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OVERSIZE

Get into the heavy groove.
Rollerball have earned their rep as one to this country’s most solid acts by working hard, constantly getting better at their game and keeping their intentions honest. Building on the promise of 2002’s Superstructure – an epic monument to all things powerful which, unfortunately fell flat somewhere around three-quarter time – Oversize ups the ante without abandoning their sonic roots (sitting between a modern stoner style and classic, no-nonsense rock). Singer Tenpin Boland once again shows off one of this country’s heftiest sets of lungs, while producer Mark Opitz (the Angels, AC/DC) keeps things from getting mired down in the sort of sludge many of the Rollerball’s peers seem to hide behind.
**** Rolling Stone, January 2005

Difficult second album? Not for Brisbane’s Rollerball
In 1999, the dirty grooves of Rollerball’s debut EP “Lost in Space” initially saw them tagged Stoner Rockers. But by the time the four piece laid down their first album, Superstructure, they ditched the bong and were heading in more of a hard rock direction. Now, with Oversize, they have taken that approach and further refined it, aided no doubt by producer mark Opitz (ACDC, The Angels, Cold Chisel). Concise and dynamic, the twelve songs here are packed full of hooks and biting riffs. Whether its punchy opener Turned back the River; the hip swinging rock’n’roll of Spray; 80’s sounding, fist pumping rock World weight; or acoustic closer Drink until light, each stands as tall as an Accadacca size speaker stack.
Rating: KKKK - Australian Kerrang Issue, January 2005 – Rod Hunt

Oversize, the follow up to Superstructure, sees Brisbane stoners Rollerball reducing their song writing down to pure nuts and bolts and producing a most solid Oz rock album that will see them lose their Soundgarden stigma altogether. Going for a simpler approach, ironically Rollerball seem to have put more thought into crafting these tunes, and it’s obvious how much care they’ve taken in recording them. Like, Grinspoon’s new album, old time fans will find this hard to accept at first and it’s liable that many will point fingers at the slickness of the overall finish. But given time, these songs start to really come into their own as only tunes built to stand the test of time can.
******** Blunt Magazine, Issue 34

Exuding all the hallmarks of a classic Aussie rock album, Rollerball’s superb second full-lengthy effort is a clarion call to all those who appreciate gutsy rock’n’roll artistry.
Like the bunch of unrestrained Aussie rockers they are, the boys come charging in with opener “Turn Back The River”. A grand hard rock offering, “Lucille” stands out as an explosively tight, no-holds-barred group effort. Tunes like “Bookend” uncover the strength of Matt Boland’s majestic vocal delivery, which contributes the necessary spark to set this volatile four-piece outfit on fire.
Producer Mark Opitz has captured the venom of the gutsy riffs that bite at Rollerball’s listeners’ ears in a live environment throughout the lumbering momentum of “Broken Open”. Solidifying the drive of Rollerball’s signature minimalist grooves, the song tumbles out of the speakers loud and clear. While “Spray” is assertively focused enough to be radio-ready, Rollerball also deliver the obligatory all-out rockers like the thumping “Armed and Dangerous” and tender closing ballad “Drink Until Light”. Oversize is a formidable Aussie rock album that is undeniably destined for bigger success.
****1/2 Brad Larter, Time Off

YOBBO ROCK & ROLL
Rollerball record second album.

Brisbane’s Rollerball have proudly stepped their game up a notch after recently completing recording for their second bracing hard rock album. After initially planning to record their latest album at Rockinghorse Studios, Rollerball relocated to the well appointed 301 Studios in Byron Bay to lay down some stomping, yet minimalist riff heavy hard rock tunes.

