Album Review: Brent Cobb - Shine On Rainy Day

Review by Trailer

The inviting warmth of John Denver, the deceptive simplicity of Kris Kristofferson, and the swampy grooves of Tony Joe White. Comparisons are the crutch of a lazy critic, but I'll be damned if those three traits don't fairly aptly describe Brent Cobb's sound. Throw in a little Van Morrison sublimeness for good measure. If I'm gonna go the easy route, I may as well go all out.

Hailing from a musical Georgia family, Brent Cobb gets both his chosen career path and his sound honest. His dad and uncles were songwriters (in fact, they wrote one of this album's strongest cuts, "Country Bound" when Brent was 5) and cousin Dave, well, you know Dave. He's helmed a few records you might have heard before. He's at the board on this one too, and Shine On Rainy Day stands as a fine first full-album collaboration between the Cobbs.




Distilled to its most central theme, Shine On Rainy Day is an exaltation of home and simple living. Where the typical Nashville writer might see a party spot or a mudding hole, Cobb takes you on a thoughtful stroll through the cattails and dragonflies. It's an appreciation rather than an exploitation; one that shows respect for both the craft and the audience.

You might even say this was a further exploration of the themes of this year's Southern Family compilation (produced by Dave and including Brent and many other rootsy artists). It's certainly similar in atmosphere…the kind of music you'd rather have a front porch seat than a front row seat to enjoy.

"Solving Problems" opens the set with a knowing look at the simple joys of just hanging out with an old friend. "We ain't up to nothing, just solving all the problems of the world" Brent sings, imbuing the moment with an emotional weight that belies the self-deprecation.

"Diggin' Holes" has passed this way before; it's a release from a 2012 self-titled EP and was one of my favorite songs that year. It holds up well, with a sense of humor that recalls Roger Miller and a catchy tune that would fit well in most eras of country radio that aren't this one.

The title cut, previously recorded by Andrew Combs as "Rainy Day Song," is a near celebration of the dark days in life. I know the feeling. It's not about wallowing in misery, but appreciating and feeling the full depth of the lows so you can love the highs …"Laughing ain't a pleasure till you know about crying."

It's a strong and consistent set of tunes without a lull in quality. Shine On Rainy Day isn't a party record but it's light enough for a round of beers on the back porch while the grill smokes away. It's a humid afternoon with a cool breeze. A slow drive down a gravel road on the outskirts of your hometown, with nary a bro in sight. Cobb's debut has all the goods to satisfy both the buzzy ne'er-do-well and the homesick romantic in us all.

---------------
Shine On Rainy Day is available on Amazon, iTunes, etc.

Album Review: James Leg - Blood on the Keys

A review by Robert Dean

-->

For today’s review, I’m going cold turkey. The head honcho, the Trailerparkman himself, sent me this here James Leg guy’s new record. In an effort toward compelling journalism, I’m going to abstain from Googling if Ol’ James here has other records, or if he’s in any bands* I might know. As it stands, I am currently unfamiliar with James Leg and his new record, Blood on The Keys. For your reading pleasure, I’m gonna break down every track on the record. Figure let’s mix it up.

Update: I just jammed the fuck OUT to the record’s first track, Human Lawn Dart. This is some good stuff. Like, really, really good. It’s like if Tom Waits smoked some major Kush and played a juice harp. It’s hyped up, drugged out but not lame and too overtly psychedelic. It’s got enough Stooges going on to keep it rock and roll.

Track 2, Hugging the Line is more straight forward. It’s a frantic foot stomper and hand clapper. I like songs like this live because one can only assume by this dude’s Lemmy stache’ he goes hard in the paint.

Mighty Man is pretty indie-rockish with the obvious Tom Waits vocal thing going on, but it’s a lighthearted swing.

St. Michael Shuffle has a different vibe than the previous tracks. It feels like a drunk hotel bar musician going haywire. It feels like a cheap suit and cowboy boots, or spilling a drink on a man and then fighting in him the bathroom.

I’ll Take It is pretty mellow. Wasn’t feeling it. Skipped it. I like this dude when he’s playing fast and getting weird. This was too focused and ballad-y. I’m all about this dude’s party tunes, not his bummers.

