Director, Kenneth Vathauer, has licensed, "Do You Play The Game," by THE REDS for the indie feature film, "Polk County"  Currently in production, Nocturnal Pictures, has not set a release date.

- Posted by Tarock Music

ALM Talkies has licensed two songs by The Reds, WE'RE ON and LAST EXIT, for the feature film DIRTY STEP UPSTAGE.  The screenplay was written by Amber Moelter, who also stars in and directs the film, which is still in production with no release date set.....

I came upon The Reds latest release "Early Nothing," (March 2009) when discussing a script set in Tijuana, Mexico.  One of the writers was playing the album's last track, "Strangeness," and I commented how the song captured the gritty, late night vibe of TJ's red lights, where the intersection of poverty and narco excess is always a stone's throw from the U.S border.  As the meeting progressed, and we were discussing a film about Iraq war veterans set in Los Angeles, the track, "Diggin' It," played.  The catchy guitar riffs and surf hooks, with the ever present organ, captured the Venice beach and Sunset Boulevard of old.  But it also captured the inescapable anxiety of today's America.  The  dark and grimy undercurrent we all feel but don't talk about: Is the party over?  It was like I was speeding the windy roads of Mulholland in a stolen Ferrari, as the city below burned after the big one finally hit.  Again, the music was packed with images and tone.

Throughout listening to "Early Nothing," track after track, the music and lyrics kept evoking images and feelings that worked for all the films we have set for production.  The album's variety and scope was perfect.  After doing a little research I wasn't surprised to find The Reds have done score work for Michael Mann and other productions.  It made perfect sense.  What did surprise me was how long these guys have been making music.  I assumed they were the tripped out peers of bands like Interpol and Artic Monkeys.  I was thrilled to discover The Reds have been pushing the throttle with their own distinct sound for thirty years, a sound that's grown and captures today so soundly.  But then again, maybe they knew what was coming all along.

Brooks McLaren
Repo & Shogun Films
Los Angeles,California

Right from the opening sensationally sleazy slow-grinding song BIG BOY, this album filled my imagination with tantalizing trashy images of a smoky and sordid biker bar with half-naked women in skimpy black leather lewdly cavorting on stage, while the rowdy regulars booze it up and brawl with each other to the wee hours of the morning.

All the right lowdown skuzzy ingredients for a prime rattling blast of first-rate junk rock are present and accounted for – sneering sub-Mick Jaggeresque vocals, slinky, slithering tempos, hard-diggin' guitar riffs, relentless steamroller drums, fiercely hip-n'-rippin'-zoned-to-the-funky-bone heavy keyboards, deep, thick, lingering bone-quaking groves, deliciously tawdry subject matter, and absolutely no needless artsy-fartsy pretense to get in the way of the divinely dingy and dirty straight-up-no-bullshit fun.

A splendid slab of inspired grungy spew.

Joe Wawyrzniak

Jersey Beat