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
Monday, January 25, 2010
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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