Track six, Ain’t You Hungry sounds like a Scorsese fight scene or someone driving on a highway coked out of their skulls. Maybe someone having a blurry, drunken night at the bar and they wake up in a pool of someone else’s blood and with strange money in their pockets.

Dogjaw sounds like it was written about or in Austin, Texas. It’s a snotty bar room preacher of a jammer -definitely one of the better tracks on the record. Think the guitar from Magic Carpet Ride meets early ZZ Top.

Tao Te Leg was a little too 80’s synth for me. It’s cool enough, I guess, but kinda like if Dire Straights wanted to play in dive bars instead of Mark Knopfler ripping your head off with his badassery. (Side convo: when’s the last time you jammed some Dire Fuckin’ Straits? You probably need to.)

Blood on the Keys is one of those Nick Cave gospel-sounding deals. I skipped it.

Should’ve Been Home With You was a better song than the aforementioned Blood on The Keys. Feels like a revocation, a reckoning. This is a good song to close it out with. It’s approximately Tom Waits without coming off lame.

Overall, I’d say this James Leg fella has a solid record on his hands. If you’re looking for a great piece of music to have on while cooking or drinking some beers while working on your car, I’d say this one was worth picking up. It’s not a party record, but instead, it’s a single record to get lost with instead of using it as social bait. Give Blood on The Keys a shot. Leave us some tweets, let us know what you think.  

----------

Blood on the Keys is available on iTunes, Amazon, etc.

*Black Diamond Heavies, per Trailer

Album Review: Drive-by Truckers - American Band

A review by Matthew Martin

As I was listening to this album it hit me hard that this is the album I've been missing.  The logical next step in recent Southern albums that are more or less overtly political- from Southern Rock Opera to Lee Bains III & The Glory Fires' Dereconstructed to now, American Band.  It never resonated with me to listen to some person from the North (or Midwest or West) to talk about these issues, because they weren't/aren't from here- they don't grasp the subtleties.  To hear it from Southern voices, that talk the way I grew up talking, that use the same cadence and same odd slang I use, that's something entirely different.  And, to be clear, I don't think you HAVE to be a Democrat or Republican, conservative or liberal, to fully appreciate the political air of this album and what it means for Southerners (and the country) right now.

Drive-By Truckers have always been somewhat political.  Whether or not they were overt was dependent upon the song, but you can't get more political than past songs "The Righteous Path," "Uncle Frank," "Puttin People On The Moon," or "Wallace."  They may not be set in the current time period, but they are political powerhouses nonetheless.  Interestingly, it's always seemed that Patterson Hood was the one who was willing to delve a bit more into the political side of songwriting, until American Band.  (Which, can I just say as a side note is a perfect name for this album.  A political album by a band from the South called American Band.  No other regional distinction necessary.)  Now we have Mike Cooley really diving deep into the same waters and we are much, much better for it.

I've always been more of a Patterson Hood fan when it comes to songwriting- I like his storytelling and fierceness.   Don't get me wrong, I've always loved Cooley as well, but Hood has always hit a little closer to home for me.  However, on American Band, Cooley has the knock-out punches to me with "Ramon Casiano," "Once They Banned Imagine," "Surrender Under Protest," and "Filthy and Fried."  I mean, when Cooley sings "to half-cocked excuses for bullet abuses regarding anything browner than tan," on "Once They Banned Imagine," it's heavy.  That line got me like a punch in the gut.  The other Cooley songs on the album are wonderful takedowns of the good ol' boy South.  Whatever, or whoever, got us thinking we are too macho, or stubborn, to accept any sort of change has been detrimental to ourselves- and more importantly, those who chose to leave- in so many ways.  The South has been dealing with "brain-drain" for years and I can tell you firsthand, some of us want to go back to a better South, not the same old South.

Back to the album though!  For Hood, his two songs "Guns of Umpqua" and "What It Means" stand to be two of my favorite Hood songs of all time.  "Guns of Umpqua" paints an incredibly eerie and horrible picture of someone on the verge of getting gunned down in the community college shooting.  "What It Means" questions the recent violence on young black men in America and what that means for us as a nation.  These are supremely touching songs and I can't imagine the DBT catalog without them already.