In between takes at 301 Studios Rollerball’s guitarist Dave Talon explains the reason behind the last minute decision to record at 301 Studios. “We arrived at Rockinghorse and it needed a bit of maintenance. We’d initially been tossing up whether to go to Rockinghorse or 301, but we left it in the hands of Mark [Opitz]. He thought we’d give Rockinghorse a go and we’ve enjoyed being there before. But now in hindsight, it’s probably good that came here, “cause we’ve got the producer and a different engineer. It’s all nice and fresh. This place is fuckin’ like Disneyland. It’s a fuckin’ lovely set-up. That desk in there, that Neve desk is fuckin’ unbelievable” Dave enthuses.

Dave Talon explains, “There’s one song that’s goin’ to be acoustic track on the album. It’s going to be very stripped down and simple, but everything else is just yobbo, rock out with your cock out SG stuff. It’s all pretty simple, which I like”, Dave forthrightly asserts.

Having worked in the recording studio with legendary Australian hard rock bands such as AC/DC and the Angels, Mark Opitz admits there was no financial incentive whatsoever for him to produce Rollerball’s second album. Mark Opitz’ glowing enthusiasm for Rollerball is obvious when he asserts, “Rollerball are a good unit and they’ve got great people behind them. I’m very, very happy with the overall result ” there’s no question about that! We thought, well these guys have got a quality sound with what they do, let’s go see if we can work with these guys and be inspired by them.” BLUNT MAGAZINE

SUPERSTRUCTURE

“Stoner rock from the likes of Queens of the Stoneage is proving a welcome antidote to all the overhyped rock-is-back “The” bands of the moment. With Superstructure, Australian band Rollerball aren’t jumping on the bandwagon; they’re riding up front with the driver. It’s a beautifully crafted album recalling ’70’s fuzz rock, early AC/DC and Kyuss. Dirty, fuzzy, honest and raw, it has no sense of urgency, and gets better with every listen. Tenpin Boland’s voice has a huskiness with the beauty of early Bon Scott or Dride’s Dale Thompson, standing out on tracks such as Daisy Chain or Loungeroom Lifer, and the falsetto backing vocals on Head Song are wonderful. Rollerball also know how to let songs breathe, backing off to great effect just before moving on to some chunky rock. Highly Likely starts with a fantastic intro of restrained acoustic blues before moving into a grinding foot-stomper fleshed out by wicked harmonica. In an age when albums are often overproduced to the point of banality, Superstructure is an excellent example of stripped back rock n roll.” THE AGE, MELBOURNE

“Compared with the fuzz laden strains of Rollerball’s first two EPs, Lost In Space and Let Your Hair Hang Down, the band’s debut full length sees them pursuing a slightly cleaner and more diverse sound. This shift may well open the outfit up to a wider audience. Fortunately, though it’s not all spit and polish though, with such moments offset nicely by the straight up AC/DC-ish rifferama of the title track, the driving, gritty Head Song and the dirty, blues harp enhanced Highly Likely. Oz rock for the new millennium” KERRANG

It has taken a while but the time has come for Rollerball to take things to a whole new level and with this album they can certainly do that. It is a solid start to finish affair from the four-piece outfit from Brisbane, one that they will see success from that’s for sure.”ANEMIC MAGAZINE

“Queensland vocalist Matt Boland could be passed off for a distant relative of ex - Kyuss/Unida frontman John Garcia. With his soulful cigarette ravaged rasp set to stoner rock grooves, crashing cymbals and trusty AC/DC style riffing, this rootsy quartet have transported a tiny slice of Palm Springs Desert rock back to the Gold Coast and called it their own” ROLLING STONE

