New Video from Wolf People: "When The Fire is Dead in the Grate"

One of my favorite records of 2013 was the Wolf People's stirring, psychedelic folk/hard rock album Fain. It's pulling together English folk, blues-influenced guitar rock and hard boogie. Its expansiveness and musicianship first inspired awe, and on repeated listens it continued to deliver pure pleasure.

They've released a new video for the lengthy track "When The Fire is Dead In The Grate". According to vocalist Jack Sharp, “The video is meant as a B-Movie take on the Celtic mythology hinted in the lyrics. It sets out to capture one side of the song’s imagery as we see it. Shot on a beautiful morning in September on an incredible stretch of the Ouse just outside Bedford. It ended up as a great excuse to mess about on the river for a day and a night, ducking low-flying kingfishers (that we sadly failed to film) and trying to avoid getting the equipment wet.“



They released an EP following up the album in December - the lead track is "When the Fire is Dead" but it also features two new tracks, one an extension of one of Fain's standout tracks, "All Returns II":



Wolf People EP at Jagjaguwar

REVIEW: Circus Devils - My Mind Has Seen The White Trick and When Machines Attack

It's been two years since the last Circus Devils release, Capsized! so of course it's time for two albums in one day - 36 songs of Circus Devils hard/prog rock weirdness. Of all Robert Pollard's projects, Circus Devils seems to be where his hard rock muse spends the most time, but it's also the project with the most pure creativity. Evidence of the former - My Mind Has Seen The White Trick's "Deliver Ice Cream (You Must)" channels Motorhead in a delightful way, while "Mine" is a quieter track with some strange found sounds in the background, akin to something like "Ex-Supermodel" (to use a GbV reference, if that helps). And "Great Orphan" is just a big, strong ballad, proving that in no way are Circus Devils limited to bludgeoning you with hard rock or diverting you with strangeness. Sometimes in the same track, they transition from one to the other: "It Is Not Necessary" is a perfect example, where the hard stuff starts the track, then yields to the narrative, and both sides come together to close it out with a downright pleasant keyboard line behind it all. They are making delightful music on this record. In other words, Circus Devils are real. But, again, real strange. "Bird Zone":



The album features 19 tracks, and plenty of highlights - the electric piano on "Bird Zone", the guitars on "We'd Be Alright", the Captain Beefheart-inspired, unhinged weirdness of "Skyclops", and a sort of campfire singalong, "Eddie's Derangement" - love the acoustic guitar line in this one.

Obviously, a lot of the credit goes to his co-conspirator, Todd Tobias. And we've had evidence of Tobias' creativity apart from Pollard, too - we reviewed his album Medicine Show, and found many of the same strange and delightful characteristics that make Circus Devils' appeal so strong (and admittedly, to such a limited audience).

Along those lines, the second album, When Machines Attack, is the more "Circus Devils-y" of the two, featuring spoken word intro "Beyond the Sky" and a story line that seems to contemplate the uprising of our cars, perhaps in league with an alien race. The sheer terror in Pollard's voice in the next track as he intones the title "You're Not a Police Car" sets the tone. We would seem to be in line to be rescued (or attacked) by Bad Earthman, Craftwork Man (not Kraftwerk Man, though certainly there's plenty of krautrock influence all throughout the Devils' canon), Johnny Dart and Blood Dummies. Each song is a trip, and most of them are strange. Check out "We're Going Inside the Head of a Winner" - there is a nice Pollard ballad in there somewhere, but also plenty of strange effects and horror-movie elements:



The title track's an absolute keeper - it's one of the tracks that stands alone, even while serving as the pivotal track on this concept (?) album. And "Wizard Hat Lost in the Stars" is potentially that "all-time" Pollard ballad that will assume a spot on the never-ending playlist. It has echoes of "May We See the Hostage" from previous Devils record The Harold Pig Memorial, which is one of my favorite Devils tracks, or a GbV track like "Acorns and Orioles".

According to Sgt. Disco, the correspondent at the Circus Devils website, "The car is a metaphor here, in case that needed to be explained. The theme can be described as a trip into the present by way of the future. This is the opposite of a trip into the future by way of the present, something we all think we are familiar with." If you're willing to take the trip by listening to the album, this might make sense. Then again, it might not. But at least you'll have spent the time listening to a Circus Devils album, which is a good thing.

