South Carolina's Fall of an Empire had arguably one of the best releases of 2014 with their debut album Songs of Steel and Sorrow, named by HeavyPlanet's own Reg as a top ten album for that year. Now they're back with a follow up album, Croweater: An Echo in the Bone. How does this 6 track EP stack up to their gargantuan debut? One spin through is enough to let you know this purple covered jewel exceeds any eager expectations. So well crafted, well constructed, and keenly delivered is the music on this six song presentation it is not beyond the realm of possibility it will become an album for the ages, a metal standard to be enjoyed through time and generations to come.
Each song is an exquisite blend of melody, craft, and fuzz, delivered with high handed skill of the most accomplished songsmiths while brandishing the heart of the hungry tyro. The weaving of syrupy rich solos, gritty riffs, crackerjack rhythm, and exuberant drumwork is exquisitely framed by the magnificent vocals of frontman Kenny Lawrence whose voice is a beacon of rock clarity seldom matched in a sea of thousands of gargling mediocrities.
Band members include:
Brent Carroll - Guitar/Vocals
Shane Smith - Bass
Cody Edens - Guitar
Brad Munoz - Drums
Kenny Lawrence - Lead Vocals
Fall of an Empire's style, if you will, is one of evocative, haunting ballads of deep, rich texture, amplified thrills, gargantuan twin guitars, and leviathan bass and drums trolling along a rumbling underworld of deafening darkness. No song exemplifies this more than the title track "Croweater". The standout song of the album, perhaps, is "Uprising", a relentless pummeling of sound and turbulence whose inexorable vibrations quickly sync to a primal core of sonority. Each song is an adventure of deep stirring with payoff in excess as heart, guile, and finesse deliver a trove of music treasure.
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Showing posts with label monstrous guitar. Show all posts
Showing posts with label monstrous guitar. Show all posts
Monday, September 12, 2016
Saturday, May 11, 2013
Nuclear Dog's Atomic Split: Orchid - "The Mouths of Madness" / Kadavar - "Abra Kadavar"
From out of the mists of recent success comes two albums highly anticipated by the ol' Nuclear Dog, as well as by many fans spanning the stoner globe. The first comes from Orchid, a band that has released 2 highly successful albums in the recent past, with the latest one an LP garnering a first place position on Reg’s Top 20 Albums of 2011. The quality of rock Orchid have delivered to the masses on those past releases naturally generate a tremendous level of anticipation from fans of these dark dreadnoughts. The second album comes from relative newcomers Kadavar who just last year released their debut album and landed on my own Top 20 list, so much did I thoroughly enjoy their blitzing riffage. A common thread that runs through these two bands beyond our sweaty expectations is the type of music they play. Both bands hearken wonderfully back to the heyday of heavy rock n roll with guitarcentric music packaged in magnificent melodies and driven with bombastic passion.
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ORCHID - "THE MOUTHS OF MADNESS"
Orchid hail from San Francisco and have been together since 2007, making and playing unbelievably awesome heavy rock in the classic vein of the great bands of the 70s such as Zeppelin and Black Sabbath, perhaps the band they are most identified with. Consciously or unconsciously, Orchid, especially on "The Mouths of Madness", channel original Black Sabbath in almost every way but in vocals, and that's not so far off as to be a detraction. This is not a bad thing. They aren't necessarily mimicking Sabbath so much as taking up the mantle of Sabbath-like music, and doing it perfectly, and by perfectly I mean sounding LIKE Sabbath's music without sounding exactly like Black Sabbath. They sound like Orchid. For me, that's an incredible feat, and a cherished result, because the sound the original Black Sabbath created is priceless and deserves more creative execution. No one else in the history of rock has truly pulled this off, and that includes iterations of Black Sabbath itself after Ozzy left. But that's my take on it. I'd wager that even if you don't agree with it you'll agree that the music on this album is humongous in solid, satisfying low tuned and heavy sound.
Band members of Orchid are:
Theo Mindell - Vocals
Carter Kennedy - Drums
Mark Thomas Baker - Guitar
Keith Nickel - Bass
Huge, heavy, low tuned riffs are the hallmark of Orchid's music, something they have delivered in spades on their initial EP release "Through the Devil's Doorway" and more recently on their first LP release "Capricorn", but on "The Mouths of Madness" they have up the ante by delving a little deeper into the darkness, wrapping uncanny guitar and bass riffs in pitch black wickedness, giving rise to a timbre of shadows and monstrosity. What tops off the toothsome signature sound are vocals at once unique, compelling, and custom made for the music. All in all, this latest album is a black ribbon gift of impeccable conveyance.
Nine songs have been rendered on "The Mouths of Madness", none more full to bursting with manic melody and classic guitar riffs than the title song which opens the album like a long lost companion of unbridled passion.
"Marching Dogs of War" elicits dark nostalgia in a way that penetrates directly to some primal dark core where the tapestry of Baker's guitar and Nickel's bass entwine perfectly with the percolating perfection of Mindell's vocals.
"Silent One" is a psychedelic romp of sheer delight where low tuned guitar licks are meshed with Kennedy's masterful drum fills and Baker's dextrous solos, and where spacey reverberations echo throughout the melodic journey of dark energy.
"Nomad" is a vocal triumph, where Mindell expresses remarkable power and depth in relating a fantastic tale through the purposeful tempo of strings and sticks, moving through a number of vocal variations throughout the course of the song, executing each with a masterful stroke.
"Mountains of Steel" could have been an apt album title for this ennead of superlative symphony, but, as one of nine delivers the same monstrous, gargantuan sound as its brethren.
"Leaving it All Behind" delivers a classic sound that isn't as deep and dark as those before it and after, instead eliciting an incredibly beautiful melody and guitar delivery that is driven home once again by Mindell's spot on vocals.
"Loving Hand of God" is heavy and low, with fibers of guitar clarity strategically intertwined through the dark package of melodic endeavor, consisting of a changing tempo that ranges from deliciously slow and deliberate to an upbeat solo stack of blistering heat.
"Wizard of War" is christmas and birthdays combined with the sabbath, a pure mountain of low tuned sweetness, from the mega deep riffs and tight tempo to the clarity and presence of impeccable vocals, topped off with solo heat that has a frayed and dangerous edge.
"See You on the Other Side" signs off the album in aggressive style, raining guitar solo fire and impassioned vocals onto an energetic melodic odyssey replete with unrelenting pneumatic drumwork.
This album is exceptional in many ways, but strip out all the superlatives and comparisons and measure it solely on its execution and delivery and it stands up as a timeless masterpiece, simple as that. Yes, it will enter the discussion as year's best, and will come up against some stiff competition, perhaps even from its doppelganger band (we can only hope), but make no mistake, it will be there with the very best once the dust settles. I'd even wager it will be there long after, standing beside Orchid's first two releases, and any subsequent work bound to come out down the years, as a compendium of colossal celebration.
