Stone Temple Pilots
Stone Temple Pilots
It seems that with a band such as Stone Temple Pilots, either you like them or you don't, without much middle ground or indifferent feelings amongst the masses. From the beginning, some have continually dismissed their sound, claiming that they were simply riding on the coattails of Seattle artists including Pearl Jam and Alice in Chains. On the other hand, those of us who have been hooked after hearing Core and those songs that have been subsequently stuck in our heads since 1992 have come to love whatever mix of pop-influenced psychedelic grunge that this somewhat dysfunctional family of four have in store for us with each and every album. After countless breakups, solo projects, drug addictions and rehab stints, 2010 finds the original Stone Temple Pilots back with another great, self-titled rock and roll album. If you love them and what they have done in the past, you're in luck. If you have never cared for their sound, chances are you won't find anything mind-blowing here. This is front to back, start to finish a true Stone Temple Pilots record and a great one at that.
With 2010's self-titled album, there is less of the grunge crunch from Core and a lot more attention placed on melody and pop sensibility as with Purple and Tiny Music. Each song is well written with corresponding guitar hooks and vocal lines that are sure to stick in your head as did Stone Temple Pilots' early material. Scott Weiland's voice is both strong and rich, yet not as powerful as it once was. The album's production relies a great deal on layered vocal lines that are placed in all of the right places where the songs need an extra something to get the point across. Both Robert and Dean Deleo provide world class guitar and bass work, with extremely tasteful playing that lays back in the pocket and provides what is appropriate at the all the right times. Eric Kretz has matured a great deal musically on this record, though he has always been a great drummer indeed. This album finds Kretz playing percussive parts that are much more solid and straight forward than what we have heard from him in the past. The album opens with "Between the Lines", one of the albums more straight ahead tracks that features some of Weiland's best lyrical contributions including the line "even when we used to take drugs" repeated over and over again as if he is referring to his substance-filled past with a smattering of tongue-in-cheek humor. "Take a Load Off" and "Dare If You Dare" feature open, celebratory choruses with Weiland's vocals taking the higher octave and are some of the finest moments musically in the entire career thus far for the Pilots. With a nod to the 1970's influence that has always been at the forefront for this band, "Huckleberry Crumble" sounds a lot like early Aerosmith with a strut that would give any classic rock band a run for its money. The new self-titled album also features some light-hearted pop numbers with "Cinnamon" and "First Kiss on Mars" both of which are full of room to breathe with almost airy writing and production techniques that add to the overall delicate beauty of the songs themselves. On a side note, kudos to the Stone Temple Pilots for including some absolutely gorgeous album art from artist Shepard Fairey that is both simple and tasteful, adding to the overall package itself.
All in all, it's great to see that the four original members in the Stone Temple Pilots have what it takes to do what they always have done after all these years. Whether you love them or hate them, they have proven once again that they are indeed a great rock and roll band, no more and no less. -Andrew Bryant
Tuesday, June 15, 2010
Tuesday, June 8, 2010
The Devil's Blood-The Time of No Time Evermore
he Devil's Blood
The Time of No Time Evermore
Dutch band The Devil's Blood leave nothing up to the imagination as far as what kind of entity that they are. Equally embracing the dark occult rock sounds of bands such as Black Widow and Coven along with the usual doom godfathers including Black Sabbath and Pentagram, The Devil's Blood set out to create music that is vintage and timeless, both beautiful and evil with some of the most infamous live performances to date from any band in either the rock or metal sect complete with blood soaked incantations and heavy riffage. Combining their dark, psychedelic rock with a love for 1950's Gothic horror culture, they have been a constant in the underground music scenes throughout the world for quite some time and have now began to find their way into the hands of more listeners as their material is passed via word of mouth and in a growing number of publications. What seems to appeal most beyond the dark, occult aura of the band itself, is the melding of classic elements from garage, psychedelic and the heavy rock and roll genres, bringing together fans from all across the spectrum.
With The Time of No Time Evermore, the Devil's Blood give it their all with this first full length released in late 2009 in Europe and finally here in the states this year. On this album, the music leans more towards the psychedelic and folk rock elements than before. Still present are the strong Sabbathian riffs, though they are a bit more few and far between than on their previous E.P's. Musically and vocally, The Time of No Time Evermore brings to mind Jethro Tull, Jefferson Airplane, and Heart along with the ever-present influences from the occult rock great of the late 1960's and early 1970's. One strong aspect that sets The Devil's Blood apart from similar artists are the strong and clean female vocals sung by a vocalist known as F. the Mouth of Satan, whose vibrato and tone venture into a form of almost operatic performance at times. The songs themselves are decent rock songs, dealing with both celebratory and despairing subject matter throughout. For me, the strongest song that stands out as a highlight is "Christ or Cocaine", a perfect hybrid of some long-lost Pentagram track and Don Felder's "Heavy Metal (Takin' a Ride)."
The Time of No Time Evermore is perfect for those fans of such bands including Witchcraft, Blood Ceremony, and Black Math Horseman. If you like these dark, throwback sounds, chances are, you won't be disappointed. The Devil's Blood has finally poked its horned head through the thick haze of smoke and is now ready to take on the world with this one. -Andrew Bryant
The Time of No Time Evermore
Dutch band The Devil's Blood leave nothing up to the imagination as far as what kind of entity that they are. Equally embracing the dark occult rock sounds of bands such as Black Widow and Coven along with the usual doom godfathers including Black Sabbath and Pentagram, The Devil's Blood set out to create music that is vintage and timeless, both beautiful and evil with some of the most infamous live performances to date from any band in either the rock or metal sect complete with blood soaked incantations and heavy riffage. Combining their dark, psychedelic rock with a love for 1950's Gothic horror culture, they have been a constant in the underground music scenes throughout the world for quite some time and have now began to find their way into the hands of more listeners as their material is passed via word of mouth and in a growing number of publications. What seems to appeal most beyond the dark, occult aura of the band itself, is the melding of classic elements from garage, psychedelic and the heavy rock and roll genres, bringing together fans from all across the spectrum.
With The Time of No Time Evermore, the Devil's Blood give it their all with this first full length released in late 2009 in Europe and finally here in the states this year. On this album, the music leans more towards the psychedelic and folk rock elements than before. Still present are the strong Sabbathian riffs, though they are a bit more few and far between than on their previous E.P's. Musically and vocally, The Time of No Time Evermore brings to mind Jethro Tull, Jefferson Airplane, and Heart along with the ever-present influences from the occult rock great of the late 1960's and early 1970's. One strong aspect that sets The Devil's Blood apart from similar artists are the strong and clean female vocals sung by a vocalist known as F. the Mouth of Satan, whose vibrato and tone venture into a form of almost operatic performance at times. The songs themselves are decent rock songs, dealing with both celebratory and despairing subject matter throughout. For me, the strongest song that stands out as a highlight is "Christ or Cocaine", a perfect hybrid of some long-lost Pentagram track and Don Felder's "Heavy Metal (Takin' a Ride)."
The Time of No Time Evermore is perfect for those fans of such bands including Witchcraft, Blood Ceremony, and Black Math Horseman. If you like these dark, throwback sounds, chances are, you won't be disappointed. The Devil's Blood has finally poked its horned head through the thick haze of smoke and is now ready to take on the world with this one. -Andrew Bryant
Monday, May 31, 2010
Hank Williams III-Rebel Within
Hank Williams III
Rebel Within
Country music today is a crock, with clean living and a pop music slickness that is sure to keep all of the true outlaw greats spinning in their graves. However, there are a handful of artists who are fighting hard to keep the Southern twang and rebel attitude prevalent in their music, with the true spirit of country alive and well as the culture dies slowly with every feathered haircut and auto-tuned vocal track. No surprise due to his genetics, Shelton Hank Williams III is a true outlaw who lives by his own rules, ain't afraid of a good fight, and could drink us all under the table. His newest record, aptly titled Rebel Within, is a return to form for Williams, bringing back more of the Lovesick... and Straight to Hell sound to his music, with more of a vintage production quality that really gives some hoot and holler to his old-time, shit-kicking approach to the craft. III had something to prove with this one, as it is his last on Curb Records, an entity that he has constantly battled over his releases for many years. This fight has fueled his rebel fire with this one making it one of his best, if not his finest indeed.
To say that alcohol has a lot to do with Rebel Within would indeed be an understatement, as it is overflowing with whiskey soaked tales of booze, bootleggers, and debauchery. Opening things up with "Gettin' Drunk and Fallin' Down", one of his more traditional sounding songs, Hank and company keep things steady with this mid-tempo piece that explores the plain-old, good fun had in a night with too much to drink. Both "Rebel Within" and "Tore Up and Loud" bring more of the rowdy, hellbilly feel to the album, combining elements of both honky tonk and heavy metal with each. The title track embraces the act of giving into sin and explores the lighter side of drinking, drugging, nasty lovin', and all imaginable combinations of the three together. "Looking For a Mountain" features some strong Dobro runs from Andy Gibson and tells of the endless struggle in running from the law back into the mountain hollers to avoid getting busted by the authorities yet again. Barring any vivid details, I am almost certain that a great deal of us who have grown up in and around Appalachia, myself included, can identify at least partially with this one. More booze related anthems added to the roster include "Drinkin' Ain't Hard to Do" and "Drinkin' Over Momma", the latter being a slice of comic relief at the end of the album as it describes a distraught family as they mourn the loss of their rambling mother who started "drinkin' at the age of sixty-one." Williams also knows that any good country record has to have a few slow numbers, ones that can really embody the heartache and lonesome nature of the territory. With "Gone But Not Forgotten" and "#5", slow waltz feels accompany the stories of lost love and heroin addicts' lament respectively.
As a proud East Tennessean, I have to say that "Moonshiner's Life" is by far my favorite track overall. This track is raw and moving, with an almost bluegrass feel to it, complete with great fiddle melodies from none other than Billy Contreras, no stranger to the Knoxville music scene. This selection is a tale of the legendary Popcorn Sutton who is the most famous moonshiner in the history of bootlegging, making his living creating some of the strongest concoctions known to man.
Do yourself a favor and let your hair down, throw on your boots and up your horns with this one. Rebel Within is one of those albums that will make you want to drink even more when you have already had enough and is sure to keep you going strong when you are in one of your whiskey moods. Drink, dance, fight or....well you get the point. -Andrew Bryant
Rebel Within
Country music today is a crock, with clean living and a pop music slickness that is sure to keep all of the true outlaw greats spinning in their graves. However, there are a handful of artists who are fighting hard to keep the Southern twang and rebel attitude prevalent in their music, with the true spirit of country alive and well as the culture dies slowly with every feathered haircut and auto-tuned vocal track. No surprise due to his genetics, Shelton Hank Williams III is a true outlaw who lives by his own rules, ain't afraid of a good fight, and could drink us all under the table. His newest record, aptly titled Rebel Within, is a return to form for Williams, bringing back more of the Lovesick... and Straight to Hell sound to his music, with more of a vintage production quality that really gives some hoot and holler to his old-time, shit-kicking approach to the craft. III had something to prove with this one, as it is his last on Curb Records, an entity that he has constantly battled over his releases for many years. This fight has fueled his rebel fire with this one making it one of his best, if not his finest indeed.
To say that alcohol has a lot to do with Rebel Within would indeed be an understatement, as it is overflowing with whiskey soaked tales of booze, bootleggers, and debauchery. Opening things up with "Gettin' Drunk and Fallin' Down", one of his more traditional sounding songs, Hank and company keep things steady with this mid-tempo piece that explores the plain-old, good fun had in a night with too much to drink. Both "Rebel Within" and "Tore Up and Loud" bring more of the rowdy, hellbilly feel to the album, combining elements of both honky tonk and heavy metal with each. The title track embraces the act of giving into sin and explores the lighter side of drinking, drugging, nasty lovin', and all imaginable combinations of the three together. "Looking For a Mountain" features some strong Dobro runs from Andy Gibson and tells of the endless struggle in running from the law back into the mountain hollers to avoid getting busted by the authorities yet again. Barring any vivid details, I am almost certain that a great deal of us who have grown up in and around Appalachia, myself included, can identify at least partially with this one. More booze related anthems added to the roster include "Drinkin' Ain't Hard to Do" and "Drinkin' Over Momma", the latter being a slice of comic relief at the end of the album as it describes a distraught family as they mourn the loss of their rambling mother who started "drinkin' at the age of sixty-one." Williams also knows that any good country record has to have a few slow numbers, ones that can really embody the heartache and lonesome nature of the territory. With "Gone But Not Forgotten" and "#5", slow waltz feels accompany the stories of lost love and heroin addicts' lament respectively.