“The vinyl crackle that heralds opener ‘Loungeroom Lifer’ sets the mood for Rollerball’s debut longplayer, a revisionist excursion in classic rock free from the sort of retro pastiche that could prove fatal. Superstructure succinctly showcases a band big on rock moves, painting with broader brushstrokes than their stoner roots. Vocalist Matt ‘Tenpin’ Boland has a voice that could strip paint – a gruff mix of Bon Scott, Chris Cornell and John Garcia with the melodic edge of Chris Robinson. It’s the centrepiece of each track, brutally matched by solid drumming big on rolls and equally demonstrative riffing. Whether it’s the Western barroom brushes that lend a country flavour to chug-fest ‘Highly Likely’ or the warm acoustic line running through the melodic ‘Looking For The Moon’, it ain’t all stoner style rock. Ball-tearer ‘Superstructure’, ‘Trip Party’ and the swagger of ‘Lifetime’ are closer to the band’s template, but still offer more colour.Now in stores following a national tour to support its release, Superstructure is a rippin’ stockin’ stuffer for hard rock lovers this Christmas.” TIME OFF ALBUM OF THE WEEK

“Just so you’re in no doubt as to where Rollerball’s sentiments lie, this debut album builds a vinyl scratch into it’s sound and splits it’s eleven tracks into Side 1 and 2. Yep, there’s a direct channel into rawk’s hairy halcyon day’s here, even to the point of serving up a rollicking 70’s style blues romp in Highly Likely, complete with chugging guitars and parping mouthharp. That track is not indicative of the sheer power this band can usually deliver, but it’s proof positive that the channel here is a broad one, with space aplenty here for other roots and branches to both modify and modernize their classic riff-heavy rock. In that sense, the classic and stoner tags this band has been associated with are still pretty much in evidence here, especially on mammoth, heads down stomps like Next To You. But their sound has evolved solidly along the way. So acoustic guitar and mellower mood introduces Looking For The Moon, bringing in echoes as distinct as The Black Crowes and the Rolling Stones. Meanwhile the hefty swing of Lifetime has a sharper melodicism under the weighty drive, again with a touch of the Stones. Yet, if they make no bones about their sources of inspiration, this set shows how they’ve really come of age on this seriously rocking effort” RAVE MAGAZINE

“UK metal bible Kerrang proclaimed that Rollerball are “Oz rock for the new millennium”. Not entirely sure what that means apart from yes, they are Australian. They certainly rock. And we have recently entered a new millennium. But judging by this debut album from the Gold Coast stoners, Kerrang’s new millennium must be a lot like the 1970’s. Rollerball are so retro it’s a surprise that there’s no eight track version. But it’s all done so expertly is sounds as fresh as a daisy. Opener ‘Loungeroom Lifer’ is a typical riff heavy behemoth of a rocker, while the funky boogie of ‘Daisy Chain’ and the harmonica solo, country vibe ‘Highly Likely’ show they can tackle other genres. Nobody - whether they’re Oz or not, new or not, rock like Rollerball rock.” SAINITY MAGAZINE

“After two promising EPS Australia’s finest exponents of the stoner genre Rollerball have at last unleashed their debut slab of fuzzed-out, sun burnt rock. Comparisons to Soundgarden and Kyuss would not be far off the mark, but to say that is putting this in the shadow of those bands, clearly somewhere Rollerball do not deserve to be. For one, vocalist Matt Boland could match up to either John Garcia or Chris Cornell any day of the week. What’s more, there is something distinctly Australian about the way they sound. Hearing Rollerball I imagine cruising down to the beach in the blazing sun, windows down, surfboard on the roof racks, spliff in hand - crank it up!” BLUNT MAGAZINE

“Rollerball are a hard rock band, there is no doubt about that. Their sound is definitely laced in Sabbath worship like most that play heavy rock nowadays. The first song reminded me of a cross between early 90’s Soundgarden and one of the more upbeat Sabbath moments. Gotta love that. There is a mean driving force behind the vocals, and from time to time it’s hard not to hear the similarities between Rollerball and Kyuss. These guys definitely share the same influences. It’s overall a very heavy driving rock- with lots of changes…but pretty much head-banging to the beat the whole time. The changes are not too confusing…simple and nicely done. Some of the open chords instead of the chug remind me of AC/DC as well. Great tones and great arrangements. Vocals are right up there somewhere between Chris Cornell and John Garcia. One other thing I might mention is that there is a certain radio quality to all the songs…not that they sound pretty, but they are all full of hooks that are catchy in a good way. There is something for everyone of the hard rock variety and plenty of surprises. Check out this CD for some well written, well done rock and roll. Hard and mean at times and driving non-stop.” STONERROCK.COM