Order the new CD at Nuclear Blast
orch yt here
facebook || website || twitter || bandcamp
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KADAVAR - "ABRA KADAVAR"
The beauty of this decade, and likely beyond, in terms of awesome heavy rock is the amalgam of the best of 70s metal and 90s grunge along with the underground stoner rock and high desert sounds of the 90s and the 00s. Many kids who grew up listening to their parents' music and their elder siblings' or friends' music were likely exposed to a tremendous amount of great classic metal and underground rock. As those kids have become adults playing in their own rock bands, whether from the U.S., the Netherlands, Sweden, Germany, Argentina, or anywhere on the globe, they are developing masterful strokes of monstrous metal magic. Hailing from Berlin, Germany, Kadavar are the vanguard of that development, leading the way with their colossal creations of mega metal. Two incredible albums in two short years, while not unheard of, is still a major accomplishment for any band, but to follow what was widely considered a resounding successful debut with a sophomore effort so soon is incredible, and risky only if it's not up to the standard already set upon themselves. The question Kadavar have put to us, then, on this sophomore rendition is, 'is "Abra Kadavar" as good or better than our self titled debut?' The conclusion, before going through the evidence, is YES! Somehow, using the momentum gained on that self titled juggernaut, Kadavar have managed to kick their Bavarian beast machine up a whole 'nother level and blast on down the highway of classic/retro heavy rock on an engine firing on all cylinders and purring with volume and perfect synchronicity.
Band Members on Kadavar are:
Lupus Lindemann - Vocals / Guitar
Mammut - Rivoli Bass
Tiger - Drums
To start, the overriding brilliance of Kadavar comes across to us in the same manner used by all bands who create meaningful, worthwhile heavy rock, with phenomenal guitar, skilled vocals, and superb melodies. For Kadavar the vocals and guitar happen to be delivered by one member, Lindemann. But, it's imperative to point out that the hard driving, relentless sound of Kadavar's brilliant melodies would be flat and listless without the gifted and impassioned rhythm section of Mammut's Rivoli bass and Tiger's extraordinary drumwork. Listen closely and you will find skillsets far above the bar where excellence begins to be measured. There is an energy and athleticism in their melodious maneuvering, lending power and magnificence to the sound and the song.
Lindemann's vocals are perfectly matched to Kadavar's music, but beyond the quality of his vocal outpourings is the manner in which Kadavar arrange them on the recordings, just a bit behind the instrumentals, keeping strings and sticks at the forefront where they deliver not only the signature sound, but also elicit the unyielding satisfaction of a willing and engaged audience.
"Abra Kadavaar" is resplendent with music, consisting of 10 tracks, each a marvel in its own right. The opening track, "Come Back Life" has a slight haunting quality, nostalgic in feel, and spiritual in delivery with crisp, clean guitar work threaded throughout in doses of refrain and dashes of solo blitzes. "Doomsday Machine" follows, and is arguably one of the top tracks on this collection. The same haunting vocal quality persists, but the guitar renderings pick up in intensity and deliberation, performing a tight spiral of crunchy riffs and blistering solos. "Eye of the Storm" follows with a change in tempo and executional feel, delivering an intriguing melody enhanced by powerful bass strokes and brutal drumwork topped off with what is obviously the signature brilliance of Lindemann's guitar licks. "Black Snake" is a plaintive wail mired in blues laced rock, beautiful, unique, and utterly intriguing. The halfway point comes quickly as "Dust" blasts onto the fore in controlled explosions of perfect timing and leviathan riffs.
The second half of the album starts out ablaze with "Fire", a big, bold amalgam of sound enhanced by Lindemann placing more emphasis on vocals as instrument this time around, in which he exercises a challenging lyrical component with passion and superior proficiency. "Liquid Dream" unloads at first like a ton of bricks before narrowing down to a tight, powerful assault and battery of escalating intensity. This song is unique and simultaneously enjoyable . "Rhythm for Endless Minds" is a fuzz fueled psychedelic trip of epic proportions, riding a musical tapestry of intertwined sounds and existential riffs overlaid by ethereal, haunting vocals. The title song, "Abra Kadavar" continues the colorful and euphonic odyssey but on a brighter, more colorful tapestry using heavier gauge threads of guitar riffs, drum rills, and bass fills, interwoven in complex and intriguing pattern of enchantment. The album closes out with "The Man I Shot" returning to the classic, nostalgic formula that was followed previously on the album, unfolding a sound that is at once fresh and nostalgic, reminiscent of a long lost rock experience from days gone by and eras past but still reverberating in the blacker recesses of a dark subconsciousness.
This is another album that goes immediately into consideration for 'best of' discussions once the year end is upon us. In a genre in which listeners, followers, fans, and disciples demand exception and excellence, Kadavar have delivered that in triplicate. There is depth and texture to all ten songs, providing the listener with vast opportunities to explore oft and anon the weavings, nuances, and tapestries intertwined throughout the album.
Order a copy of the CD or vinyl at Nuclear Blast
facebook || website
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ORCHID - "THE MOUTHS OF MADNESS"
Orchid hail from San Francisco and have been together since 2007, making and playing unbelievably awesome heavy rock in the classic vein of the great bands of the 70s such as Zeppelin and Black Sabbath, perhaps the band they are most identified with. Consciously or unconsciously, Orchid, especially on "The Mouths of Madness", channel original Black Sabbath in almost every way but in vocals, and that's not so far off as to be a detraction. This is not a bad thing. They aren't necessarily mimicking Sabbath so much as taking up the mantle of Sabbath-like music, and doing it perfectly, and by perfectly I mean sounding LIKE Sabbath's music without sounding exactly like Black Sabbath. They sound like Orchid. For me, that's an incredible feat, and a cherished result, because the sound the original Black Sabbath created is priceless and deserves more creative execution. No one else in the history of rock has truly pulled this off, and that includes iterations of Black Sabbath itself after Ozzy left. But that's my take on it. I'd wager that even if you don't agree with it you'll agree that the music on this album is humongous in solid, satisfying low tuned and heavy sound.
Band members of Orchid are:
Theo Mindell - Vocals
Carter Kennedy - Drums
Mark Thomas Baker - Guitar
Keith Nickel - Bass
Huge, heavy, low tuned riffs are the hallmark of Orchid's music, something they have delivered in spades on their initial EP release "Through the Devil's Doorway" and more recently on their first LP release "Capricorn", but on "The Mouths of Madness" they have up the ante by delving a little deeper into the darkness, wrapping uncanny guitar and bass riffs in pitch black wickedness, giving rise to a timbre of shadows and monstrosity. What tops off the toothsome signature sound are vocals at once unique, compelling, and custom made for the music. All in all, this latest album is a black ribbon gift of impeccable conveyance.
Nine songs have been rendered on "The Mouths of Madness", none more full to bursting with manic melody and classic guitar riffs than the title song which opens the album like a long lost companion of unbridled passion.
