer cutting through all of the din, the Epsilons tear through the fast and primal terrain of Killed 'Em Deader 'N a Six Card Poker Hand in fierce fashion. For a close comparison, look to San Francisco's Mummies, whose budget rock barbaric yawps from the early '90s are really the only thing in the immediate ballpark (i.e., equal parts Devo and Nuggets). This is brilliantly untethered stuff that was recorded on the cheap. Check out the bludgeoning rise and fall of "I Hate Your Face," the careening Stooges-meets-Munsters "Problems" (with its delightful, mid-song guitar meltdown), and the snot-punk bounce and fury of "(You're A) Liar." Few bands handle the garage-punk idiom this well or in this raw a manner. It's as if the Epsilons have absorbed the best and most brutal lessons of the last 40 years, processed them, and upped the ante. An impressive, impressive effort. The band's self-titled debut hinted at greatness; this sophomore effort delivers in spades.
But this is better...
"Zap Bang!"- This is the second full length from terribly young Californians Epsilons who with luck should have finished high school by the time this record is out. Killed 'Em… is a straight up garage rock record: three or four chord punk songs with Stranglers type organ, Chuck Berry inspired guitar solos and uncomplicated structures.
without the atmosphere and volume that comes with seeing this kind of group perform the music seems somewhat one-dimensional
This is very much a 'rock and roll record', as a whole the music (which may or may not form a reasonable basis for conjecture) gives an impression of young cock sure males getting drunk and "rocking out". I can't help but think that their live shows must be good fun, however, that is really the best thing to say about the album. In its self it doesn't really have much to offer. The lack of any discernable production or use of the studio as a musical tool suggests that this is not meant to be anything other than a document of a band who are most comfortable performing live. However, without the atmosphere and volume that comes with seeing this kind of group perform the music seems somewhat one-dimensional and fails to reward analysis.
Getting anything from this record requires detachment of those critical parts of the brain and a submission to the simple energetic ruckus. If you want to be able to listen to a record and appreciate good musicianship and considered composition or see that the artist is in someway trying to create something new or ask questions of you then this is not for you. On the other hand if you want something to put on when you are drunk at a party and want to dance without feeling the need to take pills in order to enjoy the music then this should do quite nicely.