“Rock n roll, baby. A long-time coming, Rollerball’s debut album “Super Structure” is proof of exactly why you shouldn’t forget about a band that have been laying low. These comparatively quiet times are now over and the rockin’ Rollerball are eyeing a summer of non-stop touring, and what better CD as the soundtrack could there be than a typically Australian rock release?

The first ever band signed to the insanely talented Rhythm Ace roster, Rollerball have already released two EP’s, which has gained the band much alternative radio airplay, however with the release of Super Structure, their level of exposure should skyrocket. This will come easily for this Brisbane-based 4-piece, who with an uncanny knack of recreating a classic rock style without allowing it to sound fraudulent, have also given this release one of the best looking covers of the year – sure to catch your eye. While Rollerball’s apparent claim that their rock is bigger than man itself might be a bold one, they sure aren’t far off the mark. The riffs are big and creative, however the overall sound is let down slightly by production that doesn’t weld the guitar and bass section together into a strong wall of sound. Sure it’s nit picking, but you’ve been warned that when played at a loud volume, you wouldn’t want to already have a headache. Rollerball are vocally reminiscent of a huskier Chris Cornell (Soundgarden, Audioslave), while the complete band sound sits somewhere in the middle of Fu Manchu and Guns N Roses. This sure is rock, with a distinctly Australian tone.

”Loungeroom Lifer” - The opening track isn’t one of the strongest moments on the album, but introduces the listener to the Rollerball sound nicely. A simple guitar loops keeps the song moving along nicely, changing up in the chorus. The vocals sound lazy but never uninterested. Mid-way through the song the pace picks up drastically for a big lead guitar solo, backed by a strong rolling groove.
”Head Song” - My personal favourite, “Head Song” is brutally powerful. The pace continues from where the previous track left off, with the volume level raising several times in the song with some gruff screams to boot. Sadly short.
”Lifetime” - Nice momentum through the verses, alongside some simple but catchy riffs. The chorus is the real drawcard of this song though, with a big changeup and some great high-pitched vocals, reminiscent of Axel Rose.
”Dasiy Chain” - A playful riff opens this song, reappearing after some big changeups. Everything about this track is big – including big bass and drum solos. The already mentioned changeups make this song great, and appear at just as any sense of over-repetitiveness kicks in.
”Highly Likely” - Opening the track with acoustic drums and harmonica, Rollerball prove they like to keep the listener thinking. A classic country-trucker style groove keeps momentum, with the chorus adding a few decibels of distortion. Classy harmonica work is re-introduced late in the track, mimicked by a big lead guitar solo.
”Super Structure” - Another upbeat number, the title-track features a completely opposite chorus to what’s already been seen, with almost all music coming to a halt, making way for vocals to take center stage. Solid.
”Looking For The Moon” - A definite highlight, “Looking For The Moon” features acoustic guitars for the first time on the album, with a gentle organ backing the track to provide depth to the sound. Vocals are pushed to the limit, most noticeably in the great chorus.
”Colder (Santos Dominos)” - A slow-paced track, this time raising the role of the organ almost to a lead, the difference this time is that they’re used to add a dramatic effect to the track which works brilliantly. The track loses its way towards the end with an odd-sounding breakdown, but otherwise another great track.
”Commodity” - Another groove-propelled track, “Commodity” picks up in the chorus but for the most part seems a little too similar to what’s already been heard. The only things that save this track are some great rhythmic section solos and quickfire lead breaks.
”Trip Party” - A tasty stoner-groove kicks this song off nicely, in classic Rollerball style. Some underwater effects are added to the vocals in the chorus, providing just enough variation to the song.
”Next To You” - Slow but punchy, this closing track is a bit of a downer but ends the album in a solid fashion. Nothing particularly special about this track other than some lead guitar indulgence.