These records are out now (released 10/29) on Happy Jack Rock Records, and available at Rockathon and GBV Digital.

Circus Devils website
Circus Devils at Rockathon Records

Lee Bains III And The Glory Fires - Can a Rock Band Be TOO LOUD?

"Too Loud For Texas?" No, that's not a song, it's a judgment rendered by the sound engineer and management of a venue called "Live Oak" in Ft. Worth, TX. Earlier this week, Southern rock and soul shouters supreme Lee Bains III And The Glory Fires played a show at this place and got into a bit of a tussle with management. The Facebooks and the Twitters are lighting up with back-and-forth, he-said-she-said, and I'm not here to place blame or render judgment on one party or the other. I am, however, here to observe that having your travelling rock and roll band declared "TOO LOUD" is the kind of publicity money can't buy.

Our interaction with Bains has been mostly one-sided. All of us at WYMA love the music of this Alabama band, and it has showed over the last couple of years. Back in early 2012, we got a preview of their album There Is A Bomb In Gilead via the Alive/Naturalsound comp, Where Is Parker Griggs? - and immediately fell in love with it. Here is the introductory piece I put up then: New Rock/Soul Discovery: Lee Bains III And The Glory Fires. You will note the use of adjectives like "screaming". Again, this is not a coincidence or accident. The music is best heard loud, and it's made to be played loud. I say, mostly one-sided. Lee did send a short note of thanks, which to me is usually the mark of a well-raised dude.

At the end of 2012, we heaped on the praise once again. Here is JD's list -- note his mention of their "fantastic bar band vibe". Here is mine -- quoting myself (I can do that, it's my blog): "Out of Alabama comes a dynamo, a hard-rocking force of nature who manages to combine punk, country and R&B to great effect. The Dexateens were really good, but Bains has upped the ante here – he’s a great shouter who can switch gears and sing straight-up soul music, backed by a great southern rock band." And finally, JD was inspired to post about their live show in Portland recently. Again, "tore through... with abandon" is mentioned in a positive light.

However, at the Live Oak in Ft. Worth, there is apparently also a "restaurant section" and Bains' band managed to clear that sucker out, which launched the series of events described in this online article from AL.com (they're rightfully proud of the ruckus their boys raised deep in the heart of Texas). You can certainly read more about it, including various points of view, at the Facebooks and Twitters of the band and the venue. There are some entertaining comments, for sure.

Here are a few videos of the guys in action:





(Given my choice between seeing a band at "Live Oak" or "Bluesklubb", I think the choice is somewhat clear)



In the end, all I guess I'm saying is: if you want loud, you get it with Lee Bains III & The Glory Fires. They are the very essence of truth in advertising. No pretense, no artifice, just good, honest, LOUD rock and roll. If you want a chance to see a band that is too loud for Texas, and you live in the Southeastern US, you are in luck. Don't sleep on this:

Friday, October 25 – Houston, TX – Rudyard’s*
Saturday, October 26 – Baton Rouge, LA – Chelsea’s*
Wednesday, November 6th – Asheville, NC – Grey Eagle+
Thursday, November 7th – Knoxville, TN – Pilot Light+
Saturday, November 9th – Whitesburg, KY – The Summit
Monday, November 11th – New York, NY – Mercury Lounge w/ Wyldlife, The Brooklyn What
Thursday, November 14th – Birmingham, AL – Bottletree+
Friday, November 15th – Nashville, TN – Stone Fox+
Saturday, November 16th – Chattanooga, TN – Sluggo’s+
Friday, November 22nd – Athens, GA – 40 Watt – BACKING UP SWAMP DOGG!!
Saturday, November 23rd – Atlanta, GA – The Earl – BACKING UP SWAMP DOGG!!
Friday, December 6th – Little Rock, AR – White Water Tavern – Holiday Hangout!
Saturday, December 7th – Huntsville, AL – Flying Monkey
———————————————–
* – with Austin Lucas!
+ – with PUJOL!

Or if you live in another part of the country and want to hear them, you can get the record from Alive/Naturalsound. Just make sure you don't put a bunch of foam or curtains around your speakers. You deserve to hear these guys in their natural state. L-O-U-D.

