Mark Fain believes in rock stars and British motorcycles: Triumphs, BSAs, Nortons. Jared Mueller is a chain smoker: Lucky Strikes, Marlboros, Camel non-filters, Winstons, whatever. Eddie Travis pulls up to gigs in his '69 Chevy Camaro: black, shiny and loud. Together they are Chlorine, pure rock and roll abandon.

Their natural history is brief. Mark Fain comes from rougher beginnings than most but has always made music his outlet. Everyone of the band was born and bred in Texas Fain met Eddie Travis in 1991 and over the next few years the two would play together on and off. When Fain and Travis hooked up with Jared, Chlorine was born.

Common influences tie the band together. No member of Chlorine ever wasted pennies on boy-next-door indie rock at the local Sam Goody. Aerosmith, Cheap Trick, The Cure and early Cult make up the foundation from which they're built. Their sound is big. Merging assaulting guitars with melodic hooks, they draw upon their early rock influences and take it over the top. The band's live show is a force to be reckoned with. Sonically and visually, it resonates power. Fain's electric stage presence intensifies his throaty and soulful voice; Henrich is a warped Hendrix-inspired character; Mueller struts his bass with the authority of a seasoned player and Travis is an aggressive drummer with the chops to match. The band's combination of a great live show and great songwriting makes for a performance that is large on any stage.

Primer is Chlorine's Time Bomb debut. The band went into the studio in February of 1999 with Matt Hyde (Monster Magnet, Porno For Pyros) to make a dynamic record. The album is a kinetic balance between their songwriting prowess and the bigness of their live show; and all aspects of the band's personality come together with Primer.

Way Out leads the album. The song opens with one of the many brilliant guitar lines that fill the album. Built around the distinctive sound of the Fain-penned ascending line, it lays a melodic foundation for the gritty vocal style which marks the song. About abandoning restraints, the song works through layers of drums, guitars and bass to a triumphant climax.

Second Thoughts is one of the most dynamic songs on the album. Beginning as almost a whisper of bass and vocal sound, the song builds into an urgent tempo until a strong chorus takes the track to the top. At the center is a guitar solo reminiscent of any great Hendrix or Perry moment.

Gravity is pounding and in-your-face rock. The song is heavy, fast and assaulting. The vocals are distorted; the guitars are warped; the bass is aggressive; and the machine gun drums drive the song home.

And with Don't Even Care, Chlorine shows their diverse skill. Initially tender and melodic, the song gains power and culminates in a crescendo of sound. Fain's appeal again comes through in every lyric. Starting with a warm base line that compliments his compelling voice, guitars and drums kick in mid-way to match the intensity propelled by the vocals. By the song's end, the synthesis of the band is complete.

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© 2000 Time Bomb Recordings