The Terminals - Touch

Review by Rune Pedersen

Album Review: Touch by The Terminals (2008) If you’re into music that feels like it’s been stitched together from different dimensions, Touch by The Terminals is worth a spin. This 2008 release blends electronic vibes with rock grit and pop sensibilities, all wrapped up in avant-garde, garage rock, and psychedelic rock styles. It’s like someone threw a bunch of genres into a blender and hit “puree.” And honestly? It works. The album hops between Germany and the US, released on labels like Raffmond, Sound & Fury, and Last Visible Dog. With credits featuring talents like Brian Crook (guitar, vocals, mastering), Peter Stapleton (drums, lyrics), and Mick Elborado adding synth wizardry, there’s no shortage of creativity here. Plus, shoutout to Kim Pieters for both engineering some tracks AND painting the cover art—it’s got that raw, DIY charm. Now, let’s talk tracks. First up is “Touch,” the title track. It kicks things off with this eerie yet hypnotic vibe. The synths are buzzing subtly in the background while the guitar riffs feel jagged but intentional, almost like they’re clawing at your brain. Brian Crook’s vocals have this detached coolness to them, like he’s whispering secrets only you can hear. Something about the way everything comes together makes it stick in your head—like an itch you don’t want to scratch because it feels too good. Then there’s “Basket Case,” which shows off their garage rock roots with a punchy energy. Stephen Cogle’s guitar work is sharp as hell, and the rhythm section—John Chrisstoffels on bass and Peter Stapleton on drums—keeps things tight. There’s also this weirdly catchy tension in the lyrics; it’s not just a song, it’s more like eavesdropping on someone unraveling. You know how certain songs make you feel like you’ve stepped into another world? Yeah, that’s this one. One thing I love about Touch is how unpredictable it feels. Just when you think you’ve got a handle on what kind of ride you’re in for, they throw a curveball. Like “That Thing Upstairs Is Not My Mother”—what even IS that title?! But somehow, it fits perfectly within the chaos of the album. Same goes for “Deadly Tango,” which has this dark, sultry groove that sneaks up on you. Looking back, Touch isn’t perfect. Some tracks drag a little, and if you’re not into experimental stuff, it might feel a bit scattered. But isn’t that the point? Music doesn’t always need to be polished or predictable to resonate. What sticks with me most is how unapologetically weird it is. It’s messy, sure, but in the best possible way. Oh, and here’s a random thought: listening to this album feels like finding an old mixtape in your attic. You don’t know who made it or why, but once you press play, you can’t stop hitting repeat.

Artist: The Terminals
Album: Touch

1992

Rating: 4.29

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Download

Filename: the-terminals-touch.zip

MP3 size: 61.5 mb
FLAC size: 676.5 mb

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Tracks

Track	Duration	Preview
Mr Clean	4:47
Amnesia	3:43
(What I've Heard Of) Wyoming	2:16
Native Waiter	4:11
Basketcase	4:37
Twilight Environment	5:39
Something Dark	3:37
That Thing Upstairs Is Not My Mother	4:38
Touch	4:11
Janetta	2:33
Suicide	3:17
Deadly Tango	3:31
Mr. Clean
Basket Case
In And Out Of My Mind	6:07

Video

the terminals / amnesia

the terminals - (what i've heard of) wyoming

The Terminals - That Thing Upstairs Is Not My Mother

Images

télécharger l'album The Terminals - Touch

Album herunterladen The Terminals - Touch

Catalog Numbers

LVD 122
RAFF 020-1
RAFF 020-2

Labels

Last Visible Dog
Raffmond, Sound & Fury

Listen online

online luisteren
ouvir online
online anhören
escuchar en línea
lyssna på nätet
kuunnella verkossa
ascolta in linea
écouter en ligne
lytte på nettet

Formats

CD
Album
Remastered
Reissue
Vinyl
LP

Companies

Role	Company
Recorded At	Fish Street Studios
Mixed At	Fish Street Studios
Overdubbed At	Fish Street Studios
Phonographic Copyright (p)	The Terminals
Copyright (c)	The Terminals

Credits

Role	Credit
Bass	John Chrisstoffels
Cello	John Chrisstoffels
Drums	Peter Stapleton
Engineer	Kim Pieters (tracks: 2 to 3, 6, 9), Stephen Kilroy (tracks: 1, 4 to 5, 7 to 8, 10 to 11)
Guitar	Brian Crook
Mastered By	Brian Crook
Vocals	Stephen Cogle
Music By	Stephen Cogle
Lyrics By	Peter Stapleton (tracks: 1, 2, 4, 5, 7 to 13)
Organ	Mick Elborado
Synthesizer	Mick Elborado
Painting	Kim Pieters
Synth	Mick Elborado

Notes

Recorded and mixed at Fish St. Studios, Dunedin 1990-1991.
Tracks 2 to 3, 6, 9 and 13 recorded on 4-track portastudio, Southampton St., Christchurch.
Track 12 recorded and mixed at University Of Canterbury Film School, 1992.
Overdubs and mixing at Fish St. Studios.
Originally issued by Raffmond/Sound & Fury on CD & LP in 1992.
©&℗ Terminals 1992
Tracks 12 & 13 are listed as "Bonus Material"; 12 wasn't on the original LP version, but was on the CD version.
Insert lists credits and lyrics for the song "In And Out Of My Mind" ("Track 12") but the song only appeared on the CD version.
Recorded and mixed at Fish St. Studios, Dunedin. 1990-1.
Tracks 2, 3, 6 & 9 recorded on 4-track portastudio, Southampton St., Christchurch. Overdubs and mixing at Fish St.
Track 12 recorded and mixed at University Of Canterbury Film School 1992.
Track 12 is bonus for CD.
8 page booklet

Barcodes

Barcode: none
Matrix / Runout (A stamped): 20 105-A
Matrix / Runout (B stamped): 20 105-B
Matrix / Runout (A & B engraved): SST

About The Terminals

Psychedelic band from New Zealand. Began in the mid-1980s.

Name Vars

Terminals

Members

Peter Stapleton
John Chrisstoffels
Stephen Cogle
Mick Elborado
Brian Crook
Ross Humphries
Susan Heney

audioculture.co.nz

Interesting fact about Album

Here’s something cool: The Terminals' album *Touch* is like a musical patchwork quilt. Released in 2008, it blends avant-garde vibes with garage rock grit and psychedelic twists. What’s wild is how the band pulled talent from both Germany and the US, stitching together sounds that feel raw yet experimental. For instance, John Chrisstoffels not only played bass but also added cello textures—how many garage rock albums can say that? Plus, Kim Pieters didn’t just paint the cover art; she engineered nearly half the tracks. And get this: Brian Crook mastered the whole thing *and* contributed guitar and vocals. It’s almost as if everyone wore multiple hats to make *Touch* happen—a true DIY masterpiece with layers worth exploring.

Comments

lookymedia

2025-03-12

kiwi acid cowpunk from outer space - thank gawd fer th' terminals

momotombo4

2025-03-11

Kommatara !!!!

caicedoyo

2025-03-10

Terminals. Great ch ch band original uncompromising south island psych surf rock truly bent and damn good

topthrillracer

2025-03-10

Why do so many bands from the UK and Aus/ NZ sing in fake US/ mid Atlantic accents? The 70s punk bands and Peter Jefferies are some of the few exceptions. I have no problems with US accents - just don't understand why we so many vocalists are keen to sound totally generic.