NEW SONGS: Atomic Bride - "We Got Muscle" from Electric Order EP

Atomic Bride is a Seattle-based postpunk outfit that comes across like a darker, 21st century version of the B-52's, what with their shouted boy/girl call/response vocals, punk backbeat, kind of retro/future contrast in their sound and even a bit of the "beach blanket bingo" surf guitars. It's got a bit more of a hard edge, but it's still plenty catchy. Here's "We Got Muscle":





I really like the surf guitar in this one - hard, fast, even a little feedback thrown in. Electric Order is a 4-song EP, and you can listen to the rest, and buy it at their Bandcamp via their website - links below.

Atomic Bride website
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REVIEW: Left Lane Cruiser - Rock Them Back To Hell

Left Lane Cruiser is a duo playing heavy, dirty blues-rock. If that makes you think Black Keys, White Stripes, so much the better. They're definitely in that vein - substitute Ft. Wayne, IN for Akron, OH or Detroit, MI. On Rock Them Back To Hell, their latest album, they worked with the great Jim Diamond (Ghetto Recorders, Detroit MI: White Stripes, Dirtbombs, The Pack A.D., Ponys, etc etc etc).

What's the sound here? Well, look at the album cover - dirty, hillbilly zombies! Now look at this picture:

They're drinking 40s from paper bags! There's a clear message being sent here, and you will be awarded points for picking it up. The souls of old hard-drinking Southern bluesmen reside in these two young Indiana musicians, and these souls want to get out. Bad. They are going to make a hell of a racket on their way out, too.

Here's "Juice to Get Loose":



There's good slow blues here, too - "Coley" is one where they dial it back a bit, and it's got some pretty acoustic work. But the guitar playing on tracks like "Jukebox" and "Paralyze Ya" is incendiary, and there's no way you won't test the max volume of your speakers while listening to this album. It's not a headphone album, it's a "loud in the car" or "disturb the neighbors" kind of album. Thanks, as with so much good blues-rock, to the fine people at Alive/Naturalsound. Read more, check out tour dates and previous releases, and best of all, buy this thing at the links below.

Left Lane Cruiser Facebook
Alive/Naturalsound Records

REISSUES: George Thorogood and the Delaware Destroyers - George Thorogood And The Destroyers and Move It On Over

When George Thorogood and the Delaware Destroyers burst onto the national scene in 1977, roots rock music was all but absent from contemporary radio. But it seems as though each generation calls for a return to roots - and Thorogood's band was it for the "punk and disco era" of the late 70's. Sometimes a bar band is so good, so focused and so exciting that they are able to take their act to a national stage, and within four years, Thorogood's band was opening for the Rolling Stones - all this by interspersing originals with early rock tracks by Chuck Berry, Elmore James, Bo Diddley, Hank Williams and Jimmy Reed.

Whether it was a gimmick or a demonstration of stamina (probably both), George and the band embarked on their “50 States in 50 Dates” tour, traveling in a Checker Cab (flying only to Alaska and Hawaii).

From Rounder's announcement:

The Destroyers went on to continued and greater success after leaving Rounder, when the label entered a joint venture with EMI for George’s fourth album, Bad to the Bone, but their first two albums are the essence of everything that makes the band great. Recorded live in the studio, George Thorogood & the Destroyers and Move It On Over capture perfectly the energy of their live shows. There’s not a wasted note, and if George never aimed for the pyrotechnics of later blues rockers such as Stevie Ray Vaughan, the directness of his approach cuts straight to the heart of each song.

On July 30, 2013, Rounder Records will re-release Thorogood’s first two albums, 1977’s George Thorogood:

1. You Got To Lose (3:15)
2. Madison Blues (4:24)
3. One Bourbon, One Scotch, One Beer (8:20)
4. Kind Hearted Woman (3:48)
5. Can’t Stop Lovin’ (3:04)
6. Ride On Josephine (4:17)
7. Homesick Boy (3:02)
8. John Hardy (3:18)
9. I’ll Change My Style (3:57)
10. Delaware Slide (7:45)



and 1978’s Move It On Over.

1. Move It On Over (4:16)
2. Who Do You Love (4:15)
3. The Sky Is Crying (5:09)
4. Cocaine Blues (2:46)
5. It Wasn’t Me (3:54)
6. That Same Thing (3:05)
7. So Much Trouble (3:15)
8. I’m Just Your Good Thing (3:29)
9. Baby Please Set A Date (4:42)
10. New Hawaiian Boogie (4:34)



Thirty-five years later, these performances still ring true. Mastered from new digital transfers of the original analog tapes, these albums have never sounded better. If you were around when these first came out, the joy of hearing them in good digital format will make you happy. If you weren't and you like roots rock, well, you're in for a treat...

