Press

"Without being unduly influenced by the band name or album title, there's an admirably mean greasiness to this record, with Tin Foil making a country-fried post-punk ruckus that communicates burnout prole art threat while also being thankfully devoid of Anglophilia. I'm loath to call anything "original" these days, but this feels close. It's almost as if Tin Foil think that post-punk was supposed to be an accessible rock 'n' roll language that people could actually use after punk wiped the slate clean(ish) and not just a pastiche of bad-toothed gestures. They are, as they say, crazy for that one." – CREEM

"Tin Foil's Chicken Sandwich sounds exactly like a late bleary night at a Hamtramck punk bar. It's rock'n'roll that isn't slathered in fuzz or abrasive. It's bar rock'n'roll meant to bust your shit up in the middle of movin' around. Hecker's a Devo devotee, and his lyrics similarly flit between observational and gonzo. "Tunnel vision/cyan/photosynthesis/tap tap tap tap dat ass," he offers on "Tunnel Vision." On "Plastic Spoons," he wonders why the automatic toilets want him to leave such a mess. It's dirtbag goofball rock'n'roll featuring a wild surprise infusion of sounds like pedal steel, marimbas, and banjo. This band's ungovernable and completely wasted." – See-Saw.fun

"This album resonates with thoughtfully overdriven Detroit guitar rock. The band is based out of Detroit, of all places. The album opens with the mid-paced guitar-twanger “Thin Ties.” There’s a bit of Rolling Stones in the main riff with some Dino Jr. lag in the presentation. “Bored Games” picks up the pace a bit. Again, there’s a distinctively Detroit boogie in the riff without being something you’ve heard a million times. The drums utilize a controlled riff exploding in the breaks. The two guitars in play layer well song after song, creating a nice wall of sound. Tin Foil aren’t afraid to mix up the pace and have the riffs to back it up. The album plays with Stooges-style sonic principle without being contrived. This is a solid slab for the rock crowd. Really worth checking out." – Razorcake

"Anyway, these guys are real likeable. Singer has a very personable twang to his voice, a little vulnerability is there behind the outward confidence and musically they can play across genres – country twang, psych-folk, straight garage punk, some pop-rock, surfy beaters... These cats bust out some motor city oil-n-grease on “Give A Try” which also has a subliminal T.Rex-y monster hook in it. This one could be the hit. Then they do a tune that sounds like a less fuzzy Mudhoney that’s total kill city (and the singer does sound a bit like Mark Arm at times) and the B-side ends with a big time rock anthem with psych-out touches, actually reminding me of The Go at this point (and I do like The Go, believe it nor not). And I just realized I’m working this record backwards. But this A-Side is packed with gems as well – “Cant Stay Here” is a comely glam ballad with piano moves and a UK-popsike feel that’s how you wish post-Cheap Time Jeff Novak bands sounded and “She’s An Automaton” rides the same wave to good effect. There’s no good reason why these cats couldn’t be a big deal. They have the chops. Even I like this very very much, and I’m generally a curmudgeon when it comes to possible radio-friendly garage-rock. And regardless of their prospects, in the end we all just want to enjoy listening to some good tunes, and this one more than accomplishes that goal." – Terminal-Boredom

"They’re a Detroit-based quartet, and they’re clearly in love with the sharpest, deepest rock music of the ’60s and ’70s, calling to mind Neil Young, Love and The Band, as well as certain more-recent artists who found similar inspiration, like The Lemonheads and Purling Hiss. Their songs are varied but strong, and they go down smooth and without agitation. I hear a lot of bands that attempt this style and end up sounding like a punk band trying on ill-fitting rocker costumes, but there’s no lingering scent of dilettantism here" – yellowgreenred

"I wasn't sure about these guys. The cover features a black and white photo of four dudes who, collectively, have pretentious hair. Individually, their hairstyle choices are questionable. Together, they're annoying. Also, there's a Side A and a Side R. I somehow convinced myself that that was a reference to AOR (Album Oriented Rock), and not "Almost Ready" (their record label). A couple of songs in and I'm thinking that I might be right. It's very (album oriented) rock'n'roll, in a '60s and '70s kind of way. But I kind of like it. A five-minute long song? That's typically a deal-breaker for me. Not here. Five songs per side? What the fuck? Is this 1974? I'm still into it. It's mid-tempo and catchy. It's got too much jangly guitar to pass the punk test and it gets a little trashy at times, but it's just odd enough to be impossible not to like. It has a common theme of reaching back to the '60s and '70s, which ties it all back to the cover photo. This is good, really good." – Maximum Rocknroll