Anton Newcombe is both a complete genius, and completely insane. Though once again he puts these two facets of his personality to use and has given us another work of art, Who Killed Sgt. Pepper?. Much like 2009’s Smoking Acid EP, we find a release full of primitive noise; Newcombe’s new home of Iceland giving him a grittier, darker edge with more dirty distortion than the country-influenced rock and roll from the past.

It opens up with "Tempo 116.7 (Reaching for Dangerous Levels of Sobriety)": six minutes of slow, undulating keyboard creating waves of noise behind a repetitive drumbeat of bongos and tambourine. The vocal-less number draws the listener into Anton’s new world.

"Let’s Go Fucking Mental" begins with a grainy, distorted background din before Newcombe spits out a “Fuck!” to get the anthemic lyrics going: 'Let’s go fucking mental...'. It’s a mix of psychedelic beats with an aggressive punk rock-like delivery. "This Is The One Thing We Did Not Want To Have Happen", the abrasive yet hypnotically ordered drums too close to be anything but a tip-of-the-hat to Joy Division’s "She’s Lost Control". There is a heavy, deep bassline and while for the first time on the record we can hear Anton properly sing, it is still repetitive sentences, matching the circulating drums and bass.

Permeating a gloomy Massive Attack vibe is "Someplace Else Unknown", it’s a murky and haunting track with a bizarre mechanical feeling in the beat - incredibly contrasting to the following "Detka! Detka! Detka!"; this light, pop-infused song is sung in Icelandic and the heavy basslines replaced with a light-hearted bounce. "Our Time" is the only track that holds any slight resemblance to older The Brian Jonestown Massacre material, though Newcombe’s lyrics are still fading into the background and the cold, misty distortion he’s favoured on this album holds its place in front of everything.

On Who Killed Sgt. Pepper?, Newcombe drops the importance of lyrics, ignored the story-telling value of his words and has used himself and several other vocalists as another instrument, adding to the array of sounds which make up the songs on the album. It’s a generous mix of that early shoegaze influence as well as a calculated electronic feel and while they’re not the kind of songs you’d see him play on his acoustic guitar while on the subway, it’s another work of epic proportions for Newcombe to add to his Brian Jonestown Massacre-moniker.