George Thorogood website
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New Chicago Indie Rock Discovery: Hospital Garden - Mover

Hospital Garden is a Chicago hard rock band. They have an aggressive approach, a heavy rhythm section, and wailing guitars with feedback, and two good rock vocalists - one male, one female. The group consists of Lucas Hollow on guitar and vocals, Sarah Carey on bass and vocals and Erik Rasmussen on drums. 

Here's a video for album track "What To Do" - Hollow and Carey do a nice job harmonizing on the vocals and this one's at a little bit more measured pace than some of the other tracks (but with plenty of guitar noise):

Here's another vocal by Hollow, "Half of It":

Here's "Null", with Carey on lead vocals:

In their music there are echoes of a lot of good indie rock bands (Sebadoh, Eleventh Dream Day, Pixies, to name a few that I hear). Mover was released a few weeks ago (May 21) on Forge Again Records.

REVISITED: Rodan - Fifteen Quiet Years

Rodan's heavy guitar rock (post-rock, math rock? or just ROCK) was part of the Louisville alternative music scene that spawned some of the best and most important bands of the late 80's/early 90's post punk era. Having followed the scene after discovering Squirrel Bait (part of me still hopes they have another album or some undiscovered music out there somewhere), I discovered that a lot of its members (fans and bands alike) held Rodan and its album Rusty and a small fortune in limited release singles and 7" records in high esteem... and with good reason. And though Rodan wasn't around all that long, there is undiscovered music and, fortunately for us, it's been released in the form of this new compilation Fifteen Quiet Years. Here's a link to stream "Shiner".

And just for fun, here's an old video of them from Athens' 40 Watt Club in 1994:

This album includes a 1994 BBC Peel session, together with all of Rodan's long-out-of-print 7"s and compilation tracks. In 2009, Bob Weston, Jeff Mueller and Jason Noble lovingly re-mastered the tracks at Chicago Mastering Service. 

Rodan sowed plenty of seeds throughout subsequent music history: Jeff Mueller went on to play guitar and sing in the highly influential and well loved group June Of 44, and subsequently in The Shipping News. Jason Noble played bass in the classical-leaning Rachel's, as well as in The Shipping News. Tara Jane O'Neil sang and played guitar in The Sonora Pine, as well as the duo Retsin. Subsequent to the breakup of The Sonora Pine in 1998, Tara Jane began a solo career as TJO. Kevin Coultas also played drums in Rachel's and The Sonora Pine. On August 4, 2012, Jason Noble lost a three year battle with cancer and passed away at the all-too-young age of 40. On February 9, 2013, Jon Cook also passed away. 

It's a great time to look back at this very special period, and very special place, in the history of US indie rock. Louisville is rightly proud to have spawned all these great and influential bands, and Rodan belongs in the top echelon. You can read more, check out another song and buy it at Touch & Go/Quarterstick Records.

REVIEW: ASG - Blood Drive

ASG is a North Carolina metal/heavy rock band, and has just released its fourth album and Relapse debut Blood Drive. On first listen, I'm knocked out by the heavy groove they ride in... but what makes me keep coming back is singer/guitarist Jason Shi’s voice. Unlike so many metal bands whose riffs and groove make me want to like them, but whose Cookie Monster vocals just don't appeal to me, ASG has risen to the all-around excellence of Relapse label-mates like Baroness and Mastodon, or other WYMA favorites Torche.

Here's "Avalanche" - the opening riff, the building guitar sounds, it's all in service of great songcraft. Shi's voice is terrific - reminiscent of Layne Staley - and he has a tremendous presence:

It gets heavier - some of these songs are amazing riff-fests, where the guitars and the vocal lines resemble a harder-edged, heavier Judas Priest, and Shi shows he's got the chops to scream along with (or on top of) even the heaviest material. Here's "Castlestorm":

And those guitars, and the rhythm section, would be enough to make ASG worth a second, and third listen. Heavy, but very melodic, some of the guitar work is so well-realized I would almost call it delicate, if it wasn't absolutely skull-pounding. But it's certainly beautiful - and some of the songs, bluesy ballads like "Blues For Bama", are enchanting. It's out tomorrow (May 28) on Relapse - you can learn more at the website, and order a vinyl edition which will contain a bonus track "Mourning of the Earth".

