This is a brand new studio album from prolific experimental rock band White Hills, essentially a follow-up to last year’s acclaimed H-p1 album, although there have been some live recordings and limited edition releases in between.

White Hills are essentially a duo of Dave W on guitar and Ego Sensation on bass, and this time around they are joined by regular collaborators Antronhy (who has also recently worked with Julian Cope) and Nick Name. Frying on this Rock consists of only five tracks, and despite their tendency to indulge in psychedelic, space rock wig-outs, three of those tracks are actually built around a fairly conventional song structure. The album comes in a vibrantly patterned pink and white sleeve, and some initial copies can be bought on pink or white vinyl; it’s a garish colour scheme which hints that the music within may be uncompromising.

Having said that, opening track ‘Pads of Light’ is a straight forward five minute rock song, albeit one that only has a single repeated lyric and some very fine psych guitar solos over the top of it.

Repetition is a big part of White Hills’s music and a feature that has worked very well in their shared releases with the Manchester collective GNOD, but here the pounding 12-minute track ‘Robot Stomp’ is almost too much to take. This is a track that you have to get lost in but there is some low level chatter in the initial few minutes which is odd and a bit off-putting. Sheets of guitar noise come to the fore and they sound appropriately glacial and electronic, and there are some interesting keyboard sounds near the end, but it is a bit of an endurance test. I bet 'Robot Stomp' slays in a live setting, though I think it sounds like the weak link on this album. ‘You Dream, You See’ is nice and slow with a doom-like feel and a wigged out metallic solo before it ends with some spacey keyboards.

‘Song of Everything’ is one of my favourite tracks here, again a bit doom-like, although this takes a weird turn with a trippy vocal interlude before going back into a pleasantly noisy groove.

This glides into epic closing track ‘I Write a Thousand Letters (Pulp on Bone)’ which works well as a long piece. In contrast to the earlier 'Robot Stomp', this flows much better and it doesn’t feel like a long track, even though at 15 minutes in duration it is by far the longest thing here. It totally works though and shows how great White Hills can be when they click into the right groove.

Some of the song structures remind me of the likes of Loop, Hawkwind and Monster Magnet, although it is on the extended pieces that White Hills become something more distinctive and start to forge their own identity.