Tree House Fire Rocket Album Review

Those loveable Guildford based reggae/ska /pop fellas  Tree House Fire have proudly produced an amazing debut album – available right now on Trench Foot Records.

The recording entitled Rocket! can be grabbed at their bandcamp site or using the links below.
After the band’s sensational show at The Hobgoblin, Staines at the weekend (Ant’s Birthday bash) – we got hold of a copy of Rocket!  And here’s what we thought:

With a whirlwind of a start to it,  this song pumps you up from the inside and it makes you grind. The first tiny taster-track grooves smoothly into the superb composition ‘Straza Grip’. With its boom-boom political references and a bass line that walks impulsively along-the-line. This accomplished song has more fire in its belly than a dragon that’s been force-fed a vindaloo.  ‘No more prophets to spread the world …’  Sings Sam (vocals / guitar) as those sinewy organ sounds swelter out.  This track simmers and bubbles beneath the Levantine sun. 

‘The Drop’ pulls no political punches either.  But that won’t stop you dancing.  The vibrations will shake your chitterlings  -  causing some sonic damage deep down in your Mondongos …

And then ‘Rabble’  flames up a joint of soothing sounds, so you can start to relax and unwind into some early shimmying, ready  for ‘Peoples Problems’.  This enjoyable ditty has lumpy low notes  – and these get pulled and prodded around by the band’s miracle bass player – Ant.  The cool voice runs along, growing in stature as it matures within the song.  And then, before you know it, it’s all over. It’s a bit like a night out with your mates really!

Title track ‘Rocket!’ has a traditional Reggae/Ska edge to it. Effective vocals create several notable moments, and the song-structure will certainly make you raise your arms and sway.  A memorable chorus will linger for ever, too.

Scratchy ‘Great Ocean Road’ (Featuring DJ Killer Tomato)  is a fast paced squawking scatter-gun of surprises. An addictive beat is gilded by those intrepid vocals that chatter out an alarming rate.

The track ‘Stack It Up High’ is the creation ”par excellence” of Tree House Fire.  A firm favourite at live shows, the bass play in this extraordinary piece is so utterly depraved that it  almost consumes you.

And ‘KMB ’ is the band’s party song.  It’s happy reggae. It has a whooping sing along chorus and oodles of plucky guitar sounds that keep moving behind an enormously bouncy bass and cheerfully inflatable vocals. It’s the kind of the song that you need to take your heels off for.  Sod it, take off your shirt too. ‘Cos you will be dancin’ along to this one. For ages.  I promise you. In fact, you will be “bouncing off the ceiling ..”  after listening to it.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/treehousefire

Loose Lips Live Review

Brighton based trio Loose Lips have only been doing their punky pop-rock thing on the circuit since June 2011 – yet they already sound like the tightest band you’ve ever heard.   Take the guitar based dexterity and the song-writing skills of a band like ‘Biffy Clyro’ and combine that with the freshness and style of a band like  ‘Kids In Glass Houses.’ But take a pinch of summer sea breeze and surf up style …  and you start to approach the spirited perfection of this band’s output.

We were lucky enough to see them play at the best music venue around – The Hob Staines – on Saturday.

Live, their songs flow well together, each with a distinctive style and a vigorous attitude.  And there is ample evidence  of their technical ability, found in their exuberant performances.  Engagement is at the social level – their songs are for parties and celebrations.

Jason Barker (lead vocals and guitar) Matt Don (bass guitar and vocals) and Sam Perkins (drums and vocals) have an almost flawless amiability. They cheer up a room -  just by being in it. They don’t even need to pick up their instruments to create some fun!

And their numbers are always so generous – invariably full of brazen joy and cheeky cheerfulness. Take their song ‘Blue Rubber Blanket’. This has a highly nourishing melody together with a distinctive sound. Creative guitar-work is light enough to illuminate a room.  And the song speaks to the listeners on an emotional – yet impertinent – level.

‘Drive Away’ has a throbbing rhythm and vast swathes of chords that will brush across your brow, knocking you off your feet.  Lyrics speak boldly to the audience.  The words are incisive and stimulating. “You better drive away…  before I change your mind…”  And all-the-while, this plucky band are the exemplars of efficiency in music.  There is never a roll of drums, plucked bass note or a chord strummed that is ever wasted.  Every note, every word, is perfectly placed.

‘Blindfold’ has that same acidic sweetness that we expect from Loose Lips. That step-down riff is extraordinary. And the melody will remain deeply rooted within your skull for weeks. With drumming as fierce as a famished floozie after a night out on the bubble.  And a voice so wild, and so insanely high-spirited,  that you are likely to get wet … just by watching.   Well, it’s no surprise that everyone dances and prances like crazy coyotes at a Loose Lips gig.

What a band!  Go grab a slice for yourself.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/looselipsuk

Peter Dolving Solo Debut Album

Peter Dolving is a guitarist, songwriter, visual artist and is the former singer of the Swedish metal band The Haunted.

In 2011 Dolving joined the Swedish hardcore band Rosvo having quit The Haunted for a second time.
Dolving is now set to release hi solo debut album Thieves And Liars Release Date – 3rd December 2012

We had an early listen, and here’s what we thought:

The first track ‘Meinhof’  sounds like it rattles along a rickety track. Screaming wind chimes lace the air, as dirty great boulders of filthy drum-beats pelt down. Faintly rockabilly vocals jostle into view – and a wafering guitar slices the thick turgid air.

‘Song For You’  has a bruising, cruising bass line that will  rub you up the right way. The thwacking drums keep your feet in spasms of ecstasy. Slimy guitars eel their way around the piece … slipping their way into the  crevices left by the rhythm. And the vocals are splendid adornments in their own right.

‘Hands On’  has sneering vocals that hiss and whine in a gaseous sounding environment. Disconcerting guitars grow like fronds of fungus in the darkness.  And the “ Put your hands where I can see them…” lyric is vaguely heard against the extraneous noises of the night-time city air.

‘One Sweet Moment’ is like a rampaging metal monster kicking his way through a dangerous waste tip.  Whilst ‘Ordinary Folk’ has vocals and an attitude reminiscent of output from Marilyn Manson.
‘Sunday Mornings’ has a sad and awkward blues beat,  full of expanded rubbery bass notes. It comes at you like a ferreting beast … clamoring, clawing and digging.  Then a howl heralds a shiny vocal that almost glints in the dark sweetness.

‘My Will To Die’  is a piece of dirty rock.  Shadowy vocals lean up close – to whisper blasphemous truths into your eager ear. This could easily be a sound-track to a mafia based TV series.  And  ‘So Sick’ blasts out in a fiery rage. Filled with energy and cataclysmic power. An anguished voice is crushed against the merciless drums and then flayed by the buzzing guitars. This is a very fine track.

Finally ‘All This Beauty’ blasts out into the open air – gulping up all the oxygen, leaving you with nothing else to breathe.  A plaintive cry forewarns you of the oncoming corrugated sounds that will come to take you away. For ever. Drum notes and bass sounds are hammered out in a twisted and hellish forge. And the guitars, when they finally arrive,  fly off wildly , embarking upon their own fantastic journeys. This track demands repeated plays.

– © Neil_Mach September 2012 –

Link:

http://peterdolving.bandcamp.com/album/thieves-and-liars

Toy Debut Album Review

TOY was formed in 2010 in London by singer/guitarist Tom Dougall (younger brother of Rose Elinor Dougall of The Pipettes), Dominic O’Dair (guitar), Maxim “Panda” Barron (bass), Charlie Salvidge (drums), and Spanish keyboard player Alejandra Diez.   Dougall, Barron and O’Dair had previously played together in Joe Lean & the Jing Jang Jong.

The band’s first live performance was at the Cave Club in London in January 2011.

This year the band were picked as one of NME’s “100 New Bands You Have to Hear”, with Rhys Webb of The Horrors describing them as “the most exciting band to come out last year” and “my favourite band for 2012”.

They have now released their first album ‘Toy’ (2012), on Heavenly records. Available from today.

We took a listen, and here’s what we thought:

‘Colours Running Out’. If you already know that you like your music psychedelic and esoteric then this will appeal to you. If you have not yet been immersed into the mystical world of psychedelic rock – then maybe this is the band that will take you to that new place.   The frantically hypnotic, brightly dyed sounds in this song will enchant and bewilder you. And, yes, the colours may leak … but those sparkling guitars and percussive loops that create vortices of inky darkness  … will  come to free your mind.

‘Reasons Why’ – kicks off like a cheesy seventies ballad. But that is before the bucolic groaning of the verse wallows and moans into view. Cloudy textures add a smear of perspiration to the overall tones. This track is spotless and perfect, with a sweet cotton candy finish to it.

‘Lose My Way’ has a fizzy and dizzying spiral of spectral sounds that fuse into the vocals – melding them seamlessly to the crystalline chords and choppy percussion. The dreamy vocals fizz and spurt forth. This is a lucid fountain of colours and papery textures.


‘Motoring’ has that bellowing whale-song imagery found in some other tracks, and a tinkling of guitars that create a confusing puzzle of connecting pins.  Through this painful jungle, the rhythm drives impetuously.  And the insistent vocals chug into view and keep nudging at you for attention. This is a face paced song with an agreeable kick… spurring you on to a better state of mind.

‘Strange’ is flamboyant and disconcerting. A large wave of sounds and images washes over you like a weed-filled tide. Whilst ‘Make It Mine’ scurries along, nosing  its way into your empty places and mischievously  feeding on your memories. Nostalgic and troubling.

‘Walk Up To Me’ sounds inconsolable. A sad mixture of regrets and lost opportunities. These swirl about, kicking up a red dust and creating vapour clouds full of hypnotic patterns.  The vocals are frosted. And the guitars jangle and whine. Treacly notes keep rising fluidly- rippling into the stark heavens.

‘Kopter’ sounds like something from Pink Floyd’s ‘Meddle’. An industrial synth rattles along convincingly. And the voice remains ethereal, yet focussed.  This is the most cohesive progressive song found on the album.

Grab this TOY now. And learn to see for miles.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/toy.band

Click Here to Grab Your Copy

The Peacocks – Don’t Ask - Album Review

The Peacocks – Don’t Ask

Straight out of Switzerland The Peacocks have been playing double bass driven punk rock since 1990. That is long before Australia’s band ‘The Living End’, had even formed. The comparisons with that band are justified though, rockabilly influenced punk trio with hard hitting, excellently observed and aware lyrics that have transcended genres.

Their new recording ‘Don’t Ask’ is a 14 track stomper of an album that is all that we have come to expect from The Peacocks – Explosive, rockabilly influenced, stand-up bass driven punk rock, addictive and as catchy as hell.

It deserves to be played LOUD!

We took a listen to the perfectly structured songs on the album (Release date:  05 Oct)  and here’s what we thought:

‘What I want’ has a thundering, galloping beat that will remind you of a jalopy careering down a flinty ridge. Sneering vocals have a perfumed arrogance about them. Cymbals shatter the dusty guitar lines, and then the arrangement is notched up a gear – before it cartwheels off the edge of a ferociously precipitous cliff face. My my !

‘Need A Break’  has a nasally gooey guitar line that gurgles and leaks out before the crystal clear voice breaks cover and goes for it. A rumbling rock ‘n’ roll beat keeps things brisk and business-like.

‘All I’ve Got Is What You See’ sounds like The Clash.  A punkish prickly vibe and bristling percussion- with drumming and bass as stiff as loo brushes. Solid chops of guitar and a mere hint of a back beat that adds a fruity Sixties flavour.

‘Don’t Pretend to Care When You Don’t Care’. The peat smoked vocals on this track sounds like Shane MacGowan – in fact this whole piece has an admirable Celtic punk/Folk punk sponginess to it. Claggy drums thump whilst sour whiskey soaked guitars lurk about looking for trouble.

‘Up and Down’ starts like a Johnny Cash song. A tenuous guitar leads us a-dance, then a ribald bass riff rubs you up the wrong way. Cheeky vocals are chanted out in a dingy bar room setting. A sing along chorus makes you feel all beery and glad.

‘How Did They Do That?’ Glistening guitars walk up and down a la ‘Shadows’.  Doing the walk. And you’ll do the walk with them. Chopping and incisive guitars perfectly suit the switchblade sharp and dangerously cutting voice. This is a scoffing disdainful protest song. Sung from the angry gut.

‘With You’ seems to follow on naturally from ‘How Did They Do That? ‘ Sending up the Eurythmics is fair. But the Jam-like chorus is a step too close to thievery.  This shaggily shambolic shakedown is one of the album’s weaker moments.

‘Nothing Left to Sing’ is a far stronger piece. A jaded ballroom twister. A howler and a spin-a-rounder. You can smell the sawdust as the guitars fizz and bubble. And the greasy vocals stir up and foment disorder on the dance floor, long before the bruisers have arrived. Watch out. Or you’ll end up being dragged in.

‘Shouldn’t Bring Up What I Can’t Put Down’. Treating us to all of the tricks in the punk book of musical wizardry, this final track sings and shines. Glorious guitars fizz and burn as the unselfish riffs pack everything they can into such a small space. Concentrated joy. In a rusty can.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/thepeacocksofficial

Patrick Wolf covers Lana Del Rey

Born In Central London in 1983, Patrick Wolf  released his first self produced and self-written E.P in 2002 aged just 19. Since then he has released 5 fantastic albums, toured the world almost constantly to an ever growing international audience, whilst constantly changing and exploring new sounds, songwriting styles, visual identities and production.

Within the last 10 years Wolf has collaborated with musicians such as Patti Smith, Angelo Badalamenti, Florence Welch, and many others,  as well as art world luminaries such as Nan Goldin, Wolfgang Tillmans, Tilda Swinton and Ryan Mcginley. A classically trained Viola, Harpist and composer, a self trained Pianist, SInger and Producer, Wolf also writes all his own material without Co-Writers.
Last year at the age of 28, Wolf accepted an “Outstanding Contribution To the Arts” award from Dublins Trinity University.

On Saturday 1st September 2012 Patrick was interviewed by Steve Lamacq standing in for Dermot O’Leary on his BBC Radio 2 show. On the show he talked about his album Sundark and Riverlight, ( Release date :  15th October 2012.) Patrick alsoa cover of Lana Del Rey’s ‘Born To Die’.

We took a listen to the Born To Die (Lana Del Rey cover) and here’s what we thought:

Sparkles of glittering manganese harp alert you to the piquancy of this beautiful piece, as the latent power of Patrick’s warm voice melts to greet you. His voice sounds sandy, but with a nostalgic burnt umber hue. The chrysalis of warm strings, and the eloquent melody, soon begins to cocoon the vocals – adding a deliciously svelte glamour to the piece. 

The ochre voice gradually emerges fully formed and possessing powerful grace. The final anguished pleas are stark against an interlacing web of taut strings, as the song slowly dies in a fading marrow sun.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/patrickwolf

You can pre-Order Patrick’s new album ‘Sundark and Riverlight’ from www.patrickwolf.com.
Album released October 15th 2012.
There is a free limited edition fanzine with all Vinyl & CD pre-orders.

First Aid Kit Live Surrey UK

First Aid Kit is a Swedish folk duo composed of sisters Johanna and Klara Söderberg, whose close vocal harmonies and woodsy, folk-influenced songwriting take influence from the likes of Fleet Foxes and Joanna Newsom. Hailing from Enskede, a southern suburb of Stockholm, the siblings began composing songs in 2007.

After playing a concert in Nashville the duo was approached by Jack White who requested them to record a single for his Third Man Records series. In February 2011 the duo collaborated with Bright Eyes during their performance of Lua. In January 2012 the band released their second album, The Lion’s Roar, produced by Mike Mogis. The album was critically acclaimed upon release and went straight to #1 in Sweden on the week of release and #35 in the UK.

First Aid Kit came to the superb Guildford venue The Boiler Room (sold out) with songs like their very special piece  ‘The Lions Roar’.  These have a Dylanesque  quality to them- not only lyrically but also with wallowing, haunting chord structures.  But you can often find a harshness, a grit and a determination  in their exquisitely rendered songs. No matter how sweet the girls look, or how honeyed those immaculate confections are,  this pair are bold and rugged and they have a knowing glint in their eye.

‘The Lions Roar’  is a song that criticizes religion – but empathy is also shown at the ingenuity of the human race. It is recognized that, where we need to seek comfort – we will look for it, and find it. In the best ways that we can. Klara’s voice breaks at unpredictable times – reminiscent of those country and western singers who sometimes you lead to a choke.  And Johanna’s tresses billow and sway like shimmering plumes. You soon realise that these girls are true performance artists. The “Lion’s Roar’ leaves you almost inconsolable, with feelings of isolation, rejection and pain. Yet, somehow you smile. Because life is beautiful. That’s all there is to it.

A similar song that can also be enjoyed as a metaphor for gaining strength in isolation is ‘Hard Believer’,  which was written after reading Richard Dawkins’ book ‘The God Delusion’ and starts out as an explanation – offered to an uncompromising believer- that sets out the sibling’s own belief system. The vocals  are arranged against a soft combing of delicate strings. As the harmonies start, you can almost feel the wind on your face – and see the wild geese flying into a winter moon. Yes, as they say, “time is tough”.  But, as the keys are starting to fall in tone, and notes drop fatally lower – like autumn leaves tainted by an early frost -  the descant becomes even more soulful and less expectant.  It is at this stage that the song can truly be released- into a full and thriving understanding of the nature of life. It’s a position that we can take and we can understand – no matter our belief system or adopted religion.

Two cleverly crafted cover songs were also included in the Boiler Room set. The gently rhythmic ‘When I Grow Up’  (written by The Knife’s  Fever Ray (Karin Dreijer Andersson) and, later,   “America” by Simon & Garfunkel, which the pair performed ( for Paul Simon) at the Polar Music Prize Ceremony 2012 this year.

An amazing, and spiritually uplifting evening of fine performance.

– © Neil_Mach September 2012 –

Link:

http://www.facebook.com/firstaidkitofficial

Kyoto Drive - Breathe Video

Kyoto Drive

 Kyoto Drive have just released the video for ‘Breathe’ from their new Mini-Album ‘The Approach’. The video was produced by the very talented Josh Partridge who has worked with such artists as Deaf Havana, Portia Conn, The City Calls and Sell Your Sky.

Adam Binder, Kyoto Drive told us, "“Breathe”, the song, is basically about sex, lets not skip around that fact. The song is written from the viewpoint of the boy, looking for some kind of sign that the girl is enjoying herself as much as he is. So it’s kind of a love song, kind of not, and no matter what guys say, we’ve all been there, we’ve all waited for that second of recognition from that girl that we REALLY liked. So following on from that we really wanted to do a boy/girl story style video, keep it in theme with the song, plus we’ve done the whole band performance video thing, we wanted to try something new. This is what Josh the director came up with...”

We had a listen, and here's what we thought:  

Shimmering guitars bustle into sight - and then the golden limbs of virile voices bound into view. Prepared. Flashes of percussion intertwine with the sharpest swelters of aching guitars. The chorus oozes and gleams in the warmth of the sun ... this is a fuggy pudding of hot frolicking fun.  

And the words are so intelligent too, “ we sail the seas of sex in symmetry ...” Then there is no time to break away from the churning sounds, and whilst you are unprepared, this allows the glare of the guitars to spill out - and sweetly, so sweetly - the finale is yanked free. Free to fly, hopeful into a sunny sky. See it go there ...

– © Neil_Mach September 2012 –

 Link: http://www.facebook.com/KyotoDrivemusic

UK Tour Dates ( with Hawthorne Heights)

19.09 THE HAUNT, BRIGHTON
20.09 THE PEEL, KINGSTON
22.09 MOHO LIVE, MANCHESTER
23.09 VENUE, NEWCASTLE
24.09 TUNNELS, ABERDEEN
25.09 DEXTER’S, DUNDEE
26.09 NEWMARKET BAR, THURSO
27.09 STAIRWAY, GLASGOW
28.09 THE WELL, LEEDS
29.09 THE SUGARMILL, STOKE
30.09 HOBO’S, BRIDGEEND
01.10 CRAUFURD ARMS, MILTON KEYNES
02.10 FACEBAR, READING

[youtube http://www.youtube.com/watch?v=L4XYjRzWxPg&w=560&h=315]

Sonic Boom Six - Virus

SONIC BOOM SIX return with their new single 'Virus', the first to be released by their new label Xtra Mile Recordings, on digital download on September 17th. 'Virus' gives a taster of the mix of rock, reggae and electronica.

We took a listen, and here's what we thought: A yearning, heart-stirring grimace of yawning sounds greets you like a gaping cavern of noise. Then Laila K’s vocals doodle and squirm out in that delightful way.

And you are away. The glorious “writing on the wall ...” chorus fades in and adds a glimmer of sensual light to the overall feel of the piece. And then quaff that rap from Barney Boom - it is mechanistic and absolutely intrinsic ... a steady stream of vital ideas and style in motion. Percussion dustily rattles and shakes about, and then creates a cataclysm of sumptuous sounds that frame the voices so significantly that you feel like you are being lashed by a spirited whip in the foul wind. Sexy synths and a piercingly urgent crimewave of dub-sound guitarwork all adds up to one helluva thrilling sound .

To be enjoyed over-and-over. – © Neil_Mach September 2012 –

 Link: http://www.facebook.com/sonicboomsix    

 [youtube http://www.youtube.com/watch?v=uDNjrMOE1vE&w=560&h=315]

Alabama Shakes - Live Review

The Alabama Shakes have been heralded as the messianic cotton belt saviours of rock. We were lucky enough to see them playing at the End Of The Road Festival, Larmer Tree Gardens, North Dorset, UK. this weekend.

The current hype has it that the destiny of stadium-sized rock now lays in their hands. Sell out shows and platinum coloured discs, halls of fame and talk-show commotion – everything that we associate with ‘big rock acts’ now depends, rather  unpromisingly, on a large, bespectacled, shabbily dressed lady and her improbable band of startled hill-billy misfit cronies.

But I can now say that, without question, something has at last come along that the oldies can expropriate and call  ‘my music’. It is amazing to think that the future of ‘Dad Rock’ is in the hands of this group of sweaty cotton-picking yokels  -  all the way from the Heart of Dixie – who just started out in 2009.

Dismal quarterly figures have had record company executives sobbing into their mid-morning macchiatos over the last few weeks. It is said that the lack of big-name acts was to blame. Rihanna could not even do it for them. She managed to top the UK chart with sales of only 9,578 CDs and downloads combined. [Talk That Talk]. It was the worst sales performance seen since records (and records)  began.

So now, more than ever, we need a really great band. And a really BIG name. The Alabama Shakes have stepped up to take the baton. Rising from total obscurity, in just over three years they have propelled themselves to the top. They are now ready to assume the role as the Defenders of Rock 

I would not dare to suggest that their singer Brittany Howard is anything other than self deprecating and modest – but she mentioned the type of line-up which she has imagined that her band could play alongside in a year or two -  when she told  EoTR that it would “probably be AC / DC … Led Zeppelin, Tina Turner and the Rolling Stones …”

So, do they stand up to the hype? Oh my God, yes. When they play live, they exceed all expectations.
When the Alabama Shakes took to the Woods stage at Larmer Tree Gardens on Saturday they looked like they had just got up after a happy day spent disposing giant moonshine hangovers in some long forgotten ditch on the huge Dorset estate – probably in a muddy haystack, near a festering pig-swill silo.

Brittany was dressed in a black top, with gauzy Walmart scarf, improper brown boots and her hair rushed into unconvincing ponytails, her trusty Harmony Rocket guitar strapped high. Bass guitarist Zac Cockrell was wearing a pair of stained denim overalls and a brown cap. Up on one side of the stage -  high on an alter piece – sat Ben Tanner on keyboards, wearing an old thrift store pin-striped jacket. “My quest is to make him a star” Brittany screamed.  At the side of Brittany, and for the entire duration, stood guitarist Heath Fogg,  who was wearing a blue denim shirt, and clutching his pearly Gibson. Drummer Steve Johnson was also at the front-of-stage wearing a dirty baseball cap and a murky sweat shirt.

So what were they like? Well, if you can imagine Robert Palmer, Chuck Berry and Tina Turner, all rolled  into one, you get close to the experience. Back when they started, the Shakes covered songs by Led Zeppelin, James Brown and Otis Redding. And it still shows.

At this stage (anyway) the band seems to be a mechanism for the unbelievably talented firebrand Brittany Howard to purvey her kind of frenzied soul. They are the best retro rock, roots and soul band I’ve ever seen. Or I have ever imagined, for that matter.

With songs like ‘Hang Loose’ from ‘Boys & Girls’ [2012]- their numbers jauntily roll along and have a husky sweetness to them- they sound like the kind of work you might associate with bands like The Faces. With an innocent, yet clever, blues-rock accompaniment.

Or ‘Hold On’ that twangs a lot deeper and may remind you of something by Eddie Cochran. The cotton-dust digs deep in your veins. Rivulets of sweet dripping guitar notes are uncontrollably lost on a peanut-shell-strewn shelf of rhythm. And the voice is filled out with sweet spasms of pleasure. Just experiencing that rubbery rib-shack rockabilly beat makes you feel alive.


‘Rise To The Sun’ is a beast more difficult to define. The sweet icy voice plays it soft at times, but rapidly this song evolves into a generously pluming bubble bath of sounds -  a flood of rattling emotions – as a celebration of vibrant guitars storms in, to take you off guard.

And ‘Boys & Girls’ is their Al Green sounding  piece. Laden with sentimental feeling and lush melancholy memories, it manages to create an atmosphere of empathy with the crowd who, en masse, swayed unashamed to the waltzing rhythm.

So, in a world of lack-lustre ‘stars’ – and the forgettable fodder that they spew out -  impressive performance is hard to find . Musicians who really know how to bring a crowd to its feet are in the minority.  But the Alabama Shakes are the real thing.

And take note. The greatest gift that the Alabama Shakes has to offer is the power to unite. They can bring absolute peace in a broken world. They create harmony for all. The rifts in the rock universe are about to be healed by this band. So, come together, right now. Over these.

– © Neil_Mach September 2012 –

Link:
http://www.alabamashakes.com/