ASG at Relapse Records
ASG Facebook

REVIEW: Destroy This Place - Destroy This Place

Destroy This Place is a Detroit-based hard rock band playing hot guitar riffs over a breakneck rhythm section. If that sounds to you like the Foo Fighters, I'd say you are onto something. And if you like the Foo Fighters, I wager that you will enjoy Destroy This Place, and their new self-titled album, too. We wrote about them, and shared two songs, back in April (WYMA post here).

To get you started on your speed trip, here's "Graves":



Love the wall of guitars on this one, truly, but as on the rest of this album, I want to call attention to the drummer and bassist - they knock it out of the park, especially on this song. The vocals, and the way they interact with the guitars, remind me a bit of Overwhelming Colorfast. Check out this one, opening track "Lethal Sky":

And one of the tracks we shared previously, "Defeated":

But again, this music ain't happening without the killer drum and bass - try not to throw your head around while you're listening to this. They play hard, fast and loud - but the band is tight. One of the most melodic tracks is the closer, "Ghost Ride The Lightning" - but don't worry, there's plenty of thrash on this one too:

If you need any more hard rock bona fides, the album was recorded by Mike Bridavsky (BLK JKS, Rogue Wave, Good Luck, Murder By Death, Magnolia Electric Co., etc) at Russian Recordings in Bloomington, IN, and mastered in Chicago by Bob Weston (member of Shellac and Mission of Burma, engineer for too many hard rock albums to name). It's a hard-rocking record, and a lot of fun to listen to. Just make sure you're where you can turn it way up.

Destroy This Place

Bellyache Records

(Earmuffs, kids) New Fuzz Rock Discovery - Fuck Mountain - The Mountain Strikes Back EP

From Dublin comes (hey, kids, earmuffs!) Fuck Mountain. This is super-noisy distorted guitar rock that really hits the right spot when you're looking for something loud, angry and without pretense. Featuring great drumming, fuzzed-out guitars and vocals that rise and fall in the mix, I'd say this is recommended if you're a fan of Dinosaur Jr., especially early Dinosaur Jr. Check out "Snow Day" and be sure to stick around for the guitar solo about 3:00 in:

The second cut on the EP, "No Shame", is a little bit janglier. A little bit. Still plenty of distortion and pure punk vocals, though:

As a bonus, here's a video they released last year for "Central American Man":

This music is delightful, and the band name is so inspired I can't believe nobody else has thought of it before. They have two EP's available if you click through to their Bandcamp above, and promise there is more to come. The sooner the better...

FKMTN on Facebook

FKMTN on Twitter

New video from Horsehands: "Righty" from Sirs

Horsehands are a prog-rock band from Boston, playing invigorating stuff that approaches metal in its ferocity. We've written about them before (WYMA post also contains a free download link). It's pretty fresh, creative stuff with good influences. Among other artists, they remind me fondly of Mcclusky... and even more so in this frenetic, aggressive song and video.

That said, check it out for yourself:

Horsehands - Righty from ManosDeCaballos on Vimeo.

Horsehands Website

Destroy This Place - advance single "Defeated" from upcoming S/T album (due 5/14)

Destroy This Place is aptly named. Their guitar attack is ferocious.The band consists of vocalists/guitarists Ryan Allen and John Nelson, bassist Monday Busque and drummer Sean Sommer. They're based in Detroit, but they don't hew to the hard blues/rock sound that is prevalent among some of the artists we encounter from the area. They do rock hard, but they do a lot more with the wah pedal and other guitar effects. The music is more melodic than I am probably making it sound -- you should listen for yourself.

Here's "Defeated":



And here's another song, "Graves":



The album is due out in May, and we'll have more to say before then... for now, enjoy these two songs.