If Rollerball was an animal, they’d be a Bulldog. They might not be pretty, and they might not ever show much aggression, but they are sure as hell strong and stubborn as fuck. Super Structure will stick in your head whether you like it or not, proving very difficult to remove from the stereo. Not that you’d want to.” NOISETHEORY.NET

“Brisbane 70’s style rockers Rollerball bring us their brand new album SuperStructure and although the band has been around for quite sometime it has to be said that this effort is their best one to date. Over the years this band has been one of the hardest working Australian acts that really have never been awarded for their achievements. Having established a good fan culture around the Brisbane area over the years this album will take that aspect to a brand new height.

Rollerball are simply a band that has a late 70’s sound. People mistake this band for Bogan Rock which is just bullshit as people these days judge bands by their image and not their music which in hindsight is utter rubbish. This album is the reward for the hard yards put in by these lads over the years. You can tell this as the first track Lounge Room Lifer is a track that throws all aspects of Rollerball into your lap. You want diversity in this band; well you have to look no further than this track. It is like the track itself has been building up for years and is just the start of a rocking album.

With the diversity comes platform for the typical 70’s sound track Daisy Chain. Even the lyrical content of this track takes us for a walk down memory lane as it shows us just how it use to be all those years ago. Highly Likely is a more upbeat track however is effective as a flannelettejacket on a cold night, very out there and again very 70’s with a dash of cow prodding involved.

With stability in the middle in the album with tracks such as the title track and Colder (Satos Dominos) this is certainly a hype type build-up for track 10 Trip Party. Frontman Tenpin Boland is at his best on this tune with his voice taking everything to a new level. The rest of the band members feed of his amazing rock voice and go there very hardest to produce a mini epic sound.

“Queensland vocalist Matt Boland culd be passed off for a distant relative of ex - Kyuss/Unida frontman John Garcia. With his soulful cigarette ravaged rasp set to stoner rock grooves, crashing cymbals and trusty AC/DC style riffing, this rootsy quartet have transported a tiny slice of Palm Springs Desert rock back to the Gold Coast and called it their own” ROLLING STONE

“Following a lengthy break from recording after the success of their second EP, Let Your Hair Hang Down, the ball is rolling again for Australia’s premier riff crunchers. Dressed in timeless seventies decor, Superstructure is a mighty assemblage of groove-ignited rock and pit of the stomach vocals. ‘Loungeroom Lifer’, ‘Highly Likely’, ‘Colder’ and ‘Trip Party’ are the serious liquor on Superstructure, whilst others like ‘Looking For The Moon’ simmer a fiery mood. A mighty album indeed.” TSUNAMI MAGAZINE