"Marching Dogs of War" elicits dark nostalgia in a way that penetrates directly to some primal dark core where the tapestry of Baker's guitar and Nickel's bass entwine perfectly with the percolating perfection of Mindell's vocals.
"Silent One" is a psychedelic romp of sheer delight where low tuned guitar licks are meshed with Kennedy's masterful drum fills and Baker's dextrous solos, and where spacey reverberations echo throughout the melodic journey of dark energy.
"Nomad" is a vocal triumph, where Mindell expresses remarkable power and depth in relating a fantastic tale through the purposeful tempo of strings and sticks, moving through a number of vocal variations throughout the course of the song, executing each with a masterful stroke.
"Mountains of Steel" could have been an apt album title for this ennead of superlative symphony, but, as one of nine delivers the same monstrous, gargantuan sound as its brethren.
"Leaving it All Behind" delivers a classic sound that isn't as deep and dark as those before it and after, instead eliciting an incredibly beautiful melody and guitar delivery that is driven home once again by Mindell's spot on vocals.
"Loving Hand of God" is heavy and low, with fibers of guitar clarity strategically intertwined through the dark package of melodic endeavor, consisting of a changing tempo that ranges from deliciously slow and deliberate to an upbeat solo stack of blistering heat.
"Wizard of War" is christmas and birthdays combined with the sabbath, a pure mountain of low tuned sweetness, from the mega deep riffs and tight tempo to the clarity and presence of impeccable vocals, topped off with solo heat that has a frayed and dangerous edge.
"See You on the Other Side" signs off the album in aggressive style, raining guitar solo fire and impassioned vocals onto an energetic melodic odyssey replete with unrelenting pneumatic drumwork.
This album is exceptional in many ways, but strip out all the superlatives and comparisons and measure it solely on its execution and delivery and it stands up as a timeless masterpiece, simple as that. Yes, it will enter the discussion as year's best, and will come up against some stiff competition, perhaps even from its doppelganger band (we can only hope), but make no mistake, it will be there with the very best once the dust settles. I'd even wager it will be there long after, standing beside Orchid's first two releases, and any subsequent work bound to come out down the years, as a compendium of colossal celebration.
Order the new CD at Nuclear Blast
orch yt here
facebook || website || twitter || bandcamp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
KADAVAR - "ABRA KADAVAR"
The beauty of this decade, and likely beyond, in terms of awesome heavy rock is the amalgam of the best of 70s metal and 90s grunge along with the underground stoner rock and high desert sounds of the 90s and the 00s. Many kids who grew up listening to their parents' music and their elder siblings' or friends' music were likely exposed to a tremendous amount of great classic metal and underground rock. As those kids have become adults playing in their own rock bands, whether from the U.S., the Netherlands, Sweden, Germany, Argentina, or anywhere on the globe, they are developing masterful strokes of monstrous metal magic. Hailing from Berlin, Germany, Kadavar are the vanguard of that development, leading the way with their colossal creations of mega metal. Two incredible albums in two short years, while not unheard of, is still a major accomplishment for any band, but to follow what was widely considered a resounding successful debut with a sophomore effort so soon is incredible, and risky only if it's not up to the standard already set upon themselves. The question Kadavar have put to us, then, on this sophomore rendition is, 'is "Abra Kadavar" as good or better than our self titled debut?' The conclusion, before going through the evidence, is YES! Somehow, using the momentum gained on that self titled juggernaut, Kadavar have managed to kick their Bavarian beast machine up a whole 'nother level and blast on down the highway of classic/retro heavy rock on an engine firing on all cylinders and purring with volume and perfect synchronicity.
Band Members on Kadavar are:
Lupus Lindemann - Vocals / Guitar
Mammut - Rivoli Bass
Tiger - Drums
To start, the overriding brilliance of Kadavar comes across to us in the same manner used by all bands who create meaningful, worthwhile heavy rock, with phenomenal guitar, skilled vocals, and superb melodies. For Kadavar the vocals and guitar happen to be delivered by one member, Lindemann. But, it's imperative to point out that the hard driving, relentless sound of Kadavar's brilliant melodies would be flat and listless without the gifted and impassioned rhythm section of Mammut's Rivoli bass and Tiger's extraordinary drumwork. Listen closely and you will find skillsets far above the bar where excellence begins to be measured. There is an energy and athleticism in their melodious maneuvering, lending power and magnificence to the sound and the song.
Lindemann's vocals are perfectly matched to Kadavar's music, but beyond the quality of his vocal outpourings is the manner in which Kadavar arrange them on the recordings, just a bit behind the instrumentals, keeping strings and sticks at the forefront where they deliver not only the signature sound, but also elicit the unyielding satisfaction of a willing and engaged audience.
"Abra Kadavaar" is resplendent with music, consisting of 10 tracks, each a marvel in its own right. The opening track, "Come Back Life" has a slight haunting quality, nostalgic in feel, and spiritual in delivery with crisp, clean guitar work threaded throughout in doses of refrain and dashes of solo blitzes. "Doomsday Machine" follows, and is arguably one of the top tracks on this collection. The same haunting vocal quality persists, but the guitar renderings pick up in intensity and deliberation, performing a tight spiral of crunchy riffs and blistering solos. "Eye of the Storm" follows with a change in tempo and executional feel, delivering an intriguing melody enhanced by powerful bass strokes and brutal drumwork topped off with what is obviously the signature brilliance of Lindemann's guitar licks. "Black Snake" is a plaintive wail mired in blues laced rock, beautiful, unique, and utterly intriguing. The halfway point comes quickly as "Dust" blasts onto the fore in controlled explosions of perfect timing and leviathan riffs.
The second half of the album starts out ablaze with "Fire", a big, bold amalgam of sound enhanced by Lindemann placing more emphasis on vocals as instrument this time around, in which he exercises a challenging lyrical component with passion and superior proficiency. "Liquid Dream" unloads at first like a ton of bricks before narrowing down to a tight, powerful assault and battery of escalating intensity. This song is unique and simultaneously enjoyable . "Rhythm for Endless Minds" is a fuzz fueled psychedelic trip of epic proportions, riding a musical tapestry of intertwined sounds and existential riffs overlaid by ethereal, haunting vocals. The title song, "Abra Kadavar" continues the colorful and euphonic odyssey but on a brighter, more colorful tapestry using heavier gauge threads of guitar riffs, drum rills, and bass fills, interwoven in complex and intriguing pattern of enchantment. The album closes out with "The Man I Shot" returning to the classic, nostalgic formula that was followed previously on the album, unfolding a sound that is at once fresh and nostalgic, reminiscent of a long lost rock experience from days gone by and eras past but still reverberating in the blacker recesses of a dark subconsciousness.
