The reissuing of an album is always a dubious decision. There's always a concern that the drive is partially financial, and less about a desire to celebrate the music in question. The reissue of Fleetwood Mac's seminal album Rumours, by way of example, garnered a little scepticism. They certainly pandered to the enthusiasts with the gleaming gatefold vinyl, knowing that fans would be a sucker for its triple disk. The price tag was hefty and no doubt made the benefactors a quick and easy buck. It's not all gloom though, there probably aren't that many of the original vinyl left that are playable, but truthfully, didn't many of these reissues actually make it to a record player?

The reissue of Royal Trux's 3-Song EP is arguably a different kettle of fish. For starters, the band holds a cult status and even to this day exists outside the mainstream, in contrast to Fleetwood Macs' universal adoration. It seems to be more of a historical statement, demonstrating that what Royal Trux were part of was a vital touchstone, and had a huge effect on all that came after it. The reissue in this case is a kind of demonstration of heritage, a suggestion that things never truly change, with innovation unable to entirely abandon a history and the influences it contains. Royal Trux began a deconstructive trend, the ability to take an existing genre and dismantle it, twisting it to such an extent that something new was born, and that kind of attitude is central to any evolution.

Opening track 'Deafer Than Blind' has a brooding intensity. Its shifting, nervous beats drive continuously on a hypnotic and disconcerting loop, while vocals and guitar shift from peculiar, avant-garde, almost tuneless tones, toward points of sweet pop-rock harmony. The perfectly twinned voices of Neil Haggerty and Jennifer Herrema, the band's founding members, communicate in silence and absences, as well as through lyrics, the experiences they shared during their heroin addictions tieing them in an almost spiritual knot. "Really so amazing, really so unkind" the chorus lethargically slurs, reflecting the tracks constant flux of tone and mood, as the track snakes toward its end.

The EP's second track, loosely named 'The United States vs. One 1974 Cadillac El Dorado Sedan', interestingly shares a lot of qualities with The White Stripes, who began their career as Royal Trux fizzled out. The same strong slightly fuzzed up bass grounds the track, moving up and down the scale with a monotone rhythm. At points the vocals escape its pulse, but eventually it's dragged back in, as the bassline reclaims monopoly. Much of the trending psychedelica heard today, think Tame Impala, Melodies Echo Chamber or Unknown Mortal Orchestra, could have their origins here. Sure the sound has been straightened out, filtered into something more palatable - perhaps at the sacrifice of original intentions - but bands like Royal Trux still lurk in the darker corners of these contemporary releases, living through their moments of discordancy, and the break free mantra underpinning these styles.

It had always been said that Royal Trux's music was less an active attempt at writing songs and more a way of expressing an attitude, an attitude steeped in drug abuse and the real life myths of rock'n'roll. Poignantly, as many whisk of to Glastonbury to see The Rolling Stones, a band that Royal Trux genuinely admired and aspired toward, this EP is sent out for reissue. The latter the distorted brother of the former, though both glorified by the present day in their own unique ways. The reissue ain't all that bad really. Just swings and Roundabouts I guess.