Destroy This Place Website

New Spanish Hard Rock Discovery: Bullitt - So Many Ways

Echoes of the Wallflowers, Foo Fighters and '70s hard rock cascade throughout Bullitt's latest record, So Many Ways. Bullitt is a foursome from Sant Feliu with Xavier Calvet on vocals - while the music is fairly straightforward hard rock, his vocals are reminiscent of the emo of artists like Promise Ring - it's an interesting combination. As an example of the melange, check out "Back to the End":

They have incorporated violins and keyboards, but on the final 3-4 songs of the record, they return to what I am told is their previous form and rock very hard. Here's "Headblower":

This is an exhilarating listen - if you like melodic hard rock, it's worth your time to check out. Unlike some of the great Spanish stuff I've shared from BCore, these cats sing everything in English - so if that's been a barrier to you (it certainly isn't to me) - don't let it stop you this time.

Bullitt at BCore Disc

New Post Punk Discovery: The Dirty Nil/Northern Primitive (split single)

From north of the border, two new friends have emerged... The Dirty Nil has a new record out, a split 7" with Northern Primitive. It's plenty heavy - the first cut, "Zombie Eyed" has a punk energy that demands you play it loud, and the second, "Positive Bondar" is a little more drawn out - but no less heavy. Pounding drums, heavy guitars, shouted vocals - pretty exhilarating stuff.





Here's the video (Northern Primitive go first on this):



Here's an earlier track from a short EP by The Dirty Nil, "Little Metal Baby Fist":





Here's an earlier track from Northern Primitive, "Docking Guard" - and this 4-song EP is available on Bandcamp as well:

REVIEW: The Joy Formidable - Wolf's Law

The Joy Formidable have been featured on our blog before - Scott first came across them and featured their music on a Midnight World Pop Scout, and I posted a review of their terrific 2011 album The Big Roar. Their follow up, Wolf's Law, is due out next Tuesday (Jan. 22) on Atlantic. The high standard set by The Big Roar is met and possibly exceeded on this one.

The Joy Formidable still rock extremely hard - I'd call this a drum-based sound and in some ways they remind me of the Foo Fighters. I'm not surprised to learn that since releasing The Big Roar, they toured in support of that band - there's a lot in common. It's exciting music, but very melodic for all that. There's not much change in the sound from that earlier record, nor should there be - The Joy Formidable have nailed a very exciting sound, and if anything have perfected it in the time between then and now. There are a few new sounds - check out the Jack White-style guitar work on "Little Blimp". And the pace gets pretty breakneck, showing perhaps a bit of a punk influence, on "Bats".

Here's the video for lead cut "This Ladder Is Ours":





Here is the video for "Cholla":



There are a few ballads ("Silent Treatment", "The Turnaround"), but even on those, the sound is big and anthemic, with liberal use of swelling string sounds to supplement Bryan's strong vocals... if nothing else, she get a chance to show her range. Just in case anybody thought she would not be able to carry songs without all that rock accompaniment - she has no problem with the slower stuff. "The Turnaround" is beautifully sung. It's just that big rock is what The Joy Formidable do best. And when they are at their best, much like the Foo Fighters, they make you reach for the volume knob and turn it up.

Joy Formidable website

Merry Christmas From The Buffalo Killers and the Bohannons!

Christmas is almost here, and we have a few presents for you!

Check out this heavy, psychedelic cover of Chuck Berry's "Run Run Rudolph" by Cincinnati's Buffalo Killers:



And this cover of the old Beatles' fan-club-only 1967 song "Christmas Time":



They are happy for you to have these songs free of charge, in the spirit of the season.

And here, also available for free download, is a new song by Chattanooga's The Bohannons, "Christmas in Vietnam":



Here at the end of 2012, I want to give a special salute to the Buffalo Killers, whose 2012 release Dig. Sow. Love. Grow. was reviewed here, and to the Bohannons, whose Unaka Rising was reviewed here. If you're looking for fierce blues-based rock music, these are two artists you ought to spend some time with as you look to spend the iTunes gift card or (hopefully) Grimey's (or other local music retailer's) gift certificate you will receive next week.

It is possible both will be featured on a WYMA Blog Best of 2012 list, coming the week of Jan. 1...

REVIEW: The Bixby Knolls - Near And Undear

Bixby Knolls is an LA-based heavy rock band led by singer/songwriter/guitarist Curt Barlage and features the talents of drummer Sammy Fayed, bassist Christian Morales and guitarist Cesar Saez De Nanclares. It's LA glam rock, and Near & Undear features some rock influences any soul-loving hard rock band would be proud to claim: Roxy Music, The Four Tops, The Clash, Joy Division, The Stones, New York Dolls, Primal Scream... as lead man Barlage claims: “Our record reminds us of Bobby Gillespie and Joe Strummer in a fist fight.” Sometimes you can hear a band and guess what's in their record collection. If a band is willing to tell you up front about their record collection, what's left but to assess whether they did it justice?