This is another album that goes immediately into consideration for 'best of' discussions once the year end is upon us. In a genre in which listeners, followers, fans, and disciples demand exception and excellence, Kadavar have delivered that in triplicate. There is depth and texture to all ten songs, providing the listener with vast opportunities to explore oft and anon the weavings, nuances, and tapestries intertwined throughout the album.
Order a copy of the CD or vinyl at Nuclear Blast
facebook || website
Saturday, April 6, 2013
Nuclear Dog's Atomic Split: Trash Titan - "Trash Titan" / Bedroom Rehab Corporation - "Red Over Red"
Today's Atomic Split features two very incredibly exciting albums that deliver the goods in bucketfuls of stoner fuzz awesomeness. The first album from Trash Titan was almost lost to the ages until a chance discovery found the only remaining copy. Fate? Divine destiny? Blind chance? What does it matter? We have it, we're fortunate, so please enjoy. The second album is somewhat experimental in nature. Experimental and stoner rock typically don't go together so well, but what the Bedroom Rehab Corporation has crafted with just the rhythm instruments of a typical rock band is a straight up box of fuzz covered granite. As a huge fan of low tuning and just the right amount of distortion, if you had asked me to conjure 2 albums out of thin air that I could point to as prime examples of how great stoner rock music can sound, I can't imagine conjuring anything better than what these 2 albums today have provided.
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TRASH TITAN - "TRASH TITAN" (THE LOST ALBUM)
The first story behind this album is that it was never an official release when it was originally recorded in 2009. The band made a ton of CD copies, handing them out at shows, until one day realizing they had handed out all copies including the master. It was thought to be lost to eternity at that point. Luckily, one day when preparing to move locations, a copy of the CD was found, so now it is available to the world on Bandcamp.com. Whew!
The second story behind this album is how incredibly low, loud, and lusty it is. There isn't much polish to be found, which is a great thing. Passion is high, execution is emotive, volume is large and loud, melody and hooks are aplenty, and the lyrics are scrumptious. There is nothing special in this album, and by special I mean manipulative, such as using samples or unneeded inclusions of some sort, which is what makes the album quite special. It is just music, just rock, just great. Part garage band rock, totally stoner fuzz rock, and a heapin' helpin' o' fun, it's a joyous, fuzzy ride from first track to the last, a deca-pack of delicious distortion.
Band members include:
Collyn McCoy - bass, vocals
Jeff "Broadsword" Broady - Drums
Rob Burns - Guitar
From the opening riff of the first track "Bear Your Name" you know this is a special album in turns of the low and loud guitar and bass licks. When McCoy's vocals enter the fray with it's impassioned, raspy wail, they're a perfect counterbalance to the concrete rattling reverberations of distortion provided by the massive guitars. Instead of a blistering guitar solo, Trash Titan interjects a solo of pure fuzz as a bridge between the opening refrains and chorus to the closers, a characteristic thankfully repeated throughout the album.
The song styles on 'The Lost Album' is one of blues fueled southern seventies saloon hall rock. Perfect. "Painted Lady" epitomizes the sound perfectly, following the formula of the opener, but never coming near a repetitive lick, instead adding to the deep dark dredging of primal sound.
"The Dog Song" is a beautifully written and well executed rock ballad that is only enhanced by the rumbling roar of the heavy, hirsute guitar chords as they and McCoy's plaintive vocals pine for a lost but loved companion. "The Rock Song" follows up with a bit more energy tempo-wise, as McCoy explains what it means to be truly rock and roll, coincidentally backing it up with the riffs, drum fills, fuzz chords, and blistering energy radiating from the execution of their well played instruments.
The blues comes to a crossroads of deep distortion on "I'll Never Drink Again", while "The Entity" dives even deeper into the fuzz with a hook laden delivery of emotional remorse.
Fun is the name of the game on "Devil With a Fake ID", a rock-a-billy, diesel fueled romp of primal passion and lustful longing.
"Miller Road" brings in an acoustic, backwoods attitude. You can almost smell the musky, moldy smell lingering around moonshine manufacturing locales deep in the underbrush and hidden from civilization.
"Blackwolf" closes out the ten-pack with a return of power and presence. Throughout the album Broady has delivered incredible, enjoyable, and memorable stickwork, and this is supremely evident on the final track as he gives a performance that is more than a match for the all out gusto McCoy and Burns deliver between chords, riffs, and vocals. The texture and bindings on this song are intricate, intelligent, and incomparable. Trash Titan presumably leaves this complex romp for the end as a parting gift, but perhaps more so as a delivery of anticipation, purposely placing it in the back of your fuzz soaked mental cavity, knowing full well that while the end is nigh, the sheer pleasure of closing out makes up for stopping at just ten tantalizing tracks instead of twenty or thirty. Hah!
facebook )( bandcamp
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BEDROOM REHAB CORPORATION - "RED OVER RED"
The rock on this album would most likely be considered experimental, mainly because what we hear here are 2 musicians playing one instrument each along with customary vocals.
Adam Wujtewicz - Bass, Vocals
Meghan Killimade - Drums
That's it. A bass guitar and drums, and Adam's vocals. But make no mistake they make it work . . . hell, more than work, they have made some crazy incredible stoner psyche rock. I can't profess to know much about how to make music, only how to listen to it, so the methods Adam uses to make his bass sing in such a unique and thoroughly satisfyingly fuzzy way without sounding much like traditional bass is beyond me in terms of technical comprehension. The professional explanation is that Adam uses pedal effects, which I must take on faith. It doesn't really matter to me, although it might very well to you because whatever he's doing with just a bass guitar is incredibly phenomenal. It belies description. It goes beyond the fact the music sounds differently than the normal rock arrangements. The point is the sound these two create is beautiful, powerful, singular, astonishing, deeply effective, poignant, and incredibly beautiful. We live for down low, this is true, but I think we also live for songs that strike an inner primal chord deep within that brings spiritual satisfaction due to some sort of universal, cosmic harmony with every molecule within and without, inherent and far flung, simultaneous and asynchronous. The best song writers, regardless of style, innately know how to do that. Add Adam Wujtewicz to the list of 'best song writers'.
The vocal deliveries throughout the 12 track album range from simple, poetic, conversational tones to raspy expressions of emotion, all of it fitting perfectly with the tone and mood into which it has been placed. The vocals can't be overlooked here as they are never overplayed or drowned out, and once you become even a little bit familiar with the music you begin to realize their worth.
Meghan's drumwork on "Red Over Red" transcends most drums I've heard on rock albums. I don't know if it's because all else has been stripped bare making her stickwork more noticeable, I don't know if it's the incredible volume level that somehow exists on this record regardless of my own local settings, nor do I know if it's an ability she possesses that allows her to provide a little more than typical drumwork. Perhaps it's a little bit of all that, but I also think she possesses an ability that perhaps not everyone possesses that pick up the sticks.
This album is a concept collection in which all songs lyrically relate to each other in an over-arching story. This aspect of it, given the high level of intrigue and simple musical satisfaction delivered without first understanding what that story might be simply adds to its overall desirous quality. You never have to know the story to enjoy it immensely, as I have done to this point, but it certainly provides further incentive to roll through it again and again.