As a proud East Tennessean, I have to say that "Moonshiner's Life" is by far my favorite track overall. This track is raw and moving, with an almost bluegrass feel to it, complete with great fiddle melodies from none other than Billy Contreras, no stranger to the Knoxville music scene. This selection is a tale of the legendary Popcorn Sutton who is the most famous moonshiner in the history of bootlegging, making his living creating some of the strongest concoctions known to man.
Do yourself a favor and let your hair down, throw on your boots and up your horns with this one. Rebel Within is one of those albums that will make you want to drink even more when you have already had enough and is sure to keep you going strong when you are in one of your whiskey moods. Drink, dance, fight or....well you get the point. -Andrew Bryant
Sunday, May 23, 2010
Dead Meadow-Three Kings
Dead Meadow
Three Kings
Dead Meadow is one of those bands that is fine with the way that they have always sounded. They have found what works, mastered these unique psychedelic drones, and have continued to release material that falls into their thick stoner haze as they continue down this path that they have chosen. The majority of fans know exactly what they are getting with each record and would not welcome the idea of Dead Meadow changing anything, exploring new territory, or giving their magical mix any sort of modern twist. Most like these gents just the way they are.
Dead Meadow's seventh outing, Three Kings, is a combination of live concert album, corresponding film (highly reminiscent to Zeppelin's The Song Remains the Same), along with a few new studio tracks added into the mix. With Three Kings, the production is raw, fuzzy, and full of a primitive grit that gives Dead Meadow so much more of an effectiveness in their swirling mix of psychedelic space blues. Like their studio albums, absolutely nothing is overproduced on this live venture, adding even more of a vintage organic feel to the music that is already drenched in the hazy vibes of the late 60's and early 1970's. The live material ranges from all points of their repertoire with each song as strong as the next, despite some being newer material. Dead Meadow gives a stellar performance on each selection, living up to what is delivered on their studio material, at the same time expanding and elaborating when it is needed during the set. Another strong aspect to the live material is the fact that the audience noise has not been edited out at any moment, giving applause and crowd noise throughout. Jason Simon's voice is propelled loud enough to where his soft, almost delicate delivery is not drowned amidst the strong wash of Orange ampage and thundering drum parts.
With the five new studio songs, there is a bit more room to breathe than with previous material. Everything is spread out, almost sparse at times, and without the large wall of sound that usually accompanies most of what Dead Meadow has recorded. The sound is still massive, however much more dynamic for the most part throughout. "That Old Temple" features some phenomenal drum breaks by Stephen McCarty, bringing to mind a bit more Deep Purple and Hendrix influence than before not only on the percussive end of things but also in the vintage riff selections and placement. Another highlight from this new material is "Beyond the Fields We Know" complete with eerie female vocal accompaniment and some of Jason Simon's best guitar work to date.
Three Kings is a great addition to anyone's existing Dead Meadow catalog and also a great introduction to a band that continues to grow in popularity, as they live by their own rules and keep a sound that is extremely lo-fi and vintage. The new material shows great promise in what we have in store for us in the future and the live selections are a testament as to just how great this band is both on record and in a live setting. -Andrew Bryant
Three Kings
Dead Meadow is one of those bands that is fine with the way that they have always sounded. They have found what works, mastered these unique psychedelic drones, and have continued to release material that falls into their thick stoner haze as they continue down this path that they have chosen. The majority of fans know exactly what they are getting with each record and would not welcome the idea of Dead Meadow changing anything, exploring new territory, or giving their magical mix any sort of modern twist. Most like these gents just the way they are.
Dead Meadow's seventh outing, Three Kings, is a combination of live concert album, corresponding film (highly reminiscent to Zeppelin's The Song Remains the Same), along with a few new studio tracks added into the mix. With Three Kings, the production is raw, fuzzy, and full of a primitive grit that gives Dead Meadow so much more of an effectiveness in their swirling mix of psychedelic space blues. Like their studio albums, absolutely nothing is overproduced on this live venture, adding even more of a vintage organic feel to the music that is already drenched in the hazy vibes of the late 60's and early 1970's. The live material ranges from all points of their repertoire with each song as strong as the next, despite some being newer material. Dead Meadow gives a stellar performance on each selection, living up to what is delivered on their studio material, at the same time expanding and elaborating when it is needed during the set. Another strong aspect to the live material is the fact that the audience noise has not been edited out at any moment, giving applause and crowd noise throughout. Jason Simon's voice is propelled loud enough to where his soft, almost delicate delivery is not drowned amidst the strong wash of Orange ampage and thundering drum parts.
With the five new studio songs, there is a bit more room to breathe than with previous material. Everything is spread out, almost sparse at times, and without the large wall of sound that usually accompanies most of what Dead Meadow has recorded. The sound is still massive, however much more dynamic for the most part throughout. "That Old Temple" features some phenomenal drum breaks by Stephen McCarty, bringing to mind a bit more Deep Purple and Hendrix influence than before not only on the percussive end of things but also in the vintage riff selections and placement. Another highlight from this new material is "Beyond the Fields We Know" complete with eerie female vocal accompaniment and some of Jason Simon's best guitar work to date.
Three Kings is a great addition to anyone's existing Dead Meadow catalog and also a great introduction to a band that continues to grow in popularity, as they live by their own rules and keep a sound that is extremely lo-fi and vintage. The new material shows great promise in what we have in store for us in the future and the live selections are a testament as to just how great this band is both on record and in a live setting. -Andrew Bryant
Saturday, May 15, 2010
Twilight-Monument to Time End
Twilight
Monument to Time End
When it comes to black metal, most would not consider the United States to be a major force to be reckoned with. Norway simply cannot be matched as far as impact and brute force goes in this extreme sub-genre, yet lately American bands have been growing in leaps and bounds in respect to the innovations within black metal, bringing this often mis-understood and infamous music into the light so to speak and giving a growing fan base a glimpse into this world that is both dark and beautiful. Signed to Southern Lord Records, Twilight is a collective of American black metal musicians who have come together under this moniker, bringing one of the most aggressive sounds to the ever expanding roster of this style in the States.
With their second album, Monument to Time End, core members N. Imperial (Krieg, N.I.L.), Blake Judd (Nachtmystium), and Wrest (Leviathan) bring forth an expanded lineup including Minsk's Sanford Parker, Stravros Giannopoulos from the Atlas Moth, and Aaron Turner who hails from both Isis and Old Man Gloom. If you know anything about any of these individuals' other material, you can pretty much guess what you will be in store for with this particular album. As a whole, the record brings together the classic elements of black metal and adds certain bells and whistles that give Twilight it's unique sound. A great deal of the music gives more atmospheric and even psychedelic twists to the mix, yet still remaining true to the dark and heavy music on the album. Opening track, "The Cryptic Ascension" begins with varied dynamics and a tempo that is far from hectic blast-beats, relying heavily on a strong sense of groove. This opens things up tremendously, as the majority of the album follows suite, concentrating on the dynamic direction of each and every song. The vocals have more of a high rasp to them, which is always a strong asset in my book, avoiding the death-metal growls all together while still conveying plenty of agony and distress. Other highlights include the more straight-ahead black metal sounds of "Convulsions in Wills of Fever" and "Decaying Observer", two of the albums heaviest by far.
Overall, Monument to Time End is a great sophomore effort that is sure to gain Twilight the ground it needs to become one of the most talked about metal records of 2010 as it brings something to the table that will satisfy fans of heavy music ranging from doom, to black metal. Though each and every member has their own full time bands that occupy their time, this album has a strong sense of congruity and harmony that none of these other bands have given me in the past. Twilight has something about it where every thing is in it's right place and thus deserves a place up on the shelf with American black metal behemoths including Wolves in the Throne Room and Aggaloch. -Andrew Bryant
Monument to Time End
When it comes to black metal, most would not consider the United States to be a major force to be reckoned with. Norway simply cannot be matched as far as impact and brute force goes in this extreme sub-genre, yet lately American bands have been growing in leaps and bounds in respect to the innovations within black metal, bringing this often mis-understood and infamous music into the light so to speak and giving a growing fan base a glimpse into this world that is both dark and beautiful. Signed to Southern Lord Records, Twilight is a collective of American black metal musicians who have come together under this moniker, bringing one of the most aggressive sounds to the ever expanding roster of this style in the States.
With their second album, Monument to Time End, core members N. Imperial (Krieg, N.I.L.), Blake Judd (Nachtmystium), and Wrest (Leviathan) bring forth an expanded lineup including Minsk's Sanford Parker, Stravros Giannopoulos from the Atlas Moth, and Aaron Turner who hails from both Isis and Old Man Gloom. If you know anything about any of these individuals' other material, you can pretty much guess what you will be in store for with this particular album. As a whole, the record brings together the classic elements of black metal and adds certain bells and whistles that give Twilight it's unique sound. A great deal of the music gives more atmospheric and even psychedelic twists to the mix, yet still remaining true to the dark and heavy music on the album. Opening track, "The Cryptic Ascension" begins with varied dynamics and a tempo that is far from hectic blast-beats, relying heavily on a strong sense of groove. This opens things up tremendously, as the majority of the album follows suite, concentrating on the dynamic direction of each and every song. The vocals have more of a high rasp to them, which is always a strong asset in my book, avoiding the death-metal growls all together while still conveying plenty of agony and distress. Other highlights include the more straight-ahead black metal sounds of "Convulsions in Wills of Fever" and "Decaying Observer", two of the albums heaviest by far.
Overall, Monument to Time End is a great sophomore effort that is sure to gain Twilight the ground it needs to become one of the most talked about metal records of 2010 as it brings something to the table that will satisfy fans of heavy music ranging from doom, to black metal. Though each and every member has their own full time bands that occupy their time, this album has a strong sense of congruity and harmony that none of these other bands have given me in the past. Twilight has something about it where every thing is in it's right place and thus deserves a place up on the shelf with American black metal behemoths including Wolves in the Throne Room and Aggaloch. -Andrew Bryant
Tuesday, May 11, 2010
Roky Erickson
Roky Erickson
True Love Cast Out All Evil
buy album here
There aren't many stories out there that are as tragic and unbelievable as that of Roky Erickson. One of the most influential figures in all of music spanning from a forefather of psychedelia to inspiring rock and metal musicians, Roky is one of those that everyone likes and is ultimately rooting for despite all that has been stacked against him throughout the years. To say that this album has been one of the most anticipated albums for me would indeed be an understatement. I love anything and everything that Roky Erickson ever uttered, from the psychedelic staples of the 13th Floor Elevators to the dark, horror-rock from the 1970's. They are all prime cuts as far as I am concerned and I was always sure that he had more tricks up his sleeve and lots more stories to tell. Well, low and behold the time has come and True Love Cast Out All Evil has lived up to everything that I hoped it would, representing a better life that Erickson has always been destined for and finally receiving.
Produced by Will Sheff of Okkervil River, this album is quite somber at times, but ultimately beautiful and anthemic, celebrating many selections from the catalog of a man who is one of the best and yet forgotten songwriters, musicians, and human beings in the history of rock and roll music. Though I hate to make this comparison, this album is highly reminiscent of all of Johnny Cash's American Recordings with Rick Ruben at the helm. Like the American Recordings, True Love Cast Out All Evil is stripped down and somewhat sparse at times, leaving the focus on Roky and his songs without layering obnoxious orchestrations and wanking guitar solos over the song at hand. As a whole, this album has a strong country feel to it, the majority being acoustic in nature with Erickson's voice not as strong and wailing like it once was. Will Sheff and Okkervil River did great job in creating a lush pallet on which Roky could place his music, evening throwing in several noise sections scattered occasionally to give a nod to his psychedelic past. Opening up with "Devotional Number One", taken from an extremely primitive recording at Rusk Maximum Security Prison for the Criminally Insane, Sheff sets the tone perfectly placing this scratchy track with Roky on a an almost out-of-tune guitar and one of the most sobering moments of any album to date. The album thens skips to the present with "Aint Blues Too Sad" on which Roky delivers one of his most heartfelt lyrics, "Electricity hammered me through my head, until nothing at all is backwards instead." Just hearing him sing this line gives me chills, knowing that he has lived to tell the tale of intense shock therapy and the struggle with schizophrenia every day since. Other highlights include the country waltz feel of "Be and Bring Me Home", the upbeat "Bring Back the Past" on which he speaks of his positive outlook on the future, a new take on the dark classic "John Lawman", and the weeping pedal steel on the album's title track.
