Album Review: Roughhausen – Someones Got To Pay
Released back in 2009 under Taiwan’s Tinderbox Records, Someones Got To Pay by Roughhausen is one of those albums that sneaks up on you. It blends rock, electronic, and pop/rock with a gritty edge, throwing in industrial vibes, hardcore energy, and breakbeat twists for good measure. Think chaotic beats meeting raw emotion—it’s not perfect, but it sticks with you.
The first thing you notice? The production feels hands-on, almost DIY. Jeff Stoddard wears so many hats here—guitarist, vocalist, keyboardist, mixer, mastering engineer, writer—he might as well be running a one-man bandwagon. But don’t let that fool ya; the crew around him brings some serious heat too. Peggy Lin lays down basslines like they’re straight outta your dreams (or nightmares), while John Wu crushes both drums AND electronics like he was born to multitask.
Now, let’s dive into two tracks that really stuck with me:
1. “Control (Lying MoFo Mix)”
This track slaps hard right from the start. The mix layers dirty synth stabs over pounding breaks, creating this relentless groove that makes you wanna move—even if you’re just sitting at your desk pretending to work. Jeff’s vocals have this snarling intensity, like he’s daring you to keep listening. Ariel Zheng adds backing vocals on this one, giving it an eerie harmony that lingers long after the song ends. Honestly, I found myself replaying this track just to catch all the little details hidden beneath its noisy surface.
2. “U Better Run (Live)”
Man, this live version hits different. There’s something about hearing a crowd react to music that just amps everything up. You can tell the band’s feeding off that energy—it’s messy, loud, and kinda chaotic, but in the best way possible. The guitar riffs are sharp enough to cut glass, and the rhythm section doesn’t miss a beat. By the time it finishes, you’re left breathless, wondering how much sweat and adrenaline went into pulling this off onstage.
What’s wild about Someones Got To Pay is how unapologetically rough-around-the-edges it feels. Sure, there are moments where things get a bit too chaotic or overly layered, but isn’t that part of the charm? This album doesn’t try to be polished—it wants to punch you in the gut and make you feel something real.
And hey, fun fact: Denni Boger remixed one of the tracks, adding another layer of weirdness to the mix. Plus, props to Oreal for the photography—it perfectly matches the album’s gritty aesthetic.
In the end, Someones Got To Pay feels like a snapshot of a specific time and place. It’s not gonna appeal to everyone, but if you dig raw, experimental rock with electronic flair, you’ll find plenty to love here. Just don’t expect perfection—it’s more like a sweaty mosh pit than a slick concert hall.
Final thought? Listening to this album felt like finding an old mixtape in the backseat of a beat-up car—you know it’s got stories to tell, even if half of them are scratched out.