"S.S. Hangover (Sobering Sickiness)" kicks thing off after a spacey intro from "Low Tide". We get our first mouthful of muddy mega-fuzz, but for the most part the song is laid back, comparatively speaking. Vocals are predominantly spoken like a free form poem. But it works, not only because of the big boy sound from the pedal master, but the timing and spacing of the song belies the intelligence of Adam's song writing skill.
"Basilosaurus" is hooky and melodious, a memorable romp through soundwaves of thickness and guile where passionate vocals combine with indelible rhythms all wrapped tightly in sacks of distortion woven of the thickest, loudest, fuzzcloth imaginable
Spoken vocals in poetic time characterize the tempo and feel of "S.O.S.(Son of Siren)". The guitar licks here are more standard bass than what has been heard heretofore for the opening refrains. But it changes halfway in, with distortion moving in and usurping the recognizable bass sounds while Adam's vocals are kidnapped to a withdrawn location where the urgency he's now expressing just makes it's way to the fore.
I love the interplay between Meghan's rolls and fills in, around, above, and below the hairy creature occupying most of the space in the middle of "All Hands". She will not be denied even if this is teamwork and not adversarial. Her effort brings out brilliance and interest in a song that is purely instrumental, that of itself quite brilliant in reach given the number of instruments used. Two instruments, combined with incredibly clever song writing and exemplary effort, provide for a memorable musical experience.
"Captain Damnit" is a Panzer division of full ahead tanks kept together by directions from inside the lead treader spoken through a distorting public address system brought along for the occasion. Fast, furious, and inexorable.
"Gone by the Boards" begins with a haunting melancholia that is powered over by the gargantuan sound of Adam's strings when they go full force on. His vocals here are a different presentation than previous samples, providing insight into what is quite possibly an overlooked feature that is further proof of a sort of musical genius, or at least ability. The sound of his vocals here fit perfectly with the inwardly probing tempo of the song, providing power and clarity along with volume, similarly to his strings. Vocals are not yelled, are never out of control, even when pushed to reaches expressing desperation. Sure the drumwork is brilliant as it has been throughout, sure the guitar work is equally huge and distorted, providing immense amounts of enjoyment, sure there is melody and tempo here that makes the song supremely listenable, but too are vocals that deliver a perfect pitch. Not a 'good enough' delivery, or an 'acceptable' delivery . . . a perfect delivery.
All the great qualities are on display again with "No Payment For the Boatman", with Adam again bringing his incredible vocal ability to the forefront to highlight the unique and intriguing structure of the song.
"Pilot Fish" has a haunting quality to it, vocals move from subdued to insistent. Meghan's energy, as always, is blistering, providing beautiful fill and roll. Adam's bass, presumably through the effects, drive hard and heavy during high energy periods, but provides a yearning, distant sound during reflective sections, the two styles playing off each other to provide an incredibly engrossing experience.
Familiar pluck string bass can be found during the spoken refrains on "Caught in the Bite". The rest of the song is made of monstrous lows and machine gun drums as is the finger lickin' norm on this entire album.
"Splice the Main Brace" has a beautiful, exciting riff at the forefront of the song that will be a strong candidate for most memorable lick on an otherwise stellar album in which all songs vie for that coveted if unofficial accolade. While it is the penultimate track, it is the last melody as Bedroom Rehab Corporation close out the album the way they began it, with an electronic trip through whatever universe they had to visit in order to produce this incredible, memorable, enjoying, and satisfying music with the outro song "High Tide".
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TRASH TITAN - "TRASH TITAN" (THE LOST ALBUM)
The first story behind this album is that it was never an official release when it was originally recorded in 2009. The band made a ton of CD copies, handing them out at shows, until one day realizing they had handed out all copies including the master. It was thought to be lost to eternity at that point. Luckily, one day when preparing to move locations, a copy of the CD was found, so now it is available to the world on Bandcamp.com. Whew!
The second story behind this album is how incredibly low, loud, and lusty it is. There isn't much polish to be found, which is a great thing. Passion is high, execution is emotive, volume is large and loud, melody and hooks are aplenty, and the lyrics are scrumptious. There is nothing special in this album, and by special I mean manipulative, such as using samples or unneeded inclusions of some sort, which is what makes the album quite special. It is just music, just rock, just great. Part garage band rock, totally stoner fuzz rock, and a heapin' helpin' o' fun, it's a joyous, fuzzy ride from first track to the last, a deca-pack of delicious distortion.
Band members include:
Collyn McCoy - bass, vocals
Jeff "Broadsword" Broady - Drums
Rob Burns - Guitar
From the opening riff of the first track "Bear Your Name" you know this is a special album in turns of the low and loud guitar and bass licks. When McCoy's vocals enter the fray with it's impassioned, raspy wail, they're a perfect counterbalance to the concrete rattling reverberations of distortion provided by the massive guitars. Instead of a blistering guitar solo, Trash Titan interjects a solo of pure fuzz as a bridge between the opening refrains and chorus to the closers, a characteristic thankfully repeated throughout the album.
The song styles on 'The Lost Album' is one of blues fueled southern seventies saloon hall rock. Perfect. "Painted Lady" epitomizes the sound perfectly, following the formula of the opener, but never coming near a repetitive lick, instead adding to the deep dark dredging of primal sound.
"The Dog Song" is a beautifully written and well executed rock ballad that is only enhanced by the rumbling roar of the heavy, hirsute guitar chords as they and McCoy's plaintive vocals pine for a lost but loved companion. "The Rock Song" follows up with a bit more energy tempo-wise, as McCoy explains what it means to be truly rock and roll, coincidentally backing it up with the riffs, drum fills, fuzz chords, and blistering energy radiating from the execution of their well played instruments.
The blues comes to a crossroads of deep distortion on "I'll Never Drink Again", while "The Entity" dives even deeper into the fuzz with a hook laden delivery of emotional remorse.
Fun is the name of the game on "Devil With a Fake ID", a rock-a-billy, diesel fueled romp of primal passion and lustful longing.
"Miller Road" brings in an acoustic, backwoods attitude. You can almost smell the musky, moldy smell lingering around moonshine manufacturing locales deep in the underbrush and hidden from civilization.
"Blackwolf" closes out the ten-pack with a return of power and presence. Throughout the album Broady has delivered incredible, enjoyable, and memorable stickwork, and this is supremely evident on the final track as he gives a performance that is more than a match for the all out gusto McCoy and Burns deliver between chords, riffs, and vocals. The texture and bindings on this song are intricate, intelligent, and incomparable. Trash Titan presumably leaves this complex romp for the end as a parting gift, but perhaps more so as a delivery of anticipation, purposely placing it in the back of your fuzz soaked mental cavity, knowing full well that while the end is nigh, the sheer pleasure of closing out makes up for stopping at just ten tantalizing tracks instead of twenty or thirty. Hah!