True Love Cast Out All Evil is already at the top of the list for 2010's album of the year and I have to agree with all who have made this claim thus far. I would not dare to say that this is a "comback" record because for so many of us, Roky never went anywhere. Let's just chalk this one up to yet another great record through which many old and new fans alike will rediscover one of the finest musical minds that this world has ever seen. And if anyone deserves anything close to that, that man is most definitely Roky Erickson-Andrew Bryan
True Love Cast Out All Evil
buy album here
There aren't many stories out there that are as tragic and unbelievable as that of Roky Erickson. One of the most influential figures in all of music spanning from a forefather of psychedelia to inspiring rock and metal musicians, Roky is one of those that everyone likes and is ultimately rooting for despite all that has been stacked against him throughout the years. To say that this album has been one of the most anticipated albums for me would indeed be an understatement. I love anything and everything that Roky Erickson ever uttered, from the psychedelic staples of the 13th Floor Elevators to the dark, horror-rock from the 1970's. They are all prime cuts as far as I am concerned and I was always sure that he had more tricks up his sleeve and lots more stories to tell. Well, low and behold the time has come and True Love Cast Out All Evil has lived up to everything that I hoped it would, representing a better life that Erickson has always been destined for and finally receiving.
Produced by Will Sheff of Okkervil River, this album is quite somber at times, but ultimately beautiful and anthemic, celebrating many selections from the catalog of a man who is one of the best and yet forgotten songwriters, musicians, and human beings in the history of rock and roll music. Though I hate to make this comparison, this album is highly reminiscent of all of Johnny Cash's American Recordings with Rick Ruben at the helm. Like the American Recordings, True Love Cast Out All Evil is stripped down and somewhat sparse at times, leaving the focus on Roky and his songs without layering obnoxious orchestrations and wanking guitar solos over the song at hand. As a whole, this album has a strong country feel to it, the majority being acoustic in nature with Erickson's voice not as strong and wailing like it once was. Will Sheff and Okkervil River did great job in creating a lush pallet on which Roky could place his music, evening throwing in several noise sections scattered occasionally to give a nod to his psychedelic past. Opening up with "Devotional Number One", taken from an extremely primitive recording at Rusk Maximum Security Prison for the Criminally Insane, Sheff sets the tone perfectly placing this scratchy track with Roky on a an almost out-of-tune guitar and one of the most sobering moments of any album to date. The album thens skips to the present with "Aint Blues Too Sad" on which Roky delivers one of his most heartfelt lyrics, "Electricity hammered me through my head, until nothing at all is backwards instead." Just hearing him sing this line gives me chills, knowing that he has lived to tell the tale of intense shock therapy and the struggle with schizophrenia every day since. Other highlights include the country waltz feel of "Be and Bring Me Home", the upbeat "Bring Back the Past" on which he speaks of his positive outlook on the future, a new take on the dark classic "John Lawman", and the weeping pedal steel on the album's title track.
True Love Cast Out All Evil is already at the top of the list for 2010's album of the year and I have to agree with all who have made this claim thus far. I would not dare to say that this is a "comback" record because for so many of us, Roky never went anywhere. Let's just chalk this one up to yet another great record through which many old and new fans alike will rediscover one of the finest musical minds that this world has ever seen. And if anyone deserves anything close to that, that man is most definitely Roky Erickson-Andrew Bryan
Kongh
Kongh
Shadows of the Shapeless
buy album here
When a description reads, "Six Hundred and sixty six possessed Orange Amps under water," chances are, I will give it a whirl. Kongh, a doom metal outfit hailing from, you guessed it, Sweden formed in 2004 with three individuals from different musical backgrounds with one goal in mind, to be as loud as humanly possible while having as much fun as they could. Simple enough, yet as so many in this genre try hard and fall short, the Swedes seem to have what it takes to bring this music to fruition each and every time. Mark my word, there must be something that Swedish parents feed their children or elements added to the drinking water to give them the ability to make the music that they do. In addition there must be a massive stockpile of vintage Orange Amplifiers in each community center and as each young person chooses to pick up a guitar or bass, they are automatically given some of the best sounding amps in existence with some of the crunchiest, meatiest tone that you will find across the globe. In the past six years, I can't tell you how many Swedish bands have blown me away with some of the best heavy music out there, including Witchcraft, Graveyard, Horisont, and now Kongh whose newest album Shadows of the Shapeless was just released on Seventh Rule Recordings.
As noted above, the three members of Kongh come from a variety of backgrounds and simply want to be big, loud and have fun when making the music that they make. What comes across is a highly intelligent mix of doom, black, and experimental heaviness that keeps things fresh and interesting without boring the listeners with the same-old-same-old drones that so many other similar bands' sounds rely on today. What first jumps out with Shadows of the Shapeless is the great mixture of darkness and light and the corresponding contrasts that are exhibited on this record. This tension and release is especially present in the guitar work of David Johansson in that he has carefully crafted his playing to range from both heavy and distorted to pretty and clean. This dichotomy serves each song extremely well in opening up the arrangements and giving the listener some variance from the expected slow dirge and mammoth assault that comes with most doom metal outfits. Johansson's vocals also vary from being raspy and harsh to more melodious sections that are sung rather than screamed, each being placed in just the right sections as the music needs at the time. This duality of Kongh brings to mind early Neurosis and even Opeth at certain points, bringing both thunderous brutality and beauty into their music as they add dimension to the overall experiences associated with the band itself. Drummer Tomas Salonen is an extremely tasteful player who knows just when to throw a swing feel on a certain section and a primitive pounding on another. Rounding out the rhythm section, bassist Oskar Ryden remains mostly in the lower register, filling the gaps with rumble and thus providing the perfect root bass playing that a trio of this caliber needs.
With only five songs, Shadows of the Shapeless clocks in just below the one hour mark, giving each track the time it needs to be developed without being monotonous and boring. All three members of Kongh perform an integral part in keeping the music structured yet organic, allowing the songs to breathe and gain volume, momentum, and intensity at all points necessary. This gives the entire record a continuous flow that connects all five tracks together as one cohesive piece of music that proves itself as a strong album time and time again. With both their music and direction, Kongh reminds me a great deal of Yob, a heavy American three-piece powerhouse and I would almost bet all my chips on the fact that Yob has had a large influence on this band and their sound. Nothing at all wrong with that though, because you can't get much heavier than the mighty Yob and the impact that they have had on the doom scene.
As a whole, this album is very heavy and great addition to Sweden's stellar roster of metal bands. The only bad thing about this album being so good is the fact that, like most heavy music coming from this particular area of the globe, it might be several years before we can actually see Kongh live. Oh well, until then we can just throw on Shadows of the Shapeless and make our walls shake and windows rattle until the neighbors call the authorities. -Andrew Bryant
Shadows of the Shapeless
buy album here
When a description reads, "Six Hundred and sixty six possessed Orange Amps under water," chances are, I will give it a whirl. Kongh, a doom metal outfit hailing from, you guessed it, Sweden formed in 2004 with three individuals from different musical backgrounds with one goal in mind, to be as loud as humanly possible while having as much fun as they could. Simple enough, yet as so many in this genre try hard and fall short, the Swedes seem to have what it takes to bring this music to fruition each and every time. Mark my word, there must be something that Swedish parents feed their children or elements added to the drinking water to give them the ability to make the music that they do. In addition there must be a massive stockpile of vintage Orange Amplifiers in each community center and as each young person chooses to pick up a guitar or bass, they are automatically given some of the best sounding amps in existence with some of the crunchiest, meatiest tone that you will find across the globe. In the past six years, I can't tell you how many Swedish bands have blown me away with some of the best heavy music out there, including Witchcraft, Graveyard, Horisont, and now Kongh whose newest album Shadows of the Shapeless was just released on Seventh Rule Recordings.
As noted above, the three members of Kongh come from a variety of backgrounds and simply want to be big, loud and have fun when making the music that they make. What comes across is a highly intelligent mix of doom, black, and experimental heaviness that keeps things fresh and interesting without boring the listeners with the same-old-same-old drones that so many other similar bands' sounds rely on today. What first jumps out with Shadows of the Shapeless is the great mixture of darkness and light and the corresponding contrasts that are exhibited on this record. This tension and release is especially present in the guitar work of David Johansson in that he has carefully crafted his playing to range from both heavy and distorted to pretty and clean. This dichotomy serves each song extremely well in opening up the arrangements and giving the listener some variance from the expected slow dirge and mammoth assault that comes with most doom metal outfits. Johansson's vocals also vary from being raspy and harsh to more melodious sections that are sung rather than screamed, each being placed in just the right sections as the music needs at the time. This duality of Kongh brings to mind early Neurosis and even Opeth at certain points, bringing both thunderous brutality and beauty into their music as they add dimension to the overall experiences associated with the band itself. Drummer Tomas Salonen is an extremely tasteful player who knows just when to throw a swing feel on a certain section and a primitive pounding on another. Rounding out the rhythm section, bassist Oskar Ryden remains mostly in the lower register, filling the gaps with rumble and thus providing the perfect root bass playing that a trio of this caliber needs.
With only five songs, Shadows of the Shapeless clocks in just below the one hour mark, giving each track the time it needs to be developed without being monotonous and boring. All three members of Kongh perform an integral part in keeping the music structured yet organic, allowing the songs to breathe and gain volume, momentum, and intensity at all points necessary. This gives the entire record a continuous flow that connects all five tracks together as one cohesive piece of music that proves itself as a strong album time and time again. With both their music and direction, Kongh reminds me a great deal of Yob, a heavy American three-piece powerhouse and I would almost bet all my chips on the fact that Yob has had a large influence on this band and their sound. Nothing at all wrong with that though, because you can't get much heavier than the mighty Yob and the impact that they have had on the doom scene.
As a whole, this album is very heavy and great addition to Sweden's stellar roster of metal bands. The only bad thing about this album being so good is the fact that, like most heavy music coming from this particular area of the globe, it might be several years before we can actually see Kongh live. Oh well, until then we can just throw on Shadows of the Shapeless and make our walls shake and windows rattle until the neighbors call the authorities. -Andrew Bryant
Monday, April 26, 2010
Seasick Steve
Seasick Steve
Man From Another Time
buy album here
Pushing into his seventies, Steve Wold has got a few stories to tell and several notches on his belt that make for some great songs. Known to an affectionate and constantly growing following as Seasick Steve, his colorful mix of narrative country blues and Southern delta twang comes as second nature to a man who has earned his daily bread busking, working as a carnie, and living a rough life, hopping trains and seeing the world through the eyes of what many would deem a drifter. According to Steve, "Hobos are people who move around looking for work, tramps are people who move around but don't look for work, and bums are people who don't move and don't work. I've been all three." Musically, Seasick Steve makes his own instruments, ranging from one and two-stringed guitars to cigar box banjos, records his own albums and writes from those life experiences that only he could have lived, seeing more in two months than most of us will ever see in a lifetime.
His latest album, Man From Another Time features some of best material to date with equal parts blues stomp and his haunting narrative ballads that are sure to give you chills with every listen. Not quite as rowdy as Scott H. Biram, Seasick Steve is pretty much a one-man show that sounds a great deal like Waylon Jennings mixed with the likes of T-Model Ford or Cedel Davis. He takes his time with the songs and lets them open up as they will, never forcing anything and relying heavily on the groove at hand as it determines just which way each will go. What comes through is equal parts Appalachia and Delta, bound to strike a chord within those who love both country and blues music along with everything in between. Joining Steve on several songs on the album is Dan Magnusson on drums, who does an excellent job of keeping things steady and letting Seasick work his mojo magic throughout. Opening things up with "Diddley Bo", a classic feeling track with the Bo Diddley beat that most can identify in their sleep, Steve and Dan set up a strong 3/2 clave rhythm and sing of the simplicity of making your own musical instruments out of everyday items and the fun you'll have while doing this activity. "Big Green and Yellow" follows during which Steve yearns for an old Model 60 John Deer tractor. Magnusson does some of his best percussive work on this song, creating the perfect rickety, mechanic feel of an ambling tractor down a gravel or dirt road. Though his more upbeat songs are catchy as hell, I personally feel that Seasick Steve shines best on those tracks when he is by himself, many of which are heart-felt ballads that tell of his rough life before the music. On Man From Another Time, these songs include "Just Because I Can(CSX)" telling of his joy in being a hobo while traveling in boxcars throughout the South, the drifter's lament in "Dark", and the album's title track exploring just why his audiences listen to his music when they "don't got nothin' better to do." The icing on the cake for this record is an unlisted track at the album's end, a version of Hank Williams' "I'm So Lonesome I Could Cry" on which he duets with Amy Lavere. This cover is absolutely gorgeous and extremely appropriate coming from an individual like Seasick Steve, who has been to this point in his life countless times just like Hank Sr, giving extra meaning behind the lyrics.
