Ripoff Copy - Jump For Joy

​Ripoff Copy

Jump For Joy
self-released; 2024

 TOP ALBUM

By Jamie Funk

Ripoff Copy is an unrelenting, sonic detonation that thrives on chaos. Comprising Kevin Litrow (vocals), Kyle Souza (guitar), Zach Lewis (bass), and Paul Carter (drums), the group self-identifies as purveyors of "sonic maximalism," drawing from the seismic influence of Lightning Bolt and Deerhoof. Their music isn’t for the timid, but for those willing to lean into the pandemonium, Ripoff Copy offers a visceral, unapologetically original experience.

The opening track, “Brutus,” is a feral initiation. Lewis's bass growls like a mechanized buzzsaw, while Souza’s jagged guitar lines slash through the mix with abandon. Carter’s drumming doesn’t merely anchor the chaos—it’s a vortex, pulling the song apart and then reconstructing it mid-flight. The result is a perpetual state of unraveling that borders on psychosis, each measure more unpredictable than the last.

“Fool’s Day” doubles down on this volatility, offering a blistering tutorial in noise rock’s transformative potential. What begins as an almost deceptive breakdown mutates into a cacophonous storm of dissonant guitars and ear-splitting turbulence. Litrow’s vocals, soaked in delay, dissolve into the maelstrom, functioning more as another jagged edge than a guiding force.

On “Beeper,” the band dismantles the very concept of structure. The track teeters on the brink of collapse, its sonic architecture constantly disassembling and reassembling itself. Yet, Ripoff Copy proves dynamic, plunging into quieter, simmering moments that unexpectedly erupt into anarchic crescendos. It's a masterclass in controlled implosion.

“ABC” flirts with something resembling groove, though it remains warped beyond recognition. Instruments take turns in the spotlight, their interplay unpredictable and exhilarating. “Clamato” leans further into rhythm, with grooves that feel almost celebratory in their ferocity. Meanwhile, “Go Pro” offers a kaleidoscopic plunge into psychedelic chaos, and the closer, “Home,” pushes the album into even more untethered territory.

​Ripoff Copy occupies a space between Daughters' unrelenting tension, Lightning Bolt’s kinetic frenzy, and Talking Heads’ eccentricity—yet the result feels unmistakably their own. This is music that pushes boundaries with every track, redefining the limits of noise and structure. One of the most compellingly original albums of the year. Highly recommended.

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