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The whole album is a barn rattler from top to bottom. Play this for anyone who thinks rock & roll is dead and gone. Heavy Trash again prove that theory dead wrong.
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The results range wider musically than Heavy Trash have previously, without compromising the sonic squawl and psychobilly vocals that have long provided the duo's signature sound.
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UrbThey've delivered highly re-playable 13 song study in the G blues chord's progression, spanning '50s hillbilly rock, '60s garage and '70s glam and punk. [Sep/Oct 2007, p.129]
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Overall, Going Way Out is much like Heavy Trash’s self-titled 2005 debut, as the duo continues to find ample inspiration from the past.
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The album has a smooth flow, using careful production and consistent guitar tones to blend the different musical influences and varied performances into a piece.
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Some things, like this album, are best left unanalyzed and simply enjoyed for their own bone-headed dedication to rockin’ out like a motherfucking banshee. Which Going Way Out does in spades and diamonds.
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There may be too much "because we can" to Heavy Trash's music, which raises questions about the band's conviction. But it's hard to argue with a song like 'They Were Kings,' a straight-up raver, only partly in quotes.
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Going Way Out With Heavy Trash is a lot of things-- wild, aged, loose, dangerous, ridiculous, respectful-- but it's not a joke. Even if it is kinda funny.
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It’s too much, for sure, but sometimes too much is just about right.
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Entertainment WeeklyThe band's sophomore CD contains the straightest garage-blues nuggets he's ever sung. [7 Sep 2007, p.78]
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Like his fellow goth-punk godfather Nick Cave, Spencer is a master of the offhandedly irreverent blues move, turning riffs like 'Crazy Pritty Baby' into prime perversion.
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MojoOodles of unashamed, unabashed fun, Going Way Out is perfect music to sculpt pompadours to. [Oct 2007, p.99]
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At points it gets too much, but Heavy Trash's steel-toed pillaging of the past still makes them a punk-rock Time Team.
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The rock 'n' role playing of Going Way Out isn't really as satisfying on disc as it may have seemed in the planning stages.
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UncutAs an exercise in historical re-enactment it works just fine, but not everyone will want to stick around until Going Way Out...comes around again. [Nov 2007, p.104]
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Under The RadarSpencer and Matt Verta-Ray go even farther into chugging rockabilly riffs and hiccupping Elvis poses they explored on their 2006 debut. [Summer 2007, p.90]