At the albums core, American Band is all about dealing with the current state of the American way of life.  Where do we go from here?  How do we process the last couple of years of utter outrage and fear?  At what point do we start the healing process?  I think it can begin at any moment we want it to, but we have to start asking ourselves the tough questions, and that can begin with those of us in, or from, the South.  Southerners are strong people, mentally and physically.  I miss the South I grew up in where hatred sure didn't seem so prevalent (although I'm sure it was there).  American Band is a good starting point, so go listen and listen with friends and family.  Ask yourselves what it means.  Now, let's see where we can go from here and let's be better.



-------

American Band is available today on all modes of ingesting music.

Album Review: The Handsome Family - Unseen

The Strange and Wonderful Handsome Family Keeps it Blissfully Weird with Unseen
By Kevin Broughton

It’s fitting that the Handsome Family – husband and wife duo Brett and Rennie Sparks – used their trademark wry, ironic humor in naming their latest LP “Unseen.” Until a couple years ago they weren’t just largely unheard; they were barely on anyone’s radar at all. Oh, they had a cult following in the U.S. and as is often the case with offbeat American acts, a larger, more vigorous fan base in Europe and the U.K.

Then Matthew McConaughey plucked one of their tunes, “Far From Any Road” as the opening theme for season one of HBO’s True Detective. Never mind that it was released a dozen years earlier (and written, no kidding, about fire ants in the driveway of their Albuquerque home) millions of fans of the compelling mini series scanned the scrolling credits wondering, “Who is that band?” And around the globe the duo’s streaming and downloading exploded, just like that. Looking back, I’m shocked the Coen brothers haven’t made heavy use of them.

Unseen, the HandFam’s 11th studio album in a 23-year career stays true to their Western gothic, surrealistic roots. Quirky, seemingly random, and downright strange characters and stories blend with spacey, yet sparse instrumentation and Brett’s penetrating, rangy baritone. The finished product seems paradoxical: Dark and mournful; soothing and peaceful; sad and wryly funny; hypnotic and irresistible. I can’t quit listening to it.

“Gold,” the album’s opening cut, finds a gut-shot robber lying in a ditch, looking up at a spiral of $20 bills dancing on the air. Brett once stopped off at a convenience store and saw such a whirlwind of bills and thought, there’s no happy story behind this. And that was all lyricist Rennie needed to weave a graphic, tragic tale. Heck, forget a sound track; the Coens need to write a script around this song.

William Crookes

And who knew William Crookes – British chemist, discoverer of the element thallium and inventor of the vacuum tube – was deeply into spiritualism? Rennie Sparks, that’s who. “Gentlemen” is a fittingly haunting tribute to that portion of his life, perfectly pitched with Brett’s rumbling, low bass. “Gentlemen, I tell you now. I swear, the truth. I saw the table rise; the teacup flew.” The final stanza, with about three layers of Brett’s overdubbed harmonies with himself is testament to his beautiful, deep range. Other cuts find him singing falsetto high tenor harmony to his wife’s melody. Strange and beautiful.

“The Silver Light” should be depressing; there’s nothing happy about gambling addicts pissing their money away in a casino. But the beautifully blended vocals and instrumentation give it an “oh well, it’s still pretty” feel.

The songs are heavily laden with minor chords and make lots of use of the baritone guitar. There’s only one tune approaching upbeat (“The Sea Rose”), and while they’re lyrically downers, the magical, layered harmonies (Brett’s got more range than any baritone/bass on the planet) give all the songs a spacey, almost happy air. It’s all the more striking when you know he recorded the whole thing in his home studio.

It’s rare to find a band with a sound so distinct it’s truly theirs and no one else’s, sui generis in the literal sense. You’ve never heard anyone like The Handsome Family, and you never will. Comparisons to any other are futile. Grab this one up and you’ll wear it out.

--------------------

Unseen is out tomorrow, September 16, and is available on The Handsome Family website, Amazon, iTunes, and the usual outlets.

Album Review: Justin Wells - Dawn in the Distance

A Review by Trailer

When Fifth on the Floor called it quits last year, it was a real kick in the gut. They were a southern rock band well-beloved around here, and with potential to grow beyond the dive bars and music rooms they were playing. Their songwriting was miles ahead of bands of their ilk, and they possessed a leader in Justin Wells with a powerful, unique and immediately recognizable voice. I felt certain we'd hear from an offshoot of the band, or Justin, eventually, but I didn't know how long it would be.