“Rollerball have been carving out a track in live music venues across Oz for some time now, with walls of guitar fueled rumble. Now they have an album to help them widen that path and snare more unsuspecting punters into their high calibre rock machine.
“Longeroom Lifer” kicks off the album and sets the tone with cow bell swing, casual riffing and some snappy drumwork, backing the distinctive vocal scorch. There is a laid back vibe here to set the listener back into the bean bag of fuzz comfortzone. Guitar edge is sharp in AC/DC tone for casualness. Enter drum roll to begin the plunder on high tempo and the journey takes off to a riffrockfrenzy. Energy is on the up with “Head Song” which takes the riff on basic strut to its full conclusion. Solid drumming, rolls on fluid with background shake builds with edges of FuManchu to entertain the rock tuned ear. Yes thats “Lifetime”, single from this album. A well tuned and timed ditty already embraced by airways national. “Daisy Chain” loops in on jangle and attitude, guitar breaks in freak time search out the many corners of influences. Vocal styln` fits well with a rough two pack a day rock stalwart vibe but there is a engaging quality within it that is very unique. These qualities are used well with range and melody giving each track its own flavour. Down home blues acoustic jangle with harmonica begins “Highly Likely” and when the amps fire tis in this vein in which they run for optimum results. A foot tappin` driving riff that threatens and beckons to be bagged up to full potential, and is. The jam flavour of getting it on is a highlight here, it doesn`t stay within strict boundaries and confines of straight ahead rock. Title track is a brisk and brash affair that builds foundations solid. This vibe continues with “Looking For The Moon”. An acoustic ramble fitting and uplifting in an open aired environment. Kyuss edges seep through within “Colder” and are delt with subtle tones and an epic feel. Large scale is played out well on this track. Atmosphere building, cut up with a scorching riff. Solid drum work, will add pounds to your ear capacity. “Commodity” also uses some effects of distant electro to enhance the re-introduction of a razor sharp riff. Rollerball aren`t in the game of hiding influences or in backing away from where they dig the riff, up front, sharp and delivered swiftly. “Next To You” closes the album in this manner wrapped in a casual air lead by some seering soloing.
Crisp and scorching this album also contains an aged quality. Rollerball are mixing the best of high grade Oz flavoured rock with the space age of intergalactic counterparts from the desert scene of the states.” BEAT MAGAZINE

“After two impressive E.P.’s (1999’s ‘Lost In Space’ and 2000’s ‘Let Your Hang Down’), Brisbane based stoner rock outfit Rollerball are finally back with their debut full length album ‘Superstructure’. The album opens up with the familiar crackling of vinyl before the band turn up the guitars with the boogie influenced riff to ‘Loungeroom Lifer’. The sound is also focused on a less fuzz/more direct riff clarity. Straight away, there’s no doubt that Rollerball have delivered an album that is going to be a winner.
‘Head Song’ and ‘Commodity’ have been doing the live circuits for some time as the band road tested new material, and are as potent now that they’ve been committed to tape. The pile driving verses built to full on choruses and will be sure to get even the most hardened fan moving to the groove. The first single lifted from the album comes in the double A sided ‘Lifetime/Looking For The Moon’. There’s an obvious focus on melody and simplicity on ‘Lifetime’, with vocalist ‘Tenpin’ really trying something different with the high notes. A little radio play would really go a long way with this potential hit. ‘Looking For The Moon’ is something quite different with its acoustic backbone and sweeping chorus. For those out there hoping for Rollerball to do something in a similar vein of ‘Believe In The Breeze’, look no further. ‘Daisy Chain’ has a slight funk feel, while ‘Highly Likely’ is a definite nod to old time blues boogie (Complete with harmonica solo). Title track ‘Super Structure’ is a good time rocking number, while ‘Colder (Santos Dominos)’ has an almost doom feel in places. There’s some fancy percussion work courtesy of ‘Cracker’ throughout the energetic ‘Trip Party’, while closing number ‘Next To You’ provides guitarist ‘Talon’ plenty of wailing room.
‘Superstructure’ is everything the band had promised with their earlier releases and more. If classic seventies inspired rock is what you’re looking for, then save yourself the trouble and get this album.” Justin Donelley

ROLLERBALL - LIFETIME

“With a pair of EPS lond on the shelves and the debut album Superstructure now available, these local hard - rock purists are on the march. And did we say purists? Well sure, there’s evidence of the kind of grit, we’ve come to expect from Rollerball but with both cuts here there’s oodles of thoughtful spaciousness too - just the kind of thing to expand an audience. Lifetime sports plenty of midpaced punch but patches of worthy sonic ponderance as well, while Looking For The Mooon is the kind of steel tipped ballardy that could do so very easy raise the stakes for all concerned. These guys might be faded denim anachronisms but the time seems right” TIME OFF