Lead track "Supervised War" is heavy as can be, all tribal drumbeat, glam noise guitar and disaffected vocals. Next up is "Through The Cracks" (available for download here) - a slow-burning song with about 2:00 of drums and chanted vocals with a couple of savage guitar breaks:



"It's All A Lie" is a soul/psych/fuzz workout, and "Runnin' And Runnin'" (in my estimation, the best song on the record) juxtaposes a ridiculously catchy Four Tops drum/bass line and soulful Barlage vocal with another hypnotic fuzzy guitar lead. This is some very fun music, which leads to the obvious question, how would this come across live? By way of answer, here's a video of "Running And Running":



"Reina Del Mezcal" brings in some Tex-Mex organ, but again it's backing very strong fuzzy lead guitar and Barlage's R&B-meets-glam vocals... as well as several changes in tempo. "Waking Up The World" and album closer "Want It All" turn up the punk influences - calling to mind New York Dolls as well as Jim Carroll Band (remember them?). "Autumn Will Fall" is a little more straightforward rock song with, again, plenty of good guitar work, perhaps even a bit of jangle.

Over the course of the record, the band plays with these and other influences, always with Barlage's strong vocals up front, a rock-solid rhythm section of Fayed and Morales, and slashing riffs from Saez De Nanclares and Barlage. In terms of the completeness of their self-proclaimed list of influences, I'd say they could proudly add Alejandro Escovedo (especially in light of his side projects Buick McKane and The Nuns) It's an exhilarating journey over the course of 11 songs that ensures The Bixby Knolls will be worth keeping an eye on.

REVIEW: Pile - Dripping

Boston post-punk band Pile is playing some pretty aggressive (and, at the same time, melodic) rock music. On their latest record, Dripping, the bass-heavy hardcore sound is somewhat reminiscent of The Pixies, or maybe The Offspring - a full-on bass/guitar attack supporting very strong, but somehow disaffected vocals, at the same time sacrificing nothing in the way of songcraft. I'm also reminded of some post-punk metal bands like Mastodon... but no one comparison is right on, which to me is a good sign. There are some nice downbeat moments on here, too - the short, penultimate "Steve's Mouth" is almost sensitive.

There's definitely some dissonance, but the good kind, like maybe Slint? I don't mean to overdo the comparisons, but with a band that's new to me, it is kind of inevitable that I gravitate to them, especially if they are good ones like they are with Pile. After all, the point is to entice you to listen...



Here's the lead track, "Prom Song":



You can check out the album, and buy a download, at Bandcamp:




You can order the vinyl at Exploding In Sound Records. I like it, and look forward to exploring the back catalog a bit.

REVIEW: John The Conqueror - John The Conqueror

John The Conqueror is a Philadelphia-based blues/rock trio: Cousins Pierre Moore (vocals & guitar) and Michael Gardner (drums) are originally from Jackson, MS, while bassist Ryan Lynn is a native of Philadelphia. They are working in the same general territory as The Black Keys and Dirtbombs - blues/rock with a little (or a lot) of added spice. Between the two, Moore's vocals seem a little more soul-based than Black Key Dan Auerbach's blues style... not surprising given a provenance of Mississippi crossed with Philly.

Make no mistake, this album (their self-titled debut) rocks hard, throughout. The guitar intro on "Lucille" is scorching, leading into a stomping rhythm section backing strong multitracked vocals and a nearly psychedelic guitar line. If you remember what you've always liked about rock music that hews close to the blues and soul traditions, you will be well-disposed to enjoy what JTC is doing.

There's also a punk influence, best heard on stuff like the fast guitar intro to "Say What You Want", which is a 2:25 rant that keeps a high energy level throughout. Here's a taste:





And here is video they made while recording album cut "I Just Wanna", another good representation of their style:



It's on Alive/Naturalsound, which has not let us down yet... we've featured labelmates Lee Bains III, The Buffalo Killers, Brian Olive, Left Lane Cruiser and Radio Moscow. John The Conqueror is a welcome addition to that roster of hard-rocking bands, and heir to the Alive/Naturalsound tradition started by The Black Keys themselves.