Thankfully, we didn't have to wait long. Justin is back as a solo act, and he's recently released the stellar Dawn in the Distance.

While there are still moments of almost understated southern rock in the mix, Dawn in the Distance is much closer to being a country album than anything Fifth on the Floor ever released. Justin was adept as the lead singer of a rock band, but he feels more at home here, and the slower tempos allow him to showcase his husky vocals more than ever.

His songwriting also takes a leap forward on Dawn in the Distance, as well. "Going Down Grinnin'" opens with a personal manifesto on moving on from youthful misadventures into adulthood. He's not worried about how past mistakes might affect the journey, though, singing "If a needle in a haystack is the only chance I have, you can burn it to the ground for all I care."

"The Dogs" is a standout. It's another unapologetic portrait of life on the edges. It embraces the underdog life of a touring musician trying to drink away a broken heart. He's trying his best, but the hurt bleeds through even on stage "It ain't easy acting like it ain't personal, and the band asked me not to curse no more."

"The Highway Less Taken" is one of those great southern rock moments, with even some gospel choir-like backing vocals. There's a Dire Straits cover in "So Far Away," where Justin slows the tempo and darkens the mood, giving it a much more haunting feel than the original.

Dawn in the Distance should satisfy every Fifth on the Floor fan, and hopefully find new ears for Justin's ample talents. If it's not an autobiographical journal, he's a damn good actor because you believe every word. There's so much real passion and projected emotion, you'd be a cold soul to come away from listening to this without being affected. Highly recommended to fans of Cody Jinks, Blackberry Smoke, Matt Woods, and the like.



---------

Dawn in the Distance is available on iTunes, Amazon, etc.

Album Review: The Bouncing Souls - Simplicity

A Review by Robert Dean

The Bouncing Souls are like visiting your favorite pizza joint, it’s reliable and the recipe doesn’t change. Working on their sing-along craft for over two decades, The Bouncing Souls are back with their new record, Simplicity, and let’s not kid ourselves: this is exactly the kind of record punk purists lose their shit over.

Why? Because absolutely nothing has changed. Don’t worry, there aren’t any Radiohead dabblings, or moments of slowed down, off tempo traipses into post-rock. No one is suddenly dropping country inspired chicken-picking or blues licks on Simplicity.

This is as meat and potatoes as it gets, folks. The Bouncing Souls play pop punk, and they write songs they can play live. They write songs that you’ll sing along to, and they have fun. That’s it. This record is no different. It’s like an AC/DC record, if you’re a fan, you’re gonna be into it. If you’re not a fan, and this comes on at a party, you’re not going to be pissed. It’s not gonna win any awards for originality, but it certainly doesn’t suck.

There's no need to give a track-by-track break down or explain a thought process of what kind of emotional depth Simplicity tries to capitalize on. *

Buy a record, drink a few beers and try on those old pants that no longer fit around the middle, dad.

*But, if you’re looking to hear the super big anthem, just skip to Writing on The Wall, it’s this record’s big one that they’ll be playing three records from now.




--------
Simplicity is available on iTunes, Amazon, etc.

Album Review: C.W. Stoneking - Gon' Boogaloo

C.W. Stoneking - Gon' Boogaloo
A Review by Robert Dean

This record is amazing.

You know what’s awesome about the Internet? When you randomly stumble upon music, and it gives you pause, and you’re like, FUCK. HOW DID I MISS THIS?

This was me today, discovering C.W. Stoneking – randomly, I saw the cover of his 2014 record, Gon’ Boogaloo and was instantly intrigued given my natural adoration of all things Depression-era southern blues and or country.

What I was just privy to learning is the aforementioned Gon’ Boogaloo is just gathering steam on this side of the Pacific. C.W. Stoneking is an Australian and while his music is loved down under, he’s yet to find his audience here in America.

So, the record is just starting to get noticed in the States, almost two years from its release. I ain’t complaining... because what I stumbled on by way of an Instagram photo (totes follow me: @RobertDeanNola) I fell in love with Stoneking’s music instantly.

Gon’ Boogaloo is a hodgepodge of classic Americana that’s got the intensity of Screamin’ Jay Hawkins but mixed with notes of Son House, Elmore James, and Leadbelly. It’s jangly, poetic; it’s got some Tom Waits moments, and then, it can turn classic country on a dime.

