The Aggrolites from Los Angeles hit the stage back in 2002. The band was formed by musicians from The Vessels and The Rhythm Doctors, originally coming together as a backing band for performances by the legendary Derrick Morgan. That alone makes it pretty clear where their musical direction was heading from the very beginning – reggae and ska, with a particular focus on a modern take on skinhead and early reggae. And the fact that the project has worked so well is proven not only by its excellent reputation among fans of the genre, but also by the fact that the band have now released their seventh studio album, Super Atomic. After periods of releasing records on Axe Records, Hellcat Records, Young Cub and Brixton Records, it seems that the band have now found a home in the harbour of Pirates Press Records. For fans of the genre who don’t limit themselves to records originally released around the turn of the sixties and seventies (and for those who can’t afford to spend an entire month’s rent on a single from that era), this is another bullseye, just as you’d expect from The Aggrolites‘ discography.
The album contains eleven tracks capable of creating a pleasant after-work evening atmosphere while you’re sitting in your armchair, but equally capable of getting your burgundy Docs moving in a packed, sweaty club. The Aggrolites confidently handle both sides of the equation, while also managing to combine an old-school sound with modern production without ever making their music sound like a cheap imitation of the golden era. I absolutely loved The Aggrolites during the Reggae Hit L.A. era, and everything that made me play that record over and over again is still here on this album, which arrives nineteen years later.
The record moves between party moments that you can sing along with the band, such as Live By The Code, dancefloor tunes like Boots On The Terrace, driven by Hammond organ, skinhead reggae cuts such as Duck Pon Pond, and atmospheric tracks including Till The Wheels Fall Off, Loud, Loud Love and the love song Musical Muse. Singer Jesse Wagner’s voice really stands out on Back Lock Tight, just as it did on the aforementioned album, where his vocals have been stuck in my head for years. It’s exactly the kind of voice that gives a song its own character without overpowering the music itself.
In general, I prefer songs with vocals that give a track some extra meaning or emotional weight, but I also absolutely love the instrumentals 3I Atlas, Super Atomic, Run Come Reggae and Happiness. I haven’t managed to find a single weak moment, and believe me, I’ve been trying for a good few weeks now. I’m not giving up, though, and I plan to keep looking for one through repeated listens. Maybe I’ll eventually find it, but for now The Aggrolites are simply giving me another reason to put the record on again. Super Atomic comes in a gatefold edition featuring the lyrics to all the vocal tracks, along with restrained and well-executed artwork. Exactly the kind of packaging that doesn’t distract from the music while still feeling like a proper part of the physical release.
As long as bands like The Aggrolites or The Slackers are around, the American reggae, ska and skinhead reggae scene is certainly not dead. Quite the opposite – it is alive and doing its own thing, continuing to draw from the old-school foundations without simply turning itself into a retro museum piece. Super Atomic is therefore a great addition to any collection if you appreciate an old-fashioned approach to music but don’t want to listen to yet another sterile reproduction of the sixties.
TOP TRACKS: Back Lock Tight, Boots On The Terrace, Musical Muse