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BEDROOM REHAB CORPORATION - "RED OVER RED"
The rock on this album would most likely be considered experimental, mainly because what we hear here are 2 musicians playing one instrument each along with customary vocals.
Adam Wujtewicz - Bass, Vocals
Meghan Killimade - Drums
That's it. A bass guitar and drums, and Adam's vocals. But make no mistake they make it work . . . hell, more than work, they have made some crazy incredible stoner psyche rock. I can't profess to know much about how to make music, only how to listen to it, so the methods Adam uses to make his bass sing in such a unique and thoroughly satisfyingly fuzzy way without sounding much like traditional bass is beyond me in terms of technical comprehension. The professional explanation is that Adam uses pedal effects, which I must take on faith. It doesn't really matter to me, although it might very well to you because whatever he's doing with just a bass guitar is incredibly phenomenal. It belies description. It goes beyond the fact the music sounds differently than the normal rock arrangements. The point is the sound these two create is beautiful, powerful, singular, astonishing, deeply effective, poignant, and incredibly beautiful. We live for down low, this is true, but I think we also live for songs that strike an inner primal chord deep within that brings spiritual satisfaction due to some sort of universal, cosmic harmony with every molecule within and without, inherent and far flung, simultaneous and asynchronous. The best song writers, regardless of style, innately know how to do that. Add Adam Wujtewicz to the list of 'best song writers'.
The vocal deliveries throughout the 12 track album range from simple, poetic, conversational tones to raspy expressions of emotion, all of it fitting perfectly with the tone and mood into which it has been placed. The vocals can't be overlooked here as they are never overplayed or drowned out, and once you become even a little bit familiar with the music you begin to realize their worth.
Meghan's drumwork on "Red Over Red" transcends most drums I've heard on rock albums. I don't know if it's because all else has been stripped bare making her stickwork more noticeable, I don't know if it's the incredible volume level that somehow exists on this record regardless of my own local settings, nor do I know if it's an ability she possesses that allows her to provide a little more than typical drumwork. Perhaps it's a little bit of all that, but I also think she possesses an ability that perhaps not everyone possesses that pick up the sticks.
This album is a concept collection in which all songs lyrically relate to each other in an over-arching story. This aspect of it, given the high level of intrigue and simple musical satisfaction delivered without first understanding what that story might be simply adds to its overall desirous quality. You never have to know the story to enjoy it immensely, as I have done to this point, but it certainly provides further incentive to roll through it again and again.
"S.S. Hangover (Sobering Sickiness)" kicks thing off after a spacey intro from "Low Tide". We get our first mouthful of muddy mega-fuzz, but for the most part the song is laid back, comparatively speaking. Vocals are predominantly spoken like a free form poem. But it works, not only because of the big boy sound from the pedal master, but the timing and spacing of the song belies the intelligence of Adam's song writing skill.
"Basilosaurus" is hooky and melodious, a memorable romp through soundwaves of thickness and guile where passionate vocals combine with indelible rhythms all wrapped tightly in sacks of distortion woven of the thickest, loudest, fuzzcloth imaginable
Spoken vocals in poetic time characterize the tempo and feel of "S.O.S.(Son of Siren)". The guitar licks here are more standard bass than what has been heard heretofore for the opening refrains. But it changes halfway in, with distortion moving in and usurping the recognizable bass sounds while Adam's vocals are kidnapped to a withdrawn location where the urgency he's now expressing just makes it's way to the fore.
I love the interplay between Meghan's rolls and fills in, around, above, and below the hairy creature occupying most of the space in the middle of "All Hands". She will not be denied even if this is teamwork and not adversarial. Her effort brings out brilliance and interest in a song that is purely instrumental, that of itself quite brilliant in reach given the number of instruments used. Two instruments, combined with incredibly clever song writing and exemplary effort, provide for a memorable musical experience.
"Captain Damnit" is a Panzer division of full ahead tanks kept together by directions from inside the lead treader spoken through a distorting public address system brought along for the occasion. Fast, furious, and inexorable.
"Gone by the Boards" begins with a haunting melancholia that is powered over by the gargantuan sound of Adam's strings when they go full force on. His vocals here are a different presentation than previous samples, providing insight into what is quite possibly an overlooked feature that is further proof of a sort of musical genius, or at least ability. The sound of his vocals here fit perfectly with the inwardly probing tempo of the song, providing power and clarity along with volume, similarly to his strings. Vocals are not yelled, are never out of control, even when pushed to reaches expressing desperation. Sure the drumwork is brilliant as it has been throughout, sure the guitar work is equally huge and distorted, providing immense amounts of enjoyment, sure there is melody and tempo here that makes the song supremely listenable, but too are vocals that deliver a perfect pitch. Not a 'good enough' delivery, or an 'acceptable' delivery . . . a perfect delivery.
All the great qualities are on display again with "No Payment For the Boatman", with Adam again bringing his incredible vocal ability to the forefront to highlight the unique and intriguing structure of the song.
"Pilot Fish" has a haunting quality to it, vocals move from subdued to insistent. Meghan's energy, as always, is blistering, providing beautiful fill and roll. Adam's bass, presumably through the effects, drive hard and heavy during high energy periods, but provides a yearning, distant sound during reflective sections, the two styles playing off each other to provide an incredibly engrossing experience.
Familiar pluck string bass can be found during the spoken refrains on "Caught in the Bite". The rest of the song is made of monstrous lows and machine gun drums as is the finger lickin' norm on this entire album.
"Splice the Main Brace" has a beautiful, exciting riff at the forefront of the song that will be a strong candidate for most memorable lick on an otherwise stellar album in which all songs vie for that coveted if unofficial accolade. While it is the penultimate track, it is the last melody as Bedroom Rehab Corporation close out the album the way they began it, with an electronic trip through whatever universe they had to visit in order to produce this incredible, memorable, enjoying, and satisfying music with the outro song "High Tide".
facebook )( bandcamp )( site )( last.fm
Saturday, March 30, 2013
Nuclear Dog's Atomic Split: The Superguns - "The Superguns" / Totimoshi - "Mysterioso"
Diversity is the name of the game today, tokers and smokers. We start off with standard straight up hairy ass rock and roll. Fun and furious. Loud and raucous. The best kind of rock, not just because it rocks your nuts off, but because it wasn't made just for the sake of it. It was made by design, and the design is retro rock genius, the kind of rock you picture powering up out of primordial rock soup in a 4 wheel drive hemi and plugging into the first stack of amps available. We don't slip away from genius on the second album, but we do veer away to a whole new rock design spectrum, one that isn't so straight up perhaps, one that isn't perfectly derivative, one that may have ancestors who crawled out of the primordial stew, but whose most recent relatives are scattered about punk, new wave, stoner, and grunge nursing homes. The loud and raucous remain, as do the fun and furious. The asses may not be quite as hairy, but there's hair in there somewhere, and lots of fuzz.