A great album and great tool to discover a true American legend who is just getting started at the ripe age of 69, Man From Another Time will most assuredly be one of 2010's best records. For those who love The Reverend Scott H. Biram, The Black Diamond Heavies, and Left Lane Cruiser to those who prefer the more rough cut blues sounds of the likes of Watermelon Slim and C.W. Stoneking, Seasick Steve is sure to fit right in and find a new fan with each listen. -Andrew Bryant
Man From Another Time
buy album here
Pushing into his seventies, Steve Wold has got a few stories to tell and several notches on his belt that make for some great songs. Known to an affectionate and constantly growing following as Seasick Steve, his colorful mix of narrative country blues and Southern delta twang comes as second nature to a man who has earned his daily bread busking, working as a carnie, and living a rough life, hopping trains and seeing the world through the eyes of what many would deem a drifter. According to Steve, "Hobos are people who move around looking for work, tramps are people who move around but don't look for work, and bums are people who don't move and don't work. I've been all three." Musically, Seasick Steve makes his own instruments, ranging from one and two-stringed guitars to cigar box banjos, records his own albums and writes from those life experiences that only he could have lived, seeing more in two months than most of us will ever see in a lifetime.
His latest album, Man From Another Time features some of best material to date with equal parts blues stomp and his haunting narrative ballads that are sure to give you chills with every listen. Not quite as rowdy as Scott H. Biram, Seasick Steve is pretty much a one-man show that sounds a great deal like Waylon Jennings mixed with the likes of T-Model Ford or Cedel Davis. He takes his time with the songs and lets them open up as they will, never forcing anything and relying heavily on the groove at hand as it determines just which way each will go. What comes through is equal parts Appalachia and Delta, bound to strike a chord within those who love both country and blues music along with everything in between. Joining Steve on several songs on the album is Dan Magnusson on drums, who does an excellent job of keeping things steady and letting Seasick work his mojo magic throughout. Opening things up with "Diddley Bo", a classic feeling track with the Bo Diddley beat that most can identify in their sleep, Steve and Dan set up a strong 3/2 clave rhythm and sing of the simplicity of making your own musical instruments out of everyday items and the fun you'll have while doing this activity. "Big Green and Yellow" follows during which Steve yearns for an old Model 60 John Deer tractor. Magnusson does some of his best percussive work on this song, creating the perfect rickety, mechanic feel of an ambling tractor down a gravel or dirt road. Though his more upbeat songs are catchy as hell, I personally feel that Seasick Steve shines best on those tracks when he is by himself, many of which are heart-felt ballads that tell of his rough life before the music. On Man From Another Time, these songs include "Just Because I Can(CSX)" telling of his joy in being a hobo while traveling in boxcars throughout the South, the drifter's lament in "Dark", and the album's title track exploring just why his audiences listen to his music when they "don't got nothin' better to do." The icing on the cake for this record is an unlisted track at the album's end, a version of Hank Williams' "I'm So Lonesome I Could Cry" on which he duets with Amy Lavere. This cover is absolutely gorgeous and extremely appropriate coming from an individual like Seasick Steve, who has been to this point in his life countless times just like Hank Sr, giving extra meaning behind the lyrics.
A great album and great tool to discover a true American legend who is just getting started at the ripe age of 69, Man From Another Time will most assuredly be one of 2010's best records. For those who love The Reverend Scott H. Biram, The Black Diamond Heavies, and Left Lane Cruiser to those who prefer the more rough cut blues sounds of the likes of Watermelon Slim and C.W. Stoneking, Seasick Steve is sure to fit right in and find a new fan with each listen. -Andrew Bryant
Saturday, April 24, 2010
Kongh
Kongh
Shadows of the Shapeless
buy album here
When a description reads, "Six Hundred and sixty six possessed Orange Amps under water," chances are, I will give it a whirl. Kongh, a doom metal outfit hailing from, you guessed it, Sweden formed in 2004 with three individuals from different musical backgrounds with one goal in mind, to be as loud as humanly possible while having as much fun as they could. Simple enough, yet as so many in this genre try hard and fall short, the Swedes seem to have what it takes to bring this music to fruition each and every time. Mark my word, there must be something that Swedish parents feed their children or elements added to the drinking water to give them the ability to make the music that they do. In addition there must be a massive stockpile of vintage Orange Amplifiers in each community center and as each young person chooses to pick up a guitar or bass, they are automatically given some of the best sounding amps in existence with some of the crunchiest, meatiest tone that you will find across the globe. In the past six years, I can't tell you how many Swedish bands have blown me away with some of the best heavy music out there, including Witchcraft, Graveyard, Horisont, and now Kongh whose newest album Shadows of the Shapeless was just released on Seventh Rule Recordings.
As noted above, the three members of Kongh come from a variety of backgrounds and simply want to be big, loud and have fun when making the music that they make. What comes across is a highly intelligent mix of doom, black, and experimental heaviness that keeps things fresh and interesting without boring the listeners with the same-old-same-old drones that so many other similar bands' sounds rely on today. What first jumps out with Shadows of the Shapeless is the great mixture of darkness and light and the corresponding contrasts that are exhibited on this record. This tension and release is especially present in the guitar work of David Johansson in that he has carefully crafted his playing to range from both heavy and distorted to pretty and clean. This dichotomy serves each song extremely well in opening up the arrangements and giving the listener some variance from the expected slow dirge and mammoth assault that comes with most doom metal outfits. Johansson's vocals also vary from being raspy and harsh to more melodious sections that are sung rather than screamed, each being placed in just the right sections as the music needs at the time. This duality of Kongh brings to mind early Neurosis and even Opeth at certain points, bringing both thunderous brutality and beauty into their music as they add dimension to the overall experiences associated with the band itself. Drummer Tomas Salonen is an extremely tasteful player who knows just when to throw a swing feel on a certain section and a primitive pounding on another. Rounding out the rhythm section, bassist Oskar Ryden remains mostly in the lower register, filling the gaps with rumble and thus providing the perfect root bass playing that a trio of this caliber needs.
With only five songs, Shadows of the Shapeless clocks in just below the one hour mark, giving each track the time it needs to be developed without being monotonous and boring. All three members of Kongh perform an integral part in keeping the music structured yet organic, allowing the songs to breathe and gain volume, momentum, and intensity at all points necessary. This gives the entire record a continuous flow that connects all five tracks together as one cohesive piece of music that proves itself as a strong album time and time again. With both their music and direction, Kongh reminds me a great deal of Yob, a heavy American three-piece powerhouse and I would almost bet all my chips on the fact that Yob has had a large influence on this band and their sound. Nothing at all wrong with that though, because you can't get much heavier than the mighty Yob and the impact that they have had on the doom scene.
As a whole, this album is very heavy and great addition to Sweden's stellar roster of metal bands. The only bad thing about this album being so good is the fact that, like most heavy music coming from this particular area of the globe, it might be several years before we can actually see Kongh live. Oh well, until then we can just throw on Shadows of the Shapeless and make our walls shake and windows rattle until the neighbors call the authorities. -Andrew Bryant
Shadows of the Shapeless
buy album here
When a description reads, "Six Hundred and sixty six possessed Orange Amps under water," chances are, I will give it a whirl. Kongh, a doom metal outfit hailing from, you guessed it, Sweden formed in 2004 with three individuals from different musical backgrounds with one goal in mind, to be as loud as humanly possible while having as much fun as they could. Simple enough, yet as so many in this genre try hard and fall short, the Swedes seem to have what it takes to bring this music to fruition each and every time. Mark my word, there must be something that Swedish parents feed their children or elements added to the drinking water to give them the ability to make the music that they do. In addition there must be a massive stockpile of vintage Orange Amplifiers in each community center and as each young person chooses to pick up a guitar or bass, they are automatically given some of the best sounding amps in existence with some of the crunchiest, meatiest tone that you will find across the globe. In the past six years, I can't tell you how many Swedish bands have blown me away with some of the best heavy music out there, including Witchcraft, Graveyard, Horisont, and now Kongh whose newest album Shadows of the Shapeless was just released on Seventh Rule Recordings.
As noted above, the three members of Kongh come from a variety of backgrounds and simply want to be big, loud and have fun when making the music that they make. What comes across is a highly intelligent mix of doom, black, and experimental heaviness that keeps things fresh and interesting without boring the listeners with the same-old-same-old drones that so many other similar bands' sounds rely on today. What first jumps out with Shadows of the Shapeless is the great mixture of darkness and light and the corresponding contrasts that are exhibited on this record. This tension and release is especially present in the guitar work of David Johansson in that he has carefully crafted his playing to range from both heavy and distorted to pretty and clean. This dichotomy serves each song extremely well in opening up the arrangements and giving the listener some variance from the expected slow dirge and mammoth assault that comes with most doom metal outfits. Johansson's vocals also vary from being raspy and harsh to more melodious sections that are sung rather than screamed, each being placed in just the right sections as the music needs at the time. This duality of Kongh brings to mind early Neurosis and even Opeth at certain points, bringing both thunderous brutality and beauty into their music as they add dimension to the overall experiences associated with the band itself. Drummer Tomas Salonen is an extremely tasteful player who knows just when to throw a swing feel on a certain section and a primitive pounding on another. Rounding out the rhythm section, bassist Oskar Ryden remains mostly in the lower register, filling the gaps with rumble and thus providing the perfect root bass playing that a trio of this caliber needs.
With only five songs, Shadows of the Shapeless clocks in just below the one hour mark, giving each track the time it needs to be developed without being monotonous and boring. All three members of Kongh perform an integral part in keeping the music structured yet organic, allowing the songs to breathe and gain volume, momentum, and intensity at all points necessary. This gives the entire record a continuous flow that connects all five tracks together as one cohesive piece of music that proves itself as a strong album time and time again. With both their music and direction, Kongh reminds me a great deal of Yob, a heavy American three-piece powerhouse and I would almost bet all my chips on the fact that Yob has had a large influence on this band and their sound. Nothing at all wrong with that though, because you can't get much heavier than the mighty Yob and the impact that they have had on the doom scene.
As a whole, this album is very heavy and great addition to Sweden's stellar roster of metal bands. The only bad thing about this album being so good is the fact that, like most heavy music coming from this particular area of the globe, it might be several years before we can actually see Kongh live. Oh well, until then we can just throw on Shadows of the Shapeless and make our walls shake and windows rattle until the neighbors call the authorities. -Andrew Bryant
Monday, April 12, 2010
Barn Burner
Barn Burner
Bangers
buy album here
Straight out of Montreal, screams Barn Burner with their own special blend of high energy stoner rock that is sure to keep you driving fast and partying hard this summer. Their debut album Bangers, released on Metal Blade Records, dropped in mid-February, however has just caught it's second wind with me now that weather is getting warm and sunny. With my research, I kept running into references to Black Sabbath with this release, though I really don't see too many similarities here besides the heavy emphasis that these Canadians place on the riff almighty and the occasional distorted fuzz that accompanies several of the guitar lines throughout. Instead, I find much more common ground between Barn Burner and other stoner rock bands including Fu Manchu, Queens of the Stone Age, Sasquatch, and Sheavy, with influences including Iron Maiden and Thin Lizzy replacing the Sabbath and Blue Cheer in the mix. Their sound is gives things a more alternative rock spin than most in this subgenre, with the "stoner" label being much more implied than in most cases. But don't worry, this album is full of beer drinking, bong smoking, bag of Doritos passing, and rowdy nights of high fives amongst you and your buds. What comes through this thick haze is a great rock and roll band whose aggressive sound could be welcomed in the classic rock, alternative, and stoner metal camps with high praise.
One of the strongest assets working in their favor, is the simple fact that Barn Burner do not take themselves too seriously. They are who they are and make no excuses one way or another. With song titles such as "Fast Women", "Beer Today Bong Tomorrow", and "Half Past Haggard" there is absolutely no doubt as to what these gents are all about and what kind of album this is. The guitar work is quite strong, with dual lead lines that complement each other throughout and serve as the true driving force of the album, propelling each song with hooks and riffs that draw from both the Thrash and NWOBHM pools of influence. Several songs are a bit too similar to one another, thus giving the album a few moments of redundancy at certain points. However, Bangers is a great first impression for a new band to make. Everything is tight and can hold it's own in the highly homogenized stoner rock/metal genre, giving things a fresh dose of fast paced adrenaline to the mix.
Now that the warmth has graced us with its presence, there should be no excuse to crank things up, put the pedal to the metal, and be ready to throw down at the drop of a hat. I would almost bet you anything that the boys in Barn Burner will be doing the same day in and day out. Bangers is sure to keep the blood pumping and the party going to the break of dawn. Cheers! -Andrew Bryant
Bangers
buy album here
Straight out of Montreal, screams Barn Burner with their own special blend of high energy stoner rock that is sure to keep you driving fast and partying hard this summer. Their debut album Bangers, released on Metal Blade Records, dropped in mid-February, however has just caught it's second wind with me now that weather is getting warm and sunny. With my research, I kept running into references to Black Sabbath with this release, though I really don't see too many similarities here besides the heavy emphasis that these Canadians place on the riff almighty and the occasional distorted fuzz that accompanies several of the guitar lines throughout. Instead, I find much more common ground between Barn Burner and other stoner rock bands including Fu Manchu, Queens of the Stone Age, Sasquatch, and Sheavy, with influences including Iron Maiden and Thin Lizzy replacing the Sabbath and Blue Cheer in the mix. Their sound is gives things a more alternative rock spin than most in this subgenre, with the "stoner" label being much more implied than in most cases. But don't worry, this album is full of beer drinking, bong smoking, bag of Doritos passing, and rowdy nights of high fives amongst you and your buds. What comes through this thick haze is a great rock and roll band whose aggressive sound could be welcomed in the classic rock, alternative, and stoner metal camps with high praise.