The production is low and straight-ahead. It feels genuine in its adherence to being honest about what it is: it’s straight ahead creepy blues that sounds like it should be played at a Halloween party. Sure, the songs are rough and tumble, but they feel… haunted. If you’re a fan of JD McPherson, The Bellfuries, or Leon Bridges, C.W. Stoneking is in your wheelhouse.

There are some hand clappers, foot stompers and moments where you need to holler out to God, but all of the emotions we’ve so sorely needed are here and it feels good to hear someone ignore what’s cool and go for the heart, to play what’s honest.

The guitars are filthy, and the vocal harmonies sound pre-war. The music sounds used, worn – and that gives it soul – gives it light.



We’re just up to our ears in shit that is just so awful, that tries too hard to have a soul. So much bad fakery is abound with people who want to achieve C.W. Stoneking’s sound, but fall very, very flat. His persona and image reminds me of Pokey LaFarge, and I hope the two become pals and drink many weird beers together.

Word on the street is C.W. Stoneking is embarking on his first US tour – if it’s not, who cares, either way. This is one artist worth your ticket money, worth your body in the room, worth the bucks on a shirt. Having discovered him just today, I managed to order Gon’ Boogaloo on vinyl, purchase tickets for the show in Austin in a few weeks, and write a review to spread the word. That’s how much I believe in this music, this record, this artist.

Maybe it’s the cover art imagery that offers a sepia tonality to the whole record that you can’t escape, but whatever demons C.W. Stoneking summoned for Gon’ Boogaloo they came out with their best rock and roll dancing shoes on, cause brothers and sisters, this record is here to party.

-----------------

Gon’ Boogaloo is available on Bandcamp, Amazon, iTunes, etc.

Album Review: Drunk Couples - Blasted!

**Salty language ahead**

Drunk Couples - Blasted!
A Review by Robert Dean

Let’s cut the bullshit, 30/40-something-year-olds: Drunk Couples is the band we talk about wishing we could be in, but can’t because we’ve got jobs that don’t allow for touring, kids in diapers and yards to maintain.

*Three guys drinking beer at dive bar, listening to Dag Nasty or The Dead Boys*
“Fuck, man. If I were in a band, it’d sound like THIS. Just plug in, no effects on my guitar, straight amp.”
“Dude. For real. Just super fast and fun. No ballads or bummer songs. Everything is about rad times and drinking.”

The friends toast beers and daydream for a while, promise one another they’ll get together, but life happens. Welcome to middle age punk rocker hell.

Fortunately, Drunk Couples exists and woooooo are they the cat’s ass. This is precisely the band we need in this sad-ass world. On their debut record, Blasted! – we’re toasted with a gaggle of sounds giving the finger and without a single ounce of giving a shit about what anyone thinks. What more do you want?

This is as good time, classic fuck you punk rock as it gets. It’s brash, fun and fast. We’ve got enough bands wanting to tell stories of heartache or about political revolution (We get it, trust us). Imagine if Hot Water Music’s Chuck Ragan fronted a fun time party band that had more in common with Refused’s guitar playing, and Rancid’s rhythm section - that’s the cocktail Drunk Couples provides.

"Raising Hell in The Holy City" is a crusher that’s goddamned electric. It’s full throttle rock and roll, screaming: “I came here on acid and fucked up on pills.” No whiny anthems about missing home or getting the love back into your life. Just rowdy beer spillers.




My only complaint about Drunk Couples is they’re not on available on vinyl yet. Get it together, boys. I want to crank this shit in my house, not on my laptop.

But, as a means to convince you to go and support these dudes, I offer this list of things Drunk Couples sound like:

    •    Drunk Couples give off a vibe. A vibe that feels like an old army jacket that kinda smells like weed, orange juice, and spilled beer.
    •    Drunk Couples sounds like a band you put on at a party because only a jerk would complain about having fun.
    •    Drunk Couples sound like a band whose tape is stuck in your friends Camaro, but he's cool with it, so doesn’t bother to fish it out with a knife.
    •    Drunk Couples sound like their live shows would be fun as hell, people throwing tallboys into ceiling fans while some chick in coochie cutters and steel toe boots revenge kicks your dick friend Charlie in the teeth for talking shit when she rejected him.
    •    Drunk Couples sounds like what you imagine getting hit with a frying pan sounds like.