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THE SUPERGUNS - "THE SUPERGUNS"
As we did last week, this week we visit a band from Melbourne, Australia, The Superguns, who forged themselves and their sound, as so many bands that play this wonderful kind of music do, in the bars and venues scattered around their city and surrounding townships, as well as from numerous jam sessions in their studio, which happens to be a former bordello, perhaps lending its spirit to the genius of the song making of this 4 piece rock dynamo.
Band members:
Jackyboy Sullivan - Vocals
Aidan Barrett - Lead Guitar
Benny Langman - Bass
Rene Badalassi - Drums
The four ass kickers of The Superguns have been together for more than a couple of years, and are now releasing their first collection of original songs with 5 songs that fit smoothly and easily into the best rock and roll experiences - the guitars are big, loud, and soul searingly brutal - the bass is straight from dynamite blasting grounds - the drums perform the dual job of driving the music while entertaining with virtuoso fills and rolls - and the vocals . . . if, instead of auditioning for vocalists for your band you had software that created vocals according to your specifications, Jackyboy's sound is likely what you would come up with for this type of hard driving, balls to the wall rock. All of this musicl ability is bound together by solid song writing that packs each with hooks aplenty, clever and contagious choruses that'll have your head spinning the songs long after the power to your music player has been removed. Archetypal images come to mind when listening to this music, images of big classic cars with 454 cu. in engines, sunglasses, hair, bikinis, liquor bottles, the Zig Zag man, huge car speakers, smoke, sweat, black concert tees, and huge smiles as the car roars down the road, the speakers blaring a valhala vanguard. This music is big and rambunctious, party music for the ages, so those images come easily, but what never gets lost within the gargantuan riffs is the melodic platform base upon which it all stems, because these songs are both bodacious and intriguing, instantly satisfying as well as timeless.
"Love Pump" opens the 5 track stand in that bodacious and conspicuous fashion already mentioned. Jackyboy and Badalassi (this has to be one of the coolest natural names in rock history), in vocals and drumwork, set the pace with energy and vigor that Barrett and Langman have no trouble matching. The song bleeds straight into "Big Foot" without hesitation, a slow down in tempo, but the same intensity in everything else. The chorus on this song, with the hook 'Big Foot's on the loose', will no doubt stay with you for awhile. The solo section of the song provides fun more than giving some sort of demonstration, which makes for a much more enjoyable experience, because while Barrett wails away on his strings, Langman is simultaneously blasting away with Badalassi, creating a huge and astonishing sound.
"Whiskey Fist" . . . man if there was ever a great party rock name for a song . . . carries the intensity along with a quick, up tempo, riff filled monstrosity that ends in a spiral of Panzer blitz ferocity. Mind blowing and mouth watering all at once.
"The Superguns Must Die" closes the EP with what is likely the best track. It's full of fun and fury, blistering riffs blasting away at Gatling gun speeds, chewing up and spitting out the huge rock sounds that are the hallmark and exultation of this awesome gang of four from Melbourne. The Superguns, ladies and gentlemen.
facebook ][ bandcamp ][ reverbnation ][ twitter
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TOTIMOSHI - "MYSTERIOSO"
I have been listening to this album all week, enjoying it immensely, knowing I wanted to review it today. I found this little jewel on bandcamp.com with a release date of August 2012. Well, it turns out it was released much longer ago, originally, but rereleased this past year. Zac reviewed their latest album, "Avenger", back in November of 2011, and later named it to his top 10 albums for 2011. Between "Avenger" and "Mysterioso" are 2 other albums, and one preceding it. They are not all in one place, however, not that I can find anyway. Doesn't matter. What matters at the moment is this album, regardless of history. I guess I'm doing a second day of 'In Case You Missed It' because apparently I missed it and didn't know better til now. It's worthy of a listen, do not doubt that, though, regardless of release date. It's fresh and new to those of us that missed it the first time through.
Band members include:
Tony Aguilar - Guitar
Meg Castellanos - Bass
Johann Zamora (at the time "Mysterioso" was recorded) - drums
What Totimoshi have produced on "Mysterioso" is an intriguing blend of varying styles that aren't mashed for mashing's sake. In the end, what matters on these songs is quite obvious, and that is the music, the quality of the song, and the level of passion and ability they bring to the execution of their music. This all is pretty amazing when you consider the sparsity of instruments. One guitar, one bass, one trap set and music that sounds as big as 5 three piece bands thrown together.
The starting point for the album is "Float", a very cool and simultaneously heavy number that blends a myriad of sounds throughout the length of the track, churning heavily away on all instruments, but coolly laying down the vocals. Stick with it from beginning to end, over and again, and you will find something new to chew on quite frequently.
The second song, "Screwed" just makes me shake my head. This is because it uses sounds that aren't normally used, perhaps experimenting a bit, or perhaps using something the band is familiar with, but something I'm not quite familiar with myself. The thing is, it works, and it works very well. It's an intriguing and pleasing song. I've heard music in the not so distant past, by quite talented musicians, that were 'experimental' and crap for it. So, I appreciate making the sound and the listener's experience the priority as opposed to being top dog artist, or whatever. Pushing the envelope is great, but not for the sake of pushing it, instead for the sake of discovering something newly fun. This may be an older album, but there still isn't much music out there pushing boundaries the way Totimoshi has here. "Screwed" is an absolute blast, containing interesting and fresh sounds while delivering a song that resonates primally.
"Cellophane" is chock full of sounds so big I don't think a whole roll of its namesake material would contain it for long. It's the type of song that starts at a certain level and slowly builds up toward something monumental. The thing is, the beginning point is huge. The guitars are heavy, distorted, fuzz laden beasts of burden, that gain momentum as they climb UP the mountain, reaching the acme and crashing back down in a blissful cacophony of bass bombs and a stoner/grunge avalanche.
"The Bleed" kicks off with gargantuan drums that never let up, basement busting bass, and crazy bandsaw guitar paired with low tuned stoner riffs. Sheer joy reigns throughout. "Dirt Farmer" is quite like minded delivering a full instrumental take on the sound, intensely piquing interest along the way.
"Oblivian" is the penultimate song, and starts out with a super cool riff evolution. Totimoshi are good at everything they do, but loud, heavy, booming, delicious, fierce, fun guitar is where they excel the most, and thankfully focus the most. The drums on "Mysterioso" tend to match that intensity as does the bass, instruments too often relegated to background noise, but never out of earshot here.
The closer is "Horselaugh" and in a similar fashion to the rest of the album the guitar here is big, bold, different, and engrossing, moving through variations that make the dog drool flow. A stripped down bridge where the vocals are the focal point brings something not heard so much on the previous tracks, adding to the incredible variety and entertainment this album provides.