One of the strongest assets working in their favor, is the simple fact that Barn Burner do not take themselves too seriously. They are who they are and make no excuses one way or another. With song titles such as "Fast Women", "Beer Today Bong Tomorrow", and "Half Past Haggard" there is absolutely no doubt as to what these gents are all about and what kind of album this is. The guitar work is quite strong, with dual lead lines that complement each other throughout and serve as the true driving force of the album, propelling each song with hooks and riffs that draw from both the Thrash and NWOBHM pools of influence. Several songs are a bit too similar to one another, thus giving the album a few moments of redundancy at certain points. However, Bangers is a great first impression for a new band to make. Everything is tight and can hold it's own in the highly homogenized stoner rock/metal genre, giving things a fresh dose of fast paced adrenaline to the mix.
Now that the warmth has graced us with its presence, there should be no excuse to crank things up, put the pedal to the metal, and be ready to throw down at the drop of a hat. I would almost bet you anything that the boys in Barn Burner will be doing the same day in and day out. Bangers is sure to keep the blood pumping and the party going to the break of dawn. Cheers! -Andrew Bryant
Monday, April 5, 2010
Acrassicauda
Acrassicauda
Only the Dead See the End of the War
buy album here
So you think that it's hard to keep a band together these days with constant squabbles and power struggles that feed each other's egos and keep the emotional wells full to the brim with the beginnings of countless angry solo material? Well, try living in a country in which your long hair and concert tees will get you killed and the mere existence of your heavy rock or metal band angers some sects enough to blow you, your family, and your cohorts to bits. And what of the fact that your band might even be lucky enough to play only one show every two years, in secluded locations, most ending in bomb threats or terrorist attacks before your third song is even underway? Acrassicaudia, the Iraqui heavy metal band featured in Heavy Metal from Baghdad, fled from war torn Iraq to Syria, Turkey, and finally have made it to the United States and released their first four-song EP, Only the Dead See the End of the War. Their perseverance, heart, and love for the music itself has guided them through struggles that we could only dream of and gives them a leg up against all other metal bands out there today.
Though this band has had only a handful of shows and is still relatively young to the metal scene in terms of experience and exposure, Acrassicauda proves that they can indeed hold their own in the metal genre and will have a future that will indeed be fruitful, allowing them to create, record, and perform their music live as more individuals gain the knowledge of this band. Produced by Testament's Alex Skolnick, Only the Dead See the End of the War sounds just as you would expect: a mixture of Metallica, Slayer, and at times Alice in Chains. Acrassicauda's sound most definitely shows their influences, yet gives things a new spin that is sure to blossom into a style that is by far their own as time passes. Though a great deal of metal music is constantly subgenred to death, I have say that this band's sound is just plain heavy metal in it's truest form. "Message from Baghdad" opens things up with an aggressive riff and quick tempo that sounds like something out of early 90's camp Metallica and a message that is straight up pissed off. My personal favorite, "Garden of Stones", follows with great double kick drum grooves and chunky guitar rhythms that fall into the pocket and further reinforce the half-time feels that are scattered throughout. One aspect of this track that really stands out among the other three is the strong Middle-Eastern influence that surfaces towards the end of the song with changing chord progressions, added hand percussion, and Iraqi vocals that are clean. The vocals on "Massacre" change things up in being a bit more grunge influenced than the other material on this release, sounding a great deal like early Stone Temple Pilots and Alice in Chains.
If you have seen Heavy Metal in Baghdad or are in any way a fan of heavy music, you should go ahead and grab this album. Though nothing new or ground-breaking, the story and struggle of this band alone is worth giving them a listen. -Andrew Bryant
Only the Dead See the End of the War
buy album here
So you think that it's hard to keep a band together these days with constant squabbles and power struggles that feed each other's egos and keep the emotional wells full to the brim with the beginnings of countless angry solo material? Well, try living in a country in which your long hair and concert tees will get you killed and the mere existence of your heavy rock or metal band angers some sects enough to blow you, your family, and your cohorts to bits. And what of the fact that your band might even be lucky enough to play only one show every two years, in secluded locations, most ending in bomb threats or terrorist attacks before your third song is even underway? Acrassicaudia, the Iraqui heavy metal band featured in Heavy Metal from Baghdad, fled from war torn Iraq to Syria, Turkey, and finally have made it to the United States and released their first four-song EP, Only the Dead See the End of the War. Their perseverance, heart, and love for the music itself has guided them through struggles that we could only dream of and gives them a leg up against all other metal bands out there today.
Though this band has had only a handful of shows and is still relatively young to the metal scene in terms of experience and exposure, Acrassicauda proves that they can indeed hold their own in the metal genre and will have a future that will indeed be fruitful, allowing them to create, record, and perform their music live as more individuals gain the knowledge of this band. Produced by Testament's Alex Skolnick, Only the Dead See the End of the War sounds just as you would expect: a mixture of Metallica, Slayer, and at times Alice in Chains. Acrassicauda's sound most definitely shows their influences, yet gives things a new spin that is sure to blossom into a style that is by far their own as time passes. Though a great deal of metal music is constantly subgenred to death, I have say that this band's sound is just plain heavy metal in it's truest form. "Message from Baghdad" opens things up with an aggressive riff and quick tempo that sounds like something out of early 90's camp Metallica and a message that is straight up pissed off. My personal favorite, "Garden of Stones", follows with great double kick drum grooves and chunky guitar rhythms that fall into the pocket and further reinforce the half-time feels that are scattered throughout. One aspect of this track that really stands out among the other three is the strong Middle-Eastern influence that surfaces towards the end of the song with changing chord progressions, added hand percussion, and Iraqi vocals that are clean. The vocals on "Massacre" change things up in being a bit more grunge influenced than the other material on this release, sounding a great deal like early Stone Temple Pilots and Alice in Chains.
If you have seen Heavy Metal in Baghdad or are in any way a fan of heavy music, you should go ahead and grab this album. Though nothing new or ground-breaking, the story and struggle of this band alone is worth giving them a listen. -Andrew Bryant
Saturday, April 3, 2010
Drive-By Truckers
Drive-By Truckers
The Big To-Do
buy album here
With The Big To-Do, I have re-discovered the greatness that I initially found in the Drive-By Truckers. Like the early albums that first caught my ear, this new record finds the guitars bigger than ever, Patterson Hood exhibiting his unique story-telling craft to the utmost extent, and Mike Cooley channeling the Stroker Ace in full effect. What I love most about this record is the fact that it rocks and does so fluidly, with every song placed in just the right spot for maximum complement to the entire piece. This album reminds me of their sound on The Dirty South with every song exploring some darker, more depressing subject matter of the South along with some great stories that could only be told by those who have grown up in this region, hearing the yarns and legends spun by family members, friends, and neighbors.
Opening with "Daddy Learned To Fly" is the perfect way to kick things off with The Big To-Do. This song is big and loud, with an almost celebratory feel, despite it's subject matter of children dealing with their father's death. Both in structure and style, this particular song reminds me a lot of "February 14th" from A Blessing and a Curse in just how massive and positive the chord progressions are, giving listeners a reason to raise their glass and sing along. Another standout as far as Patterson Hood songs go is "Drag the Lake Charlie" with it's scratchy guitar melodies and a chorus that you'll catch yourself humming as you vividly imagine what is going on with this sea of deception, secrets, and an implied murder cover up that only a small Southern town could boast. Mike Cooley, though his songs are a bit more few and far between on this record, chimes in with the wisdom that we have all come to expect from this rough-around-the-edges poet of tough luck and subtle, dry humor. With "Birthday Boy", Cooley brings forth an almost Dire Straights vibe with this one, if Knopfler was a skinny Southern boy from Alabama, telling of money, married men, and unhappy strippers. "Get Downtown" is a true boot-stomper that gives a bit more oomph to the boogie-woogie style of the likes of Jerry Lee Lewis and is thus the most toe-tapping track on the record. As with Brighter Than Creations Dark, The Big To-Do finds Shonna Tucker contributing a few herself, breaking the dirty Southern chain of Hood and Cooley, with "You Got Another" being the standout of the two. This song is a the first somber track of the record, with a higher vocal range than we have heard from Shonna in the past and a swirling Hammond B-3 and Mellotron canvas provided by the Truckers' newest member, Jay Gonzalez. The Big To-Do ends with two slower numbers, including one of Patterson Hood's finest moments that brings back the chills that earlier songs like "The Deeper In" and "Tornadoes" evoked. "The Flying Walendas" is a an absolutely beautiful track that tells the story of a family of acrobats and trapeze artists that were the stars of many of the famous circuit circuses, whose lives were tragically taken when feats went wrong under the big top. This song has a slow, lazy waltz feel and finds the mighty John Neff behind his trusty pedal steel with some of his finest lead lines that almost weep for the subjects at hand.
It is a given that many of us will always be fans of anything and everything that the Drive-By Truckers will ever give us, however there is something about The Big To-Do that could quite possibly be their finest work thus far. Every piece of the puzzle is here on this one and there are absolutely no throw-away tracks in my opinion; each one falling perfectly into place and at just the right time in the grand scheme of things. One of 2010's best already, this one is going to be damn near hard to beat this year. -Andrew Bryant
The Big To-Do
buy album here
With The Big To-Do, I have re-discovered the greatness that I initially found in the Drive-By Truckers. Like the early albums that first caught my ear, this new record finds the guitars bigger than ever, Patterson Hood exhibiting his unique story-telling craft to the utmost extent, and Mike Cooley channeling the Stroker Ace in full effect. What I love most about this record is the fact that it rocks and does so fluidly, with every song placed in just the right spot for maximum complement to the entire piece. This album reminds me of their sound on The Dirty South with every song exploring some darker, more depressing subject matter of the South along with some great stories that could only be told by those who have grown up in this region, hearing the yarns and legends spun by family members, friends, and neighbors.
Opening with "Daddy Learned To Fly" is the perfect way to kick things off with The Big To-Do. This song is big and loud, with an almost celebratory feel, despite it's subject matter of children dealing with their father's death. Both in structure and style, this particular song reminds me a lot of "February 14th" from A Blessing and a Curse in just how massive and positive the chord progressions are, giving listeners a reason to raise their glass and sing along. Another standout as far as Patterson Hood songs go is "Drag the Lake Charlie" with it's scratchy guitar melodies and a chorus that you'll catch yourself humming as you vividly imagine what is going on with this sea of deception, secrets, and an implied murder cover up that only a small Southern town could boast. Mike Cooley, though his songs are a bit more few and far between on this record, chimes in with the wisdom that we have all come to expect from this rough-around-the-edges poet of tough luck and subtle, dry humor. With "Birthday Boy", Cooley brings forth an almost Dire Straights vibe with this one, if Knopfler was a skinny Southern boy from Alabama, telling of money, married men, and unhappy strippers. "Get Downtown" is a true boot-stomper that gives a bit more oomph to the boogie-woogie style of the likes of Jerry Lee Lewis and is thus the most toe-tapping track on the record. As with Brighter Than Creations Dark, The Big To-Do finds Shonna Tucker contributing a few herself, breaking the dirty Southern chain of Hood and Cooley, with "You Got Another" being the standout of the two. This song is a the first somber track of the record, with a higher vocal range than we have heard from Shonna in the past and a swirling Hammond B-3 and Mellotron canvas provided by the Truckers' newest member, Jay Gonzalez. The Big To-Do ends with two slower numbers, including one of Patterson Hood's finest moments that brings back the chills that earlier songs like "The Deeper In" and "Tornadoes" evoked. "The Flying Walendas" is a an absolutely beautiful track that tells the story of a family of acrobats and trapeze artists that were the stars of many of the famous circuit circuses, whose lives were tragically taken when feats went wrong under the big top. This song has a slow, lazy waltz feel and finds the mighty John Neff behind his trusty pedal steel with some of his finest lead lines that almost weep for the subjects at hand.
It is a given that many of us will always be fans of anything and everything that the Drive-By Truckers will ever give us, however there is something about The Big To-Do that could quite possibly be their finest work thus far. Every piece of the puzzle is here on this one and there are absolutely no throw-away tracks in my opinion; each one falling perfectly into place and at just the right time in the grand scheme of things. One of 2010's best already, this one is going to be damn near hard to beat this year. -Andrew Bryant
Monday, March 15, 2010
HIgh on Fire
High on Fire
Snakes for the Devine
buy album here
Whatever it is, Matt Pike has got it, has had it, and won't lose it anytime soon. This can refer to one of the biggest, nastiest, meatiest, dirtiest guitar sounds in the biz, some of the best songwriting and album construction in both the metal and stoner rock genres, and the ability to front some of the most influential heavy bands over the past two decades. Oh, how we all miss Sleep and thank whomever we align with every night before bed for Holy Mountain and Dopesmoker. As the sad end came to this mammoth of a band, we all wondered what would become of this monster guitarist and vocalist that we had all come to adore. Shortly after, from the dense fog, High on Fire came knocking, punched us in the gut, and rattled our fillings as we were braced ourselves for round two with Matt Pike.
Snakes for the Devine is an extremely aggressive album, throwing away the notion that High on Fire is a stoner metal act in any way. The guitar riffs are fast and brutal, the bass lines are meaty and melodic, and the drums gallop throughout, utilizing double kick drum rudiments as much as humanly possible. This record is angry and epic, almost as if Pike and company are throwing on the armor, taking up the axes, and sprinting into battle with a thirst for blood, delivering violent death to all who fall prey. As he gets older, Matt's voice reminds me of a perfect mix between Lemmy and Mille Petrozza from Kreator.
Produced by Gred Fidelman, the man responsible for recording and mixing Metallica's Death Magnetic and Slayer's World Painted Blood, this album as a whole is much more accessible for most listeners with cleaner guitar tones and vocals that are mixed out in front of the rumble. Thus, Snakes for the Devine could quite possibly serve as High on Fire's bridge into the metal mainstream, increasing their fans and listening population beyond those who are "in the know" and who have been loyal to Matt Pike from the get-go. Not that they are selling out with this one, no sir. However, for those who are used to to what High On Fire has delivered in the past, it might a listen or two to get used to things with the way that they are now. Opening up with the titled track and quite possibly one of the most intense moments for their career, High on Fire leaves stragglers in the dust with a song that is fast, furious, and in your face. The opening guitar line could just as easily come out of a prog metal notehead and threw me for a loop during my first listen. "Frost Hammer" follows and keeps things going with a tempo that parallels those of Motorhead and Venom. With "Ghost Neck", things get a bit faster and throw a bit more thrash metal into the mix, adding yet another dimension to the new sound. For me, the gem contained within Snakes for the Devine is "Bastard Samurai", a slower track which is highly similar to the previous more stoner, doomy material that both early High on Fire and Sleep exhibited. The tempo is almost twice as slow as everything else on the record, giving a breath of fresh air among the speedier numbers, and is just as heavy, if not heavier than the rest of the album.
Hats off to Matt Pike and High on Fire for not giving up on what they love to do and delivering yet another record that will assuredly gain them a more diverse, widespread crowd within the metal community. -Andrew Bryant
Snakes for the Devine
buy album here
Whatever it is, Matt Pike has got it, has had it, and won't lose it anytime soon. This can refer to one of the biggest, nastiest, meatiest, dirtiest guitar sounds in the biz, some of the best songwriting and album construction in both the metal and stoner rock genres, and the ability to front some of the most influential heavy bands over the past two decades. Oh, how we all miss Sleep and thank whomever we align with every night before bed for Holy Mountain and Dopesmoker. As the sad end came to this mammoth of a band, we all wondered what would become of this monster guitarist and vocalist that we had all come to adore. Shortly after, from the dense fog, High on Fire came knocking, punched us in the gut, and rattled our fillings as we were braced ourselves for round two with Matt Pike.
Snakes for the Devine is an extremely aggressive album, throwing away the notion that High on Fire is a stoner metal act in any way. The guitar riffs are fast and brutal, the bass lines are meaty and melodic, and the drums gallop throughout, utilizing double kick drum rudiments as much as humanly possible. This record is angry and epic, almost as if Pike and company are throwing on the armor, taking up the axes, and sprinting into battle with a thirst for blood, delivering violent death to all who fall prey. As he gets older, Matt's voice reminds me of a perfect mix between Lemmy and Mille Petrozza from Kreator.
Produced by Gred Fidelman, the man responsible for recording and mixing Metallica's Death Magnetic and Slayer's World Painted Blood, this album as a whole is much more accessible for most listeners with cleaner guitar tones and vocals that are mixed out in front of the rumble. Thus, Snakes for the Devine could quite possibly serve as High on Fire's bridge into the metal mainstream, increasing their fans and listening population beyond those who are "in the know" and who have been loyal to Matt Pike from the get-go. Not that they are selling out with this one, no sir. However, for those who are used to to what High On Fire has delivered in the past, it might a listen or two to get used to things with the way that they are now. Opening up with the titled track and quite possibly one of the most intense moments for their career, High on Fire leaves stragglers in the dust with a song that is fast, furious, and in your face. The opening guitar line could just as easily come out of a prog metal notehead and threw me for a loop during my first listen. "Frost Hammer" follows and keeps things going with a tempo that parallels those of Motorhead and Venom. With "Ghost Neck", things get a bit faster and throw a bit more thrash metal into the mix, adding yet another dimension to the new sound. For me, the gem contained within Snakes for the Devine is "Bastard Samurai", a slower track which is highly similar to the previous more stoner, doomy material that both early High on Fire and Sleep exhibited. The tempo is almost twice as slow as everything else on the record, giving a breath of fresh air among the speedier numbers, and is just as heavy, if not heavier than the rest of the album.
Hats off to Matt Pike and High on Fire for not giving up on what they love to do and delivering yet another record that will assuredly gain them a more diverse, widespread crowd within the metal community. -Andrew Bryant
Tuesday, February 23, 2010
Mondo Drag
Mondo Drag
New Rituals
buy album here
Part psychedelic swirl, part vintage fuzz; Iowa's Mondo Drag is one of the newest additions to the stables at the mighty Alive Records camp, a label that keeps churning out good rock and roll the way it used to sound. The new album from these lads, entitled New Rituals, is a great addition to what Alive already has going for it, adding vintage space rock to the already strong roster of garage and blues artists. With this new record, Mondo Drag has something very interesting things occuring musically as they combine vintage sounds from several genres and morph them into something that is unique in today's rock and roll world. If I had to place them into any sort of category with contemporary artists, I have to admit that they remind me on several occasions of bands including Dead Meadow, Radio Moscow, and at times Swedish proto-metal monsters such as Witchcraft, Graveyard and Horisont but only in some of the heavier groove sections. I wouldn't venture to comparing them to the like of Astra and Litmus, because they are not quite that psychedelic or progressive, however I could see them traveling down these roads in the near future.
New Rituals begins with the title track "New Rituals", starting things off with mid-range drones and accents followed by decrescendos that sound eerily similar to the Who. Suddenly, this track breaks into a fuzzy, analog sounding groove that is driven by John Gamino's vintage organ that gives a strong knod to the likes of the Zombies, Electric Prunes, and Strawberry Alarmclock, at the same time intertwining some atmostpheric breaks and swells that sound a hell of lot like early Pink Floyd. Clocking in at over eight minutes, this song makes a strong statement from the get-go and leaves no secrets as to what kind of beast we'll be dealing with. "Light As a Feather" is a bit more on the heavy end of the spectrum with a bluesy groove and riffs that are in the same vein as Blue Cheer or Shiver, if they were accompanied by the woodwinds and electronic goodies from the classic era of Hawkwind. Mondo Drag break out the acoustics and blues slide work on "Come Through", giving the listener a bit more versatility than most psychedelic/space rock bands care to do these days. "Fade Out" starts out fast and could just as easily been included on a Blue Cheer or even a Jimi Hendrix record, yet trails off into a more spacious territory and improvosational direction. This element of "jam" (though I hate to use that word) is one of Mondo Drag's strongest elements throughout, sounding as though they followed their tangents from time to time and were not afraid to elaborate upon ideas that might have began on whim during the recording process. These improvosational and solo breaks add length to the songs and more of a live feel to the record itself, connecting all of the pieces to the New Rituals puzzle and coming across as a strong work of music.
Mondo Drag is a young band and have indeed made a big statement with this album. Good things can only be in store in their future as they expand their minds and make more of the music that they love. -Andrew Bryant
New Rituals
buy album here
Part psychedelic swirl, part vintage fuzz; Iowa's Mondo Drag is one of the newest additions to the stables at the mighty Alive Records camp, a label that keeps churning out good rock and roll the way it used to sound. The new album from these lads, entitled New Rituals, is a great addition to what Alive already has going for it, adding vintage space rock to the already strong roster of garage and blues artists. With this new record, Mondo Drag has something very interesting things occuring musically as they combine vintage sounds from several genres and morph them into something that is unique in today's rock and roll world. If I had to place them into any sort of category with contemporary artists, I have to admit that they remind me on several occasions of bands including Dead Meadow, Radio Moscow, and at times Swedish proto-metal monsters such as Witchcraft, Graveyard and Horisont but only in some of the heavier groove sections. I wouldn't venture to comparing them to the like of Astra and Litmus, because they are not quite that psychedelic or progressive, however I could see them traveling down these roads in the near future.
New Rituals begins with the title track "New Rituals", starting things off with mid-range drones and accents followed by decrescendos that sound eerily similar to the Who. Suddenly, this track breaks into a fuzzy, analog sounding groove that is driven by John Gamino's vintage organ that gives a strong knod to the likes of the Zombies, Electric Prunes, and Strawberry Alarmclock, at the same time intertwining some atmostpheric breaks and swells that sound a hell of lot like early Pink Floyd. Clocking in at over eight minutes, this song makes a strong statement from the get-go and leaves no secrets as to what kind of beast we'll be dealing with. "Light As a Feather" is a bit more on the heavy end of the spectrum with a bluesy groove and riffs that are in the same vein as Blue Cheer or Shiver, if they were accompanied by the woodwinds and electronic goodies from the classic era of Hawkwind. Mondo Drag break out the acoustics and blues slide work on "Come Through", giving the listener a bit more versatility than most psychedelic/space rock bands care to do these days. "Fade Out" starts out fast and could just as easily been included on a Blue Cheer or even a Jimi Hendrix record, yet trails off into a more spacious territory and improvosational direction. This element of "jam" (though I hate to use that word) is one of Mondo Drag's strongest elements throughout, sounding as though they followed their tangents from time to time and were not afraid to elaborate upon ideas that might have began on whim during the recording process. These improvosational and solo breaks add length to the songs and more of a live feel to the record itself, connecting all of the pieces to the New Rituals puzzle and coming across as a strong work of music.
Mondo Drag is a young band and have indeed made a big statement with this album. Good things can only be in store in their future as they expand their minds and make more of the music that they love. -Andrew Bryant
Sunday, February 21, 2010
Patty Griffin-Downtown Church
Patty Griffin
Downtown Church
buy album here
Downtown Church, the newest album from Patty Griffin, a highly respected artist in the Americana and folk scene, is one of those albums on which you can feel the true emotion with every song. It is without a doubt one of the strongest releases that 2010 has seen across the board. Like other truly great gospel albums that find themselves embraced by both the religious and secular masses, this record is full to the brim with soul, spirituality, and some of the most beautiful music that this year has to offer thus far. Produced by Buddy Miller, the album was recorded in the Downtown Presbyterian Church in Nashville, giving the entire piece an extremely warm and vibrant feel that remains a constant throughout. Griffin, her slew of special guests, and the tight group of musicians that provide accompaniment all add their own personal touch to this record, the result being a extremely consistent album that will give you chills one minute and make you want to dance, shout and reach for the heavens the next. Patty's performance is top-notch and extremely adaptable, from the quiet, gentle opener "House of Gold" to her soulful wails on tracks like "If I Had My Way." Joining Griffin on this album are some of the most respected names in both the Gospel and Americana music communities including Mike Farris, Regina and Ann McCrary, Emmylou Harris, Shawn Colvin, Raul Malo, and of course Buddy and Julie Miller.
As a whole, Downtown Church is in the same vein as Krauss and Plant's Raising Sand, sounding extremely similar in many instances throughout and in the overall aura surrounding the music itself. Drummer Jay Bellerose and bassist Dennis Crouch (both Raising Sand alum) provide a large part of this similarity, giving this album a great deal of the primitive swagger and loose, but tasteful boogie that are crucial to the sounds of both records. Highlights for me include the strong spirituals "Death's Got a Warrant" and "Wade In the Water" both of which exhibit the depth and strength of Griffin's phenomenal vocal delivery. The Latin-flavored "Virgen de Guadalupe", a duet with Raul Malo, serves as a change of pace from the rest of the record, adding more into the already eclectic mix of influences. Ending with "All Creatures of Our God and King" is the absolute perfect way to wrap things up with Downtown Church. The soft, beautiful piece features only Patty's voice and simple piano accompaniment, giving the album a simplistic and tastefully emotional end that will remain within the listeners hearts long after the album has ended and put back on the shelf. -Andrew Bryant
Downtown Church
buy album here
Downtown Church, the newest album from Patty Griffin, a highly respected artist in the Americana and folk scene, is one of those albums on which you can feel the true emotion with every song. It is without a doubt one of the strongest releases that 2010 has seen across the board. Like other truly great gospel albums that find themselves embraced by both the religious and secular masses, this record is full to the brim with soul, spirituality, and some of the most beautiful music that this year has to offer thus far. Produced by Buddy Miller, the album was recorded in the Downtown Presbyterian Church in Nashville, giving the entire piece an extremely warm and vibrant feel that remains a constant throughout. Griffin, her slew of special guests, and the tight group of musicians that provide accompaniment all add their own personal touch to this record, the result being a extremely consistent album that will give you chills one minute and make you want to dance, shout and reach for the heavens the next. Patty's performance is top-notch and extremely adaptable, from the quiet, gentle opener "House of Gold" to her soulful wails on tracks like "If I Had My Way." Joining Griffin on this album are some of the most respected names in both the Gospel and Americana music communities including Mike Farris, Regina and Ann McCrary, Emmylou Harris, Shawn Colvin, Raul Malo, and of course Buddy and Julie Miller.
As a whole, Downtown Church is in the same vein as Krauss and Plant's Raising Sand, sounding extremely similar in many instances throughout and in the overall aura surrounding the music itself. Drummer Jay Bellerose and bassist Dennis Crouch (both Raising Sand alum) provide a large part of this similarity, giving this album a great deal of the primitive swagger and loose, but tasteful boogie that are crucial to the sounds of both records. Highlights for me include the strong spirituals "Death's Got a Warrant" and "Wade In the Water" both of which exhibit the depth and strength of Griffin's phenomenal vocal delivery. The Latin-flavored "Virgen de Guadalupe", a duet with Raul Malo, serves as a change of pace from the rest of the record, adding more into the already eclectic mix of influences. Ending with "All Creatures of Our God and King" is the absolute perfect way to wrap things up with Downtown Church. The soft, beautiful piece features only Patty's voice and simple piano accompaniment, giving the album a simplistic and tastefully emotional end that will remain within the listeners hearts long after the album has ended and put back on the shelf. -Andrew Bryant
Tuesday, February 9, 2010
Rob Zombie Hellbilly Deluxe 2
Rob Zombie
Hellbilly Deluxe 2
buy album here
When it comes to Rob Zombie, there are no surprises as far as what you are in store for. So rather than waste your time and my breath rehashing over and over again who he is and what he does, I will get straight to the meat and potatoes of why we are all here: the new album. Throughout the past year, there has been a certain buzz that has surrounded this record and a sense of mystery regarding the release of Hellbilly Deluxe 2 and what exactly it was going to sound like. Well friends, the time has come, the album is hot off the press, and it is more than likely all that you had hoped for and quite possibly more.
Deep down inside, I was hoping: a.) that Rob Zombie and company hadn't changed a bit stylistically speaking, b.) they hadn't abandoned their love of madmen, monsters and the macabre, and c.) they still rocked as hard as they had in the past. I am happy to say that all three of my wishes for this record have come true. From the packaging, to the lyrics, to the sound, this is a Rob Zombie record in the deepest sense, straight to the marrow. The entire record ROCKS, and does so in an extremely heavy fashion. Like his previous material, Rob has carefully placed controversial and horrific samples along with mood music into the mix, presenting great transitions, intros, and outros to the eleven listed tracks. However, though the sound is big, it is much more stripped down than what we have heard before, keeping the layers to a minimum and a strong emphasis placed on the hooks which run rampant throughout. Beginning things with "Jesus Frankenstein" and "Sick Bubble Gum", you've already got enough catchy chorus work that will serve as your ear-worms for the next month. Rob's voice is raspy and his delivery ranges from the demented preacher. to carnival barker, to the weary prophet. John 5 once again proves his wizardry with both taste and technical prowess, adapting to the different styles within the confines of the album and providing just the right rhythm and lead tracks for the melodic direction of a great deal of the material. Piggy D and Tommy C, on bass and drums respectively, add the low end and groove to round out the massive Hellbilly Deluxe 2.
"What?" and "Werewolf, Baby" bring a strong vintage horror and garage rock vibe to the mix, complete with Farfisa organ and chord progressions that could just as easily accompany a 1960's B- Horror movie soundtrack or haunted house score. "Mars Needs Women" begins with an intro that sounds like something that could have come out of the mid-period Zeppelin camp with acoustic 12-string, mandolin, and soft hand percussion accents. This change of pace doesn't last too long however, as the track quickly crashes into a heavy half-time feel with crunchy, distorted wah-wah leads and chanted vocal work. "Werewolf, Baby" features John 5 with nasty slide guitar leads, which sound a great deal like something we would have heard from Raging Slab in the early 90's.
Hats off to you, Mr. Zombie, for another job well done. It seems that with Hellbilly Deluxe 2, he is as strong as ever and still up to the same old shenanigans. I highly doubt that he will be hanging up his boots any time soon. Thus, the masses are happy, all fat and sassy with bellies full of hellbilly goodness and monster mayhem. Amen and goodnight. -Andrew Bryant
Hellbilly Deluxe 2
buy album here
When it comes to Rob Zombie, there are no surprises as far as what you are in store for. So rather than waste your time and my breath rehashing over and over again who he is and what he does, I will get straight to the meat and potatoes of why we are all here: the new album. Throughout the past year, there has been a certain buzz that has surrounded this record and a sense of mystery regarding the release of Hellbilly Deluxe 2 and what exactly it was going to sound like. Well friends, the time has come, the album is hot off the press, and it is more than likely all that you had hoped for and quite possibly more.
Deep down inside, I was hoping: a.) that Rob Zombie and company hadn't changed a bit stylistically speaking, b.) they hadn't abandoned their love of madmen, monsters and the macabre, and c.) they still rocked as hard as they had in the past. I am happy to say that all three of my wishes for this record have come true. From the packaging, to the lyrics, to the sound, this is a Rob Zombie record in the deepest sense, straight to the marrow. The entire record ROCKS, and does so in an extremely heavy fashion. Like his previous material, Rob has carefully placed controversial and horrific samples along with mood music into the mix, presenting great transitions, intros, and outros to the eleven listed tracks. However, though the sound is big, it is much more stripped down than what we have heard before, keeping the layers to a minimum and a strong emphasis placed on the hooks which run rampant throughout. Beginning things with "Jesus Frankenstein" and "Sick Bubble Gum", you've already got enough catchy chorus work that will serve as your ear-worms for the next month. Rob's voice is raspy and his delivery ranges from the demented preacher. to carnival barker, to the weary prophet. John 5 once again proves his wizardry with both taste and technical prowess, adapting to the different styles within the confines of the album and providing just the right rhythm and lead tracks for the melodic direction of a great deal of the material. Piggy D and Tommy C, on bass and drums respectively, add the low end and groove to round out the massive Hellbilly Deluxe 2.
"What?" and "Werewolf, Baby" bring a strong vintage horror and garage rock vibe to the mix, complete with Farfisa organ and chord progressions that could just as easily accompany a 1960's B- Horror movie soundtrack or haunted house score. "Mars Needs Women" begins with an intro that sounds like something that could have come out of the mid-period Zeppelin camp with acoustic 12-string, mandolin, and soft hand percussion accents. This change of pace doesn't last too long however, as the track quickly crashes into a heavy half-time feel with crunchy, distorted wah-wah leads and chanted vocal work. "Werewolf, Baby" features John 5 with nasty slide guitar leads, which sound a great deal like something we would have heard from Raging Slab in the early 90's.
Hats off to you, Mr. Zombie, for another job well done. It seems that with Hellbilly Deluxe 2, he is as strong as ever and still up to the same old shenanigans. I highly doubt that he will be hanging up his boots any time soon. Thus, the masses are happy, all fat and sassy with bellies full of hellbilly goodness and monster mayhem. Amen and goodnight. -Andrew Bryant
Monday, January 25, 2010
Brimstone Howl -Big Deal.(What's He Done Lately?)
Brimstone Howl
Big Deal. What's He Done Lately?
If you enjoy the raw garage rock sounds of the 1960's, it is your lucky day. From Lincoln, Nebraska and the might Alive records arsenal comes the newest from Brimstone Howl which is sure to tickle your fancy and satisfy your lo-fi cravings for at least a bit.
Brimstone Howl has finally achieved an album production that best suites their sound, venturing far from the magic of the studio, and relying on an extremely lo-fi, "live" feel for their fourth album, Big Deal. What's He Done Lately? Not that previous records have fallen short of the vintage swagger, this one just has the perfect amount of noise, dirt, and squirrely notes that give it the authentic garage rock sound. Along with the low fidelity comes gallons of reverb that could easily pour out of the record itself if held at just the right angle, drenching everything from the vocals to the lead guitar squawls. Musically, this album is more straight forward than previous material, sticking mostly to aggressive, driving tempos that give this Brimstone Howl a much more punk rock edge than before. The song writing follows suite, with simple verse/chorus repetition with short, noisy guitar solos thrown in sporadically for color and kicks.
As far as the music goes for this record, Brimstone Howl exhibits hints of the Ramones, Television, and the Cramps stylistically with the production quality of The Sonics. Most songs on Big Deal... are short, falling just below the three minute mark, thus the album is easy to digest in one listen. Highlights include "Easter at the Lewises", with dirty lead lines screeching from a slide guitar and quirky lyrics that are indeed one of this band's strongest points. "Suicide Blues" sounds like a long lost track from the early Velvet Underground with hypnotic percussion work and simple guitar hooks that you will swear that you've heard before. Not that Brimstone Howl is ripping anyone off, far from it in fact. They have merely done their homework, borrow both vibe and taste from their influences, and are content in sounding the way that they do despite what might be occurring in the world of music. This will assuredly guarantee them a position as one of the most authentic garage rock revival acts today. -Andrew Bryant
Big Deal. What's He Done Lately?
If you enjoy the raw garage rock sounds of the 1960's, it is your lucky day. From Lincoln, Nebraska and the might Alive records arsenal comes the newest from Brimstone Howl which is sure to tickle your fancy and satisfy your lo-fi cravings for at least a bit.
Brimstone Howl has finally achieved an album production that best suites their sound, venturing far from the magic of the studio, and relying on an extremely lo-fi, "live" feel for their fourth album, Big Deal. What's He Done Lately? Not that previous records have fallen short of the vintage swagger, this one just has the perfect amount of noise, dirt, and squirrely notes that give it the authentic garage rock sound. Along with the low fidelity comes gallons of reverb that could easily pour out of the record itself if held at just the right angle, drenching everything from the vocals to the lead guitar squawls. Musically, this album is more straight forward than previous material, sticking mostly to aggressive, driving tempos that give this Brimstone Howl a much more punk rock edge than before. The song writing follows suite, with simple verse/chorus repetition with short, noisy guitar solos thrown in sporadically for color and kicks.
As far as the music goes for this record, Brimstone Howl exhibits hints of the Ramones, Television, and the Cramps stylistically with the production quality of The Sonics. Most songs on Big Deal... are short, falling just below the three minute mark, thus the album is easy to digest in one listen. Highlights include "Easter at the Lewises", with dirty lead lines screeching from a slide guitar and quirky lyrics that are indeed one of this band's strongest points. "Suicide Blues" sounds like a long lost track from the early Velvet Underground with hypnotic percussion work and simple guitar hooks that you will swear that you've heard before. Not that Brimstone Howl is ripping anyone off, far from it in fact. They have merely done their homework, borrow both vibe and taste from their influences, and are content in sounding the way that they do despite what might be occurring in the world of music. This will assuredly guarantee them a position as one of the most authentic garage rock revival acts today. -Andrew Bryant
Boris-Japanese Heavy Rock Hits Volumes 1-3
Boris
Japanese Heavy Rock Hits Volumes 1-3
Leave it to Boris to release new material that a.)only appears on three different 7 inch vinyl records and b.)shakes things up beyond the boundaries that this heavy Japanese experimental madhouse-of-a-band have reached before. I always preface my Boris recommendations with the advice that you can never judge a book by its cover, especially in the case of the highly unpredictable and eclectic trio of musicians. Boris is not for everyone, but those of us who find something that we love in their music are certainly not alone, as they are one of the most respected and esteemed band on the Southern Lord roster and in all of heavy music for that matter.
Despite the fact that a great deal of their following yearn for a return to their Amplifier Worship days, Boris seems to be focusing their attention elsewhere at the moment, spending more time in the dance clubs rather than the dark, echo and drone chambers. Each 7" has its own personality, the first being a bit more Smile-esque, the second embracing electronica and dance music, and Volume Three leaning in the direction of slower, more atmospheric music. Highlights for me include "8" (volume one, side A) and "and hear nothing" (volume three, side B), both of which being a bit more to form for the band itself and in a similar vein in which they left us at the end of their last record.
As "8" begins, the traditional Boris guitar drone opens the track and is suddenly interrupted by sporadic drums fills, picking up the tempo and setting up the driving beat that propels the song from start to finish. The song is much faster that a lot of Boris material to date and has some very dreamy vocals, similar to a great deal of Takeshi's vocal delivery on Smile including tracks like "My Neighbor Satan." Wata's guitar lead lines are shrill and placed high in the mix, piercing through the thick fuzz tones and bashing percussion set up in the rhythm section. This is a piece of music that gives a nod to where Boris left off on Smile and where they are going in the very near future, though we can never be too certain when it comes to these guys and gal.
Much like "8", "and hear nothing" begins with a slow, drone that has become one of Boris's signature calling cards. This slow, heavy feel remains constant throughout the entirety of the song and matches up perfectly with the dragging tempo of the piece. Takeshi's voice is strong and clean, blending well with the layers of guitar fuzz and percussive accents that make up the majority of the music within. "and hear nothing" could easily have been included on some of the earlier Boris material and collaboration efforts, especially with someone like Michio Kurihara. Much like beginning with "8", finishing things up with this song serves as the perfect bookend to this new collection of material. -Andrew Bryant
Japanese Heavy Rock Hits Volumes 1-3
Leave it to Boris to release new material that a.)only appears on three different 7 inch vinyl records and b.)shakes things up beyond the boundaries that this heavy Japanese experimental madhouse-of-a-band have reached before. I always preface my Boris recommendations with the advice that you can never judge a book by its cover, especially in the case of the highly unpredictable and eclectic trio of musicians. Boris is not for everyone, but those of us who find something that we love in their music are certainly not alone, as they are one of the most respected and esteemed band on the Southern Lord roster and in all of heavy music for that matter.
Despite the fact that a great deal of their following yearn for a return to their Amplifier Worship days, Boris seems to be focusing their attention elsewhere at the moment, spending more time in the dance clubs rather than the dark, echo and drone chambers. Each 7" has its own personality, the first being a bit more Smile-esque, the second embracing electronica and dance music, and Volume Three leaning in the direction of slower, more atmospheric music. Highlights for me include "8" (volume one, side A) and "and hear nothing" (volume three, side B), both of which being a bit more to form for the band itself and in a similar vein in which they left us at the end of their last record.
As "8" begins, the traditional Boris guitar drone opens the track and is suddenly interrupted by sporadic drums fills, picking up the tempo and setting up the driving beat that propels the song from start to finish. The song is much faster that a lot of Boris material to date and has some very dreamy vocals, similar to a great deal of Takeshi's vocal delivery on Smile including tracks like "My Neighbor Satan." Wata's guitar lead lines are shrill and placed high in the mix, piercing through the thick fuzz tones and bashing percussion set up in the rhythm section. This is a piece of music that gives a nod to where Boris left off on Smile and where they are going in the very near future, though we can never be too certain when it comes to these guys and gal.
Much like "8", "and hear nothing" begins with a slow, drone that has become one of Boris's signature calling cards. This slow, heavy feel remains constant throughout the entirety of the song and matches up perfectly with the dragging tempo of the piece. Takeshi's voice is strong and clean, blending well with the layers of guitar fuzz and percussive accents that make up the majority of the music within. "and hear nothing" could easily have been included on some of the earlier Boris material and collaboration efforts, especially with someone like Michio Kurihara. Much like beginning with "8", finishing things up with this song serves as the perfect bookend to this new collection of material. -Andrew Bryant
Sunday, January 17, 2010
Boris Vinyl Review
Boris
Japanese Heavy Rock Hits Volumes 1-3
Review
Leave it to Boris to release new material that a.)only appears on three different 7 inch vinyl records and b.)shakes things up beyond the boundaries that this heavy Japanese experimental madhouse-of-a-band have reached before. I always preface my Boris recommendations with the advice that you can never judge a book by its cover, especially in the case of the highly unpredictable and eclectic trio of musicians. Boris is not for everyone, but those of us who find something that we love in their music are certainly not alone, as they are one of the most respected and esteemed band on the Southern Lord roster and in all of heavy music for that matter.
Despite the fact that a great deal of their following yearn for a return to their Amplifier Worship days, Boris seems to be focusing their attention elsewhere at the moment, spending more time in the dance clubs rather than the dark, echo and drone chambers. Each 7" has its own personality, the first being a bit more Smile-esque, the second embracing electronica and dance music, and Volume Three leaning in the direction of slower, more atmospheric music. Highlights for me include "8" (volume one, side A) and "and hear nothing" (volume three, side B), both of which being a bit more to form for the band itself and in a similar vein in which they left us at the end of their last record.
As "8" begins, the traditional Boris guitar drone opens the track and is suddenly interrupted by sporadic drums fills, picking up the tempo and setting up the driving beat that propels the song from start to finish. The song is much faster that a lot of Boris material to date and has some very dreamy vocals, similar to a great deal of Takeshi's vocal delivery on Smile including tracks like "My Neighbor Satan." Wata's guitar lead lines are shrill and placed high in the mix, piercing through the thick fuzz tones and bashing percussion set up in the rhythm section. This is a piece of music that gives a nod to where Boris left off on Smile and where they are going in the very near future, though we can never be too certain when it comes to these guys and gal.
Much like "8", "and hear nothing" begins with a slow, drone that has become one of Boris's signature calling cards. This slow, heavy feel remains constant throughout the entirety of the song and matches up perfectly with the dragging tempo of the piece. Takeshi's voice is strong and clean, blending well with the layers of guitar fuzz and percussive accents that make up the majority of the music within. "and hear nothing" could easily have been included on some of the earlier Boris material and collaboration efforts, especially with someone like Michio Kurihara. Much like beginning with "8", finishing things up with this song serves as the perfect bookend to this new collection of material. -Andrew Bryant
Japanese Heavy Rock Hits Volumes 1-3
Review
Leave it to Boris to release new material that a.)only appears on three different 7 inch vinyl records and b.)shakes things up beyond the boundaries that this heavy Japanese experimental madhouse-of-a-band have reached before. I always preface my Boris recommendations with the advice that you can never judge a book by its cover, especially in the case of the highly unpredictable and eclectic trio of musicians. Boris is not for everyone, but those of us who find something that we love in their music are certainly not alone, as they are one of the most respected and esteemed band on the Southern Lord roster and in all of heavy music for that matter.
Despite the fact that a great deal of their following yearn for a return to their Amplifier Worship days, Boris seems to be focusing their attention elsewhere at the moment, spending more time in the dance clubs rather than the dark, echo and drone chambers. Each 7" has its own personality, the first being a bit more Smile-esque, the second embracing electronica and dance music, and Volume Three leaning in the direction of slower, more atmospheric music. Highlights for me include "8" (volume one, side A) and "and hear nothing" (volume three, side B), both of which being a bit more to form for the band itself and in a similar vein in which they left us at the end of their last record.
As "8" begins, the traditional Boris guitar drone opens the track and is suddenly interrupted by sporadic drums fills, picking up the tempo and setting up the driving beat that propels the song from start to finish. The song is much faster that a lot of Boris material to date and has some very dreamy vocals, similar to a great deal of Takeshi's vocal delivery on Smile including tracks like "My Neighbor Satan." Wata's guitar lead lines are shrill and placed high in the mix, piercing through the thick fuzz tones and bashing percussion set up in the rhythm section. This is a piece of music that gives a nod to where Boris left off on Smile and where they are going in the very near future, though we can never be too certain when it comes to these guys and gal.
Much like "8", "and hear nothing" begins with a slow, drone that has become one of Boris's signature calling cards. This slow, heavy feel remains constant throughout the entirety of the song and matches up perfectly with the dragging tempo of the piece. Takeshi's voice is strong and clean, blending well with the layers of guitar fuzz and percussive accents that make up the majority of the music within. "and hear nothing" could easily have been included on some of the earlier Boris material and collaboration efforts, especially with someone like Michio Kurihara. Much like beginning with "8", finishing things up with this song serves as the perfect bookend to this new collection of material. -Andrew Bryant
Saturday, January 16, 2010
Aggrolites Album Review
Aggrolites
IV
Album Review
In a time when it seems that the shit couldn't hit the fan harder, bills are piling up, and there doesn't seem to be a light at the end of tunnel, it is always nice to find an album that just plain makes you feel good and forget what ails you at that particular moment. In 2009, that album for me was IV, the newest installment from Los Angeles' Aggrolites, released on Tim Armstong's Hellcat Records. This album is a great way to unwind after a stressful day, perfect for a road trip, and just the thing to get the party started or keep it going 'til late in the evening.
IV finds the Aggrolites and their unique blend of upbeat, West coast reggae in the strongest incarnation yet, with even more catchy hooks and songs that keep you moving both inside and out. The Aggrolites themselves dub this music as "dirty reggae", fusing the grit of soul and funk music into the more traditional ska sounds of the early 1960's. As with their previous records, this new album has gained them a legion of new fans from across the board, ranging from enthusiasts of throwback R&B to the punk rock community, as folks get more familiar with the band itself and the music that they have to offer. Musically, the Aggrolites have achieved a tight sound in which each instrument adds just enough to make the sound exactly what it needs to be and in all the right places. The rhythm section has got one of the strongest "one drop" feels to date, keeping things moving at the perfect pace throughout the entire album with strong downbeats and a feeling that is sure to keep the dance floors packed. The guitar work relies heavily on the traditional up/offbeat feel of ska and reggae music, adding tasteful flourishes and solos when the time is right. Vocally, Jesse Wagner could just as easily front a vintage soul outfit, with strong pipes that can bring the dirt and howls at the drop of a hat in just the right places. Last but certainly not least, is keys man Roger Rivas, on Hammond organ and piano, who can melt the hearts with one strong chord blasting out of his Leslie speaker cabinet bringing even more of the soul element into the mix. Highlights include the celebratory, upbeat tracks including "Firecracker", the soulful love songs "By Her Side" and "Precious and Few", and my personal favorite, "Brother Jacob" with phenomenal harmonies from all sides bringing down the house in this more traditional sounding piece.
Feel good and forget your troubles. This album will most definitely help. -Andrew Bryant
.
IV
Album Review
In a time when it seems that the shit couldn't hit the fan harder, bills are piling up, and there doesn't seem to be a light at the end of tunnel, it is always nice to find an album that just plain makes you feel good and forget what ails you at that particular moment. In 2009, that album for me was IV, the newest installment from Los Angeles' Aggrolites, released on Tim Armstong's Hellcat Records. This album is a great way to unwind after a stressful day, perfect for a road trip, and just the thing to get the party started or keep it going 'til late in the evening.
IV finds the Aggrolites and their unique blend of upbeat, West coast reggae in the strongest incarnation yet, with even more catchy hooks and songs that keep you moving both inside and out. The Aggrolites themselves dub this music as "dirty reggae", fusing the grit of soul and funk music into the more traditional ska sounds of the early 1960's. As with their previous records, this new album has gained them a legion of new fans from across the board, ranging from enthusiasts of throwback R&B to the punk rock community, as folks get more familiar with the band itself and the music that they have to offer. Musically, the Aggrolites have achieved a tight sound in which each instrument adds just enough to make the sound exactly what it needs to be and in all the right places. The rhythm section has got one of the strongest "one drop" feels to date, keeping things moving at the perfect pace throughout the entire album with strong downbeats and a feeling that is sure to keep the dance floors packed. The guitar work relies heavily on the traditional up/offbeat feel of ska and reggae music, adding tasteful flourishes and solos when the time is right. Vocally, Jesse Wagner could just as easily front a vintage soul outfit, with strong pipes that can bring the dirt and howls at the drop of a hat in just the right places. Last but certainly not least, is keys man Roger Rivas, on Hammond organ and piano, who can melt the hearts with one strong chord blasting out of his Leslie speaker cabinet bringing even more of the soul element into the mix. Highlights include the celebratory, upbeat tracks including "Firecracker", the soulful love songs "By Her Side" and "Precious and Few", and my personal favorite, "Brother Jacob" with phenomenal harmonies from all sides bringing down the house in this more traditional sounding piece.
Feel good and forget your troubles. This album will most definitely help. -Andrew Bryant
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