A harum-scarum bloodbath of sixties rock, seventies motorik-fusion, and eighties punk.

‘The landscape Orcutt Shelley Miller inhabits lies deep in the stoner American bedrock, fed by volcanic riffage and hypnotic phrasing with rhythmic nods to the SoCal ’60s and atonal slash piled on a mid ’80s SST punk-fusionoid substrate, ultimately blasting a ‘big rock statement’ that treads the line between good times and blown minds.’

‘A collection of canonical, mature acoustic guitar soli to contrast against the fractured downtown conceits of previous acoustic releases… Jump On It, with its living-room aesthetics and big reverb, packs a disarming intimacy absent from the formal starkness of Orcutt’s earlier acoustic outings… Not quite refuting (yet not quite embracing) the polish of revered watershed records by Bert Jansch, John Renbourn, or Bola Sete, Jump On It treads a path between the raw and the refined… Each track is a key to a memory, a building block in a shining anamnesis leading to the recollection that hey, we’re all humans in a shared cosmos, and music is one way we might make that universe go down easy. And who wouldn’t jump on that?’ (Tom Carter)

‘Eight tracks of jagged electronics, heavy basslines, and fractured spoken word collide in a body-jerking soundclash that is both raw and vital.’

Good On Paper enjoyed ‘Baldauf’s crisp, distanced tones accompanied by Roe’s ominous, pulsating programmed bass line and four-to-the-floor whack, coaxing pure pop out of tension and incongruity.’ Electronic Sound Magazine hailed the LP as ‘a blistering, club-forward workout’, with ‘top-drawer, nose-bloodying electronics,’ positioning the Stroud duo as ‘rather like a wonky Tom Tom Club with added grit.’