This may be an older album, but it is quite worthy of listening to today, and any day from now til the universe goes dark.
facebook ][ bandcamp ][ label
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE SUPERGUNS - "THE SUPERGUNS"
As we did last week, this week we visit a band from Melbourne, Australia, The Superguns, who forged themselves and their sound, as so many bands that play this wonderful kind of music do, in the bars and venues scattered around their city and surrounding townships, as well as from numerous jam sessions in their studio, which happens to be a former bordello, perhaps lending its spirit to the genius of the song making of this 4 piece rock dynamo.
Band members:
Jackyboy Sullivan - Vocals
Aidan Barrett - Lead Guitar
Benny Langman - Bass
Rene Badalassi - Drums
The four ass kickers of The Superguns have been together for more than a couple of years, and are now releasing their first collection of original songs with 5 songs that fit smoothly and easily into the best rock and roll experiences - the guitars are big, loud, and soul searingly brutal - the bass is straight from dynamite blasting grounds - the drums perform the dual job of driving the music while entertaining with virtuoso fills and rolls - and the vocals . . . if, instead of auditioning for vocalists for your band you had software that created vocals according to your specifications, Jackyboy's sound is likely what you would come up with for this type of hard driving, balls to the wall rock. All of this musicl ability is bound together by solid song writing that packs each with hooks aplenty, clever and contagious choruses that'll have your head spinning the songs long after the power to your music player has been removed. Archetypal images come to mind when listening to this music, images of big classic cars with 454 cu. in engines, sunglasses, hair, bikinis, liquor bottles, the Zig Zag man, huge car speakers, smoke, sweat, black concert tees, and huge smiles as the car roars down the road, the speakers blaring a valhala vanguard. This music is big and rambunctious, party music for the ages, so those images come easily, but what never gets lost within the gargantuan riffs is the melodic platform base upon which it all stems, because these songs are both bodacious and intriguing, instantly satisfying as well as timeless.
"Love Pump" opens the 5 track stand in that bodacious and conspicuous fashion already mentioned. Jackyboy and Badalassi (this has to be one of the coolest natural names in rock history), in vocals and drumwork, set the pace with energy and vigor that Barrett and Langman have no trouble matching. The song bleeds straight into "Big Foot" without hesitation, a slow down in tempo, but the same intensity in everything else. The chorus on this song, with the hook 'Big Foot's on the loose', will no doubt stay with you for awhile. The solo section of the song provides fun more than giving some sort of demonstration, which makes for a much more enjoyable experience, because while Barrett wails away on his strings, Langman is simultaneously blasting away with Badalassi, creating a huge and astonishing sound.
"Whiskey Fist" . . . man if there was ever a great party rock name for a song . . . carries the intensity along with a quick, up tempo, riff filled monstrosity that ends in a spiral of Panzer blitz ferocity. Mind blowing and mouth watering all at once.
"The Superguns Must Die" closes the EP with what is likely the best track. It's full of fun and fury, blistering riffs blasting away at Gatling gun speeds, chewing up and spitting out the huge rock sounds that are the hallmark and exultation of this awesome gang of four from Melbourne. The Superguns, ladies and gentlemen.
facebook ][ bandcamp ][ reverbnation ][ twitter
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
TOTIMOSHI - "MYSTERIOSO"
I have been listening to this album all week, enjoying it immensely, knowing I wanted to review it today. I found this little jewel on bandcamp.com with a release date of August 2012. Well, it turns out it was released much longer ago, originally, but rereleased this past year. Zac reviewed their latest album, "Avenger", back in November of 2011, and later named it to his top 10 albums for 2011. Between "Avenger" and "Mysterioso" are 2 other albums, and one preceding it. They are not all in one place, however, not that I can find anyway. Doesn't matter. What matters at the moment is this album, regardless of history. I guess I'm doing a second day of 'In Case You Missed It' because apparently I missed it and didn't know better til now. It's worthy of a listen, do not doubt that, though, regardless of release date. It's fresh and new to those of us that missed it the first time through.
Band members include:
Tony Aguilar - Guitar
Meg Castellanos - Bass
Johann Zamora (at the time "Mysterioso" was recorded) - drums
What Totimoshi have produced on "Mysterioso" is an intriguing blend of varying styles that aren't mashed for mashing's sake. In the end, what matters on these songs is quite obvious, and that is the music, the quality of the song, and the level of passion and ability they bring to the execution of their music. This all is pretty amazing when you consider the sparsity of instruments. One guitar, one bass, one trap set and music that sounds as big as 5 three piece bands thrown together.
The starting point for the album is "Float", a very cool and simultaneously heavy number that blends a myriad of sounds throughout the length of the track, churning heavily away on all instruments, but coolly laying down the vocals. Stick with it from beginning to end, over and again, and you will find something new to chew on quite frequently.
The second song, "Screwed" just makes me shake my head. This is because it uses sounds that aren't normally used, perhaps experimenting a bit, or perhaps using something the band is familiar with, but something I'm not quite familiar with myself. The thing is, it works, and it works very well. It's an intriguing and pleasing song. I've heard music in the not so distant past, by quite talented musicians, that were 'experimental' and crap for it. So, I appreciate making the sound and the listener's experience the priority as opposed to being top dog artist, or whatever. Pushing the envelope is great, but not for the sake of pushing it, instead for the sake of discovering something newly fun. This may be an older album, but there still isn't much music out there pushing boundaries the way Totimoshi has here. "Screwed" is an absolute blast, containing interesting and fresh sounds while delivering a song that resonates primally.
"Cellophane" is chock full of sounds so big I don't think a whole roll of its namesake material would contain it for long. It's the type of song that starts at a certain level and slowly builds up toward something monumental. The thing is, the beginning point is huge. The guitars are heavy, distorted, fuzz laden beasts of burden, that gain momentum as they climb UP the mountain, reaching the acme and crashing back down in a blissful cacophony of bass bombs and a stoner/grunge avalanche.
"The Bleed" kicks off with gargantuan drums that never let up, basement busting bass, and crazy bandsaw guitar paired with low tuned stoner riffs. Sheer joy reigns throughout. "Dirt Farmer" is quite like minded delivering a full instrumental take on the sound, intensely piquing interest along the way.
"Oblivian" is the penultimate song, and starts out with a super cool riff evolution. Totimoshi are good at everything they do, but loud, heavy, booming, delicious, fierce, fun guitar is where they excel the most, and thankfully focus the most. The drums on "Mysterioso" tend to match that intensity as does the bass, instruments too often relegated to background noise, but never out of earshot here.
The closer is "Horselaugh" and in a similar fashion to the rest of the album the guitar here is big, bold, different, and engrossing, moving through variations that make the dog drool flow. A stripped down bridge where the vocals are the focal point brings something not heard so much on the previous tracks, adding to the incredible variety and entertainment this album provides.
This may be an older album, but it is quite worthy of listening to today, and any day from now til the universe goes dark.
facebook ][ bandcamp ][ label
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