“Gutsy, coastal fuzz rock from this quartet whose members are spread between Sydney and Gold Coast. The instrumental arrangements of Lifetime are deliciously sparse and bottom end driven - slow and mighty - whilst Tenpin’s heary vocals help lend the band a distinct sound. Co-A side Looking For The Moon introduces the acoustic guitar and a deeper venture into psychedelic blues territory which, though more dynamic, is less sucessful than the powerful groove of Lifetime” INPRESS

ROLLERBALL-S/T (IMPORT)

“I think you all know these guys from Australia. Rollerball are the maters of 70´s Cone-Rock and I would call this CD “The Best Of”. 14 songs and and each one of them is HOT. This CD catches you from the first song “Jonothan E” till the last song “Theme From Odyssey”. Rollerball are the kings in mixing sunny feeling good music with Heavy-F**ing-Rock. You maybe have their two CD´s, but this CD is exclusively for Europe and it has all the nice songs on it from their two previous CD´s + from the Surf-Video “SupaDoopa”. This CD is definitely worth to spend the money on. I highly recommend this CD to everybody who is into Rock.” DAREDEVIL ONLINE MAGAZINE

“The full-length debut from Australians Stoner Kings ROLLERBALL? No!!! All you supporters out there will have most of the songs, because the majority of tracks taken from LOST IN SPACE and LET YOUR HAIR HANG DOWN! I think Water Dragon (France) released that piece of rock, because it was very hard to get the Rhythm Ace releases here in Europe. And that is fantastic! So, everybody can now listen to this outstanding band! Some songs are old, but above all these years they don`t loose their magic. And you will find some great-unreleased stuff on it too! The cover is great and features all lyrics. You can find Video clips from EVIE and LOWLY SUBLIME. And both are very professional and cool! Especially the girl in Evie….But mainly you will know Stoner Rock hymns like JONATHAN E., LOWLY SUBLIME or LOST IN SPACE. If you don`t know Rollerball, let me tell you that they really rock! Great song writing, great vocals - all is perfect! The 3 unreleased songs are in the same direction as the other material - still great and very groovy. I think I said all about that release. The underground freaks will have the copies of the above mentioned releases and if you haven’t the chance to get the older copies - buy this one! This is value for money! I like it!” DAREDEVIL RECORDS ONLINE

“A band calling themselves Rollerball (presumably after the classic sci-fi flick rather than the recent dodgy remake) must obviously be fixated on the 70’s, which would be fine provided they have the tunes to go with the love of retro stylings. It’s fortunate, then, that this four piece from Brisbane have been putting a great deal of sweat into forging their cast-iron space-rock credentials. Australia has been resonating to the thunderous riffage of some well received Rollerball singles and a handful of tunes from the band’s first two EPs, plus three new songs make up this solid slab of superfuzzed grooviness. It’s all here, from the bluesiness of AC/DC to the doomy sludge of Sabbath. And with one or two surprising detours into lighter territory as well, Rollerball certainly bodes well for the future” KERRANG MAGAZINE

“Rollerball is born in 1998 in Brisbane (Australia) and has already released two mini albums through Rhythm Ace records which set them up as one of leading heavy rock acts from Australia. This full length record might be considered as their debut album which contains lots of songs coming from their both previous record as well as three previously unreleased tracks: “Mainframe”, “Reflections” and “Believe in the breeze”.
During this record, I have felt a kind of evolution in the song writing where the personality of the band gets stronger on few tracks. I don’t know which song has been written before the other ones but the band shows more maturity on their previously unreleased stuff. They start with a classic fuzzy speed rocker entitled “Jonathan E.” which finds a kind of echo in the tracks “Eye of the storm” and “Mainframe” even if this last one sounds more rock’n'roll blended with punk energy. But on most of their numbers, the band seems to like to play on groovier tempos built around a fuzzier edge. The songs are almost written upon some quite classic structures from where various influences are rising up: blues (“Lowly Sublime”, “Lake of life”), southern rock (“Believe in the breeze with its acoustic guitars parts), psychedelism (“Lost in space” and its lysergic textures or “Theme from odyssey”) as well as garage rock on “Evie (part1)” which might be an Easybeats’ cover.
Rollerball reminds me of Pawnshop and Nebula (“Dragon”, “Classical stimuli”, “Reflections”), I really feel a common groove in there which is a big part in the musical structures of these bands. But Rollerball tries to develop their songs towards new horizons with more 70’s influences and where their sound may be more direct. It gives a breath of fresh air to their material, which has much impact to my ears (“Mainframe”, “Believe in the breeze”). So this CD should easily appeal to heavy rock fans that are searching for pretty good rock. And as a gift to their fans, two videos (“Evie (part 1)” and “Lowly sublime”) are also included. Could it have been better ” WANADOO ZINE, FRANCE

“Wow, what a good pick for Waterdragon Records!!!
Rollerball is band from Brisbane Australia, formed back in 1998. This album features tracks from their first two Australian-only EPs and some new songs, plus two cool videos you can watch on your PC.
Well, I have to say this is top-class stuff, man! Rollerball is a great band that plays that kind of riff-rock I really like, sometime very rock’n’ roll oriented, and sometime more grrrrrovy, almost doomy and with very good vocals, perhaps sometime I could say their car is on the same “highway” with Fu Manchu (better vocals) or Orange Goblin (but less heavy) plus their own psychedelic moments, but still with great originality on their own, believe me - there is even a kind-of acoustic-electric ballad, the 12th track ‘reflections’ - very very classy.
The songs are always very well performed and recorded, and I have almost no remarks on this record, what can you say when everything is so good? OK, if you really want me to be fair, I can say that you can quite well understand that this record’s songs were composed in different time, so the final result is not as “compact” as it could be. But this is just a minor point you know, I suggest you to buy this record without thinking twice!” STONED GODS ON LINE MAGAZINE

ROLLERBALL – LOST IN SPACE

“Brisbane Stoner distortion rock n roll act Rollerball have been bringing smiles to the faces of many a Kyuss fan with their debut EP. This six tracker rips itself apart at the seems. The guitars, drums and vocals all melt together into a psychedelic rock trance. Indeed, Rollerball are the kind of act that would be perfect as the house band in a 70’s drug film. A band on the path to very good things” TIME OFF MAGAZINE

“A short intro and then that monster riff breaks through my speakers. What a riff, what a sound, what a song! Rollerball are good. They do Stoner Rock sound, which makes me smile. Straight into your face. This is really a high standard mini LP and if you want to do something good to your ears, this is definitely a good one. Whiskey soaked voice and tuned down guitars, that’s what Rollerball is doing and they are doing it good. Look out for their next release” DAREDEVIL MAGAZINE

“A flat-out ride through the outback in a 70’s hot rod. Think Fu Manchu meets Supersuckers wit vocals by a laid-back Rob Zombie and you wouldn’t be too far off. Rollerball is not a pointless Fu Manchu clone though. their sound is more of a straight ahead rock and roll thing. They also put in lots of touches that make the record interesting after repeat listens. Many people don’t appreciate how hard ‘ it is to be effortless AND be interesting. Rollerball does both and gets your head moving. One of the real surprises of the year” METEOR CITY

ROLLERBALL - LET YOUR HAIR HANG DOWN

“If you foster a gut-yearning for straight up, riff-filled, hot-amp, metal-tinged rock, go no further. There’s little weakness here form these Gold Coasters. Blow your load on the riffed-edged roll of ‘Classical Stimuli’ the gravelly grit of ’24 Hours’ or the rambling rumble of ‘Lake Of Life’. But the bona fide gem here is a more than solid take on Stevie Wright’s 1974 killer ‘Evie Part One’. One for the long-haired gits of the world” TIME OFF MAGAZINE