You get the point? Buy their record, go to their shows. Buy a shirt for your best friend. Don’t fight in the parking lot, because no one likes a dick.

-----------------------------
Blasted! is $8 at Drunk Couples' Bandcamp: https://drunkcouples.bandcamp.com/album/blasted

Album Review: Western Centuries - Weight of the World

A Review by Robert Dean

Western Centuries have released a country record that’s a pleasant mix of 70’s and 80’s styled country that’s light on the irony, but ladles on the thick harmonies. Being from Grunge Capital USA, Seattle Washington, Western Centuries are a nice mixture of textures, styles and sounds.

There’s a definite influence of Texas dancehall, Louisiana Zydeco, and some western swing, but wrapped in a vocal delivery that’s parts Travis Tritt, Randy Travis, and even some hints of John Mayer. Sure, there’s some of the later 70’s nods to Waylon and Willie, but it ain’t about them conjuring up sounds we’ve heard reheated for over forty years.

These country bands popping up in the north have a different take on what country, Americana or even blues can sound like, and to their credit, it’s needed because it keeps the genre honest.

Being from Seattle, Western Centuries are lucky not to fall into the trappings of pop country, but instead likely grew up with a lot of styles of music at their fingers, thus helping forge a sound that’s not contrived or boilerplate like so many country groups that poison Nashville. If anything, I’d give Western Centuries more of a nod to current groups like Hollis Brown, who is also a Yankee band doing it right, Caleb Caudle, Chris Stapleton or even slight nods to Jason Isbell’s risk taking style. 

On their record, Weight of The World, Western Centuries explore all of the harmonic territories, which is refreshing. Instead of relying on just two voices, it feels like the whole damn band is in one big singalong. Weight of The World is a good drinking record, one that you could quietly slip on in the most stringent country bar in the Middle of Nowhere, TN. And when it comes to country music, two things matter: can you two step or drink yourself silly to it? Western Centuries accomplishes both tasks with ease, and in the style of the Flying Burrito Brothers, to boot.

If you’re looking for a record to pop on a, have a few drinks to, this one won’t be tossed into the fire. It’s got its moments, and I wouldn’t mind picking it up on vinyl myself. Give a new band a chance and get out there and give Western Centuries a spin.

Stand out tracks: Sadder Day, The Old You

 Available on iTunes, Amazon, etc.

----------
Editor's Addendum: Not to undercut Robert's review, but I think Weight of the World is very good and has more than "its moments." It's a great mix of Burrito Bros. style goodness, country soul music, and straight up country. The three lead singers(!!!) (including Cahalen Morrison) are all excellent and bring different angles to the collection through their songwriting, guitar playing, and vocals. It does double-duty as an album you can throw on and enjoy as party music or background music... and a "headphones" album with depth opening up with every listen. There are dance songs, sad songs, drinking songs, and songs that'll make you think. "Off the Shelf" is one of my favorite songs of the year. There's something here for everybody... fans of Van Morrison, The Byrds, Otis Redding, Grateful Dead, Hank Williams, it's a diverse collection that strings together organically and cohesively. Good stuff! -Trailer

Album Review: Hesitation Wounds - Awake for Everything

Review by Robert Dean

 In the pre-“our lives being dominated by Internet” age of the late 90’s, early 00’s – something in hardcore was happening. A sound organically grew, one that had metal flair, but a sense of chaos that was far beyond punk, but community minded, but was rooted in being artistic, but was driven by a different sense of spirit. Bands like American Nightmare and Turmoil were ripping off heads and not giving a single goddamn who got in the way.

Bands like Deadguy, Botch, Burn it Down, Kiss It Goodbye, Candiria, Burnt By The Sun, The National Acrobat, Coalesce, Converge sprung up, to name a small few. These bands had an off-kilter sense of dynamics, they played to the downbeat, and wrote songs that were unique, were powerful.

Bands like Hatebreed or Throwdown were committed to the chug; these groups came from a completely different crop. You got the sound, or you didn’t – and that’s what made it perfect. It was challenging but so rhythmic, so pure. The sounds weