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
Monday, January 25, 2010
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
.
Monday, December 7, 2009
Black Diamond Heavies
Black Diamond Heavies
Alive as Fuck
buy the album here
By now, most of you should know who in the hell the Black Diamond Heavies are, being that they are quite possibly one of the biggest and most electrifying forces to be reckoned with on the rock and roll circuit today. They are the messiahs of all that is loud and rowdy as they bring the good news to the masses with their own blend of "punk ass blues", causing heavy alcohol consumption and an ass load of sweat all around the world. As it stands now, the Black Diamond Heavies will be our exclamation point to the 2009 year in music with their latest release, Alive As Fuck.
A strong point for the Heavies has always been the fact that they can pull off live material that far surpasses what they can lay down in the studio. Don't get me wrong, the studio albums are phenomenal, however it would be nearly impossible to recreate what these two, yes I said two, lads can bring forth on a dim lit stage in a smoky bar. The thick sludge of emotion, grit, and soul that spills from their gear out onto the crowd is full of road tested material that blends everything that is good about Muddy Waters, Tom Waits, and Mahalia Jackson if they all joined together with the MC5 backing them up. With two members, the Black Diamond Heavies bring a bigger sound than any other band that boasts five or six members and continue to push the boundaries as far as what a drumkit, Fender Rhodes (run through a Big Muff mind you), and Hammond organ can do. Alive As Fuck is the majority of material from a live show that was recorded on July 24th in Covington, Kentucky at the Covington Masonic Lodge. This album finds the Black Diamond Heavies with their eye on the prize and the pedal to the metal, giving the crowd amped up and energetic versions of songs from both previous studio albums including "White Bitch", "Take a Ride", and "Fever in My Blood." The band sounds tighter than ever, John Wesley Myers' voice is as mean as a pole cat, and the groove seems to be growing into its own beast as Myers and drummer Van Campbell continue to spread the word of what might possibly be the best live band in the world.
Thank God that the Black Diamond Heavies and Alive records have given us an early Christmas gift, making sure that 2009 won't fizzle out but end with a damn punch in the face. Alive As Fuck is the perfect stocking stuffer for those who love blues, punk, and just plain old rock and roll in its rawest form. Try and keep still while listening to this one. My bet is that you won't be able to. -Andrew Bryant
Alive as Fuck
buy the album here
By now, most of you should know who in the hell the Black Diamond Heavies are, being that they are quite possibly one of the biggest and most electrifying forces to be reckoned with on the rock and roll circuit today. They are the messiahs of all that is loud and rowdy as they bring the good news to the masses with their own blend of "punk ass blues", causing heavy alcohol consumption and an ass load of sweat all around the world. As it stands now, the Black Diamond Heavies will be our exclamation point to the 2009 year in music with their latest release, Alive As Fuck.
A strong point for the Heavies has always been the fact that they can pull off live material that far surpasses what they can lay down in the studio. Don't get me wrong, the studio albums are phenomenal, however it would be nearly impossible to recreate what these two, yes I said two, lads can bring forth on a dim lit stage in a smoky bar. The thick sludge of emotion, grit, and soul that spills from their gear out onto the crowd is full of road tested material that blends everything that is good about Muddy Waters, Tom Waits, and Mahalia Jackson if they all joined together with the MC5 backing them up. With two members, the Black Diamond Heavies bring a bigger sound than any other band that boasts five or six members and continue to push the boundaries as far as what a drumkit, Fender Rhodes (run through a Big Muff mind you), and Hammond organ can do. Alive As Fuck is the majority of material from a live show that was recorded on July 24th in Covington, Kentucky at the Covington Masonic Lodge. This album finds the Black Diamond Heavies with their eye on the prize and the pedal to the metal, giving the crowd amped up and energetic versions of songs from both previous studio albums including "White Bitch", "Take a Ride", and "Fever in My Blood." The band sounds tighter than ever, John Wesley Myers' voice is as mean as a pole cat, and the groove seems to be growing into its own beast as Myers and drummer Van Campbell continue to spread the word of what might possibly be the best live band in the world.
Thank God that the Black Diamond Heavies and Alive records have given us an early Christmas gift, making sure that 2009 won't fizzle out but end with a damn punch in the face. Alive As Fuck is the perfect stocking stuffer for those who love blues, punk, and just plain old rock and roll in its rawest form. Try and keep still while listening to this one. My bet is that you won't be able to. -Andrew Bryant
Tuesday, November 17, 2009
Del McCoury live instore this Friday
Live in-store Friday, November 20th at noon
Vince Gill says it simply, and maybe best: "I'd rather hear Del McCoury sing ‘Are You Teasing Me' than just about anything." For fifty years, Del's music has defined authenticity for hard core bluegrass fans-count Gill among them-as well as a growing number of fans among those only vaguely familiar with the genre. And while the box set Celebrating 50 Years of Del McCoury, like its distilled companion, By Request provides an opportunity to look back on a unique legacy, it's also one that Del McCoury's rolling past with a wave and a grin and some of the best music he's ever made.
"Del epitomizes the bluegrass musician from the previous era, and also this one," says acclaimed resonator guitarist Jerry Douglas, a member of Alison Krauss + Union Station and producer of several of McCoury's 90s albums. "You can finally make a living playing bluegrass, and a large part of it is because of Del McCoury; he became like the new Bill Monroe..."
Del McCoury will be performing at the Bijou at 8:00pm.
Wednesday, October 28, 2009
Skeletonwitch-Breathing the Fire
Skeletonwitch
Breathing the Fire
purchase here
Whenever a curious customer requests something new and exciting from the world of thrash/death/black metal, I always head straight for Skeletonwitch. Each and every time, these individuals are satisfied and join the growing masses who are singing this band's praises and spreading their music like wildfire. Hailing from Athens, Ohio, they are undoubtedly one of the strongest heavy outfits on the market, with a sound that transfers flawlessly from the recorded material to the live setting, creating one of the most outstanding musical experiences that one can find these days. In fact, for romantic weekend getaways, my wife and I opt away from the spa retreats and cozy mountain inns in order to travel to see the mighty Skeletonwitch anywhere and everywhere we can. Trust me, they are just that good.
With their new album, Breathing the Fire, Skeletonwitch brings forth a sound that expands their already massive brutality, at the same time remaining in the same stride that all fans have come to love. Their sound IS brutal, but not too overwhelming. Like the first album, Breathing the Fire is loaded with epic heavy metal that will satisfy fans ranging from Iron Maiden to Venom, to even Gorgoroth. With this record, Skeletonwitch aren't quite thrash, nor are they straight ahead, meat-head death metal or corpse paint-wearing, unholy black metal. They are simply a great, great heavy metal band. Vocalist Chance Garnette delivers both the growls and the throaty rasp that serves as your master of ceremonies during this musical journey. It is grand to hear a vocalist today who can do both well, giving the low rumble without the mind-numbing, Cookie Monster vocals entirely and the higher, faster register without losing all that he is saying. Trust me, the lyrics are meant to be heard on this one. Guitar wise, both Nate "N8 Feet Under" Garnette and Scott "Scunt" Hedrick pull off the double lead lines smoothly and lay tons of meaty, tasteful licks into the mix, keeping those long-haired heads bobbing. Both N8 and Scunt have a great ear for original hooks and appropriate placement, thus this guitar work and harmonies will have you humming these songs for days. The rhythm section brings the horsepower throughout the entire record and is the driving force behind these new songs. Drummer Derrick "Mullet Chad" Nau is a beast, whose double kick drum work ventures far beyond 32nd and 64th notes blast beats, giving a great sense of groove to the low end with tons of half and double times shifts, triplets, and straight 4/4 count single grooves. His tom fills and snare attacks set up the different tempos perfectly and can turn the mood of a song on a dime. Bass wise, Evan "Loosh" Linger reminds me a great deal of a player much like Steve Harris who can and does hold his own with the shredding guitars, while keeping things filled in down below. For me, highlights on this record include the uber epic, "Stand Fight and Die" and dark sounding "Released from the Catacombs" and "Gorge Upon My Soul."
Breathing the Fire is the total package, complete with great and synergistic artwork, lyrics, music, and attitude . From front to back, beginning to end, it is a strong album and another beacon added to the fog of heavy music in the future. Skeletonwitch is just getting started and the world should beware!-Andrew Bryant
Breathing the Fire
purchase here
Whenever a curious customer requests something new and exciting from the world of thrash/death/black metal, I always head straight for Skeletonwitch. Each and every time, these individuals are satisfied and join the growing masses who are singing this band's praises and spreading their music like wildfire. Hailing from Athens, Ohio, they are undoubtedly one of the strongest heavy outfits on the market, with a sound that transfers flawlessly from the recorded material to the live setting, creating one of the most outstanding musical experiences that one can find these days. In fact, for romantic weekend getaways, my wife and I opt away from the spa retreats and cozy mountain inns in order to travel to see the mighty Skeletonwitch anywhere and everywhere we can. Trust me, they are just that good.
With their new album, Breathing the Fire, Skeletonwitch brings forth a sound that expands their already massive brutality, at the same time remaining in the same stride that all fans have come to love. Their sound IS brutal, but not too overwhelming. Like the first album, Breathing the Fire is loaded with epic heavy metal that will satisfy fans ranging from Iron Maiden to Venom, to even Gorgoroth. With this record, Skeletonwitch aren't quite thrash, nor are they straight ahead, meat-head death metal or corpse paint-wearing, unholy black metal. They are simply a great, great heavy metal band. Vocalist Chance Garnette delivers both the growls and the throaty rasp that serves as your master of ceremonies during this musical journey. It is grand to hear a vocalist today who can do both well, giving the low rumble without the mind-numbing, Cookie Monster vocals entirely and the higher, faster register without losing all that he is saying. Trust me, the lyrics are meant to be heard on this one. Guitar wise, both Nate "N8 Feet Under" Garnette and Scott "Scunt" Hedrick pull off the double lead lines smoothly and lay tons of meaty, tasteful licks into the mix, keeping those long-haired heads bobbing. Both N8 and Scunt have a great ear for original hooks and appropriate placement, thus this guitar work and harmonies will have you humming these songs for days. The rhythm section brings the horsepower throughout the entire record and is the driving force behind these new songs. Drummer Derrick "Mullet Chad" Nau is a beast, whose double kick drum work ventures far beyond 32nd and 64th notes blast beats, giving a great sense of groove to the low end with tons of half and double times shifts, triplets, and straight 4/4 count single grooves. His tom fills and snare attacks set up the different tempos perfectly and can turn the mood of a song on a dime. Bass wise, Evan "Loosh" Linger reminds me a great deal of a player much like Steve Harris who can and does hold his own with the shredding guitars, while keeping things filled in down below. For me, highlights on this record include the uber epic, "Stand Fight and Die" and dark sounding "Released from the Catacombs" and "Gorge Upon My Soul."
Breathing the Fire is the total package, complete with great and synergistic artwork, lyrics, music, and attitude . From front to back, beginning to end, it is a strong album and another beacon added to the fog of heavy music in the future. Skeletonwitch is just getting started and the world should beware!-Andrew Bryant
Saturday, October 24, 2009
Left Lane Cruiser All You Can Eat
Left Lane Cruiser
All You Can Eat
purchase album here
Left Lane Cruiser is the real deal. They are blues at its best, filth at its finest, with just two men who are evoking enough inner demons to populate an entire circle of hell. Raising a ruckus, punching throats, and blackening eyes all the way from Ft. Wayne Indiana, Left Lane Cruiser makes a bigger and louder racket than most five-man operations, never once sacrificing songwriting or musicianship for the sake of bombasity.
Their third album, All You Can Eat, released on mighty Alive Records, is a great reality check for 2009; a raw, unabashed boogie and boot-stomp feel where everything sounds better when turned up loud, with a glass full of elixir. Deemed as "punk blues" by many, LLC lays it all out on the table from the word go with this release, with some of the most intense, in-your-face, and aggressive music out there today. With guns ablaze, guitarist/vocalist Frederick "Joe" Evans IV and drummer/noise-maker Brenn "Sausage Paw" Beck roll out of the gate with "Crackalacka" featuring squealing, overdriven slide guitar lines and a stuttered, "train" drum beat. Sending it straight to the bayou, "Ol' Fashioned" finds Evans falling back to his trusty old International resonator guitar with the perfect soundtrack for a hot and sticky, front-porch sittin', sweet tea-drinkin' southern Mississippi evening. Another highlight is "Black Lung" which takes a song that is somewhat reminiscent of the early Black Keys work, adds two tons of smoke, grit, and dirt to the mix, and brings forth a sound that is much thicker and heavier than any material that the Keys ever could imagine.
It's always great to see bands like this still releasing great music in a time such as this when laptops and ironic, hipster haircuts are flooding the mainstream of American music. Make no mistake of it, I doubt that you will ever see these boys in girl jeans and pastels, collaborating with Danger Mouse or Justin Timberlake. I suspect that they will keep getting meaner and nastier every time we see them. Thank God for that! -Andrew Bryant
All You Can Eat
purchase album here
Left Lane Cruiser is the real deal. They are blues at its best, filth at its finest, with just two men who are evoking enough inner demons to populate an entire circle of hell. Raising a ruckus, punching throats, and blackening eyes all the way from Ft. Wayne Indiana, Left Lane Cruiser makes a bigger and louder racket than most five-man operations, never once sacrificing songwriting or musicianship for the sake of bombasity.
Their third album, All You Can Eat, released on mighty Alive Records, is a great reality check for 2009; a raw, unabashed boogie and boot-stomp feel where everything sounds better when turned up loud, with a glass full of elixir. Deemed as "punk blues" by many, LLC lays it all out on the table from the word go with this release, with some of the most intense, in-your-face, and aggressive music out there today. With guns ablaze, guitarist/vocalist Frederick "Joe" Evans IV and drummer/noise-maker Brenn "Sausage Paw" Beck roll out of the gate with "Crackalacka" featuring squealing, overdriven slide guitar lines and a stuttered, "train" drum beat. Sending it straight to the bayou, "Ol' Fashioned" finds Evans falling back to his trusty old International resonator guitar with the perfect soundtrack for a hot and sticky, front-porch sittin', sweet tea-drinkin' southern Mississippi evening. Another highlight is "Black Lung" which takes a song that is somewhat reminiscent of the early Black Keys work, adds two tons of smoke, grit, and dirt to the mix, and brings forth a sound that is much thicker and heavier than any material that the Keys ever could imagine.
It's always great to see bands like this still releasing great music in a time such as this when laptops and ironic, hipster haircuts are flooding the mainstream of American music. Make no mistake of it, I doubt that you will ever see these boys in girl jeans and pastels, collaborating with Danger Mouse or Justin Timberlake. I suspect that they will keep getting meaner and nastier every time we see them. Thank God for that! -Andrew Bryant
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