The seven members of the Regular Fries collective hail from different walks of life and their multi-faceted approach to music reflects this fact. While they have a knack for fusing psychedelic rock with the sounds and pleasures of a night of clubbing in London, Regular Fries are not content to bound themselves to any one particular musical genre. Combined with a documented penchant for bizarre and even humorous behavior, Regular Fries set their sights high and quickly carved their own niche on England's music map.

Formed in London in 1997, Regular Fries began with just two songs, an experimental short film, and a manifesto under their belt. Their antics got the attention of some labels and they signed with JBO Records the following year. After recording two EPs (Free the Regular Fries and Fries Entertainment) and touring the U.K. with the Lo-Fidelity Allstars, Regular Fries settled down in London's East End to record their full-length debut. Released in June 1999, Accept the Signal mixed elements of spacey psychedelia with sludgy rock and techno-inspired breakbeats. The album's divergence of musical styles was complimented by a varied roster of studio assistance from artists like Mercury Rev, turntablists the Scratch Perverts, and Death in Vegas' Tim Holmes.

After supporting Accept the Signal on the British festival circuit, the Fries returned to the studio in September 1999 to begin work on their second full-length effort. Released the following year, War on Plastic Plants saw the Fries incorporate an even more extravagant set of influences like acid house, punk rock, hip-hop, blues, and space rock. Although more dance-y and beat-oriented than Accept the Signal, War on Plastic Plants featured renowned producers Dave Fridmann and Jagz Kooner on several songs, as well as a memorable collaboration with Kool Keith on one of the album's standout tracks, "Coke N Smoke (Supersonic Waves)." Despite their mild success in their homeland, the Fries are scheduled to release an EP as their first U.S. release in the summer of 2001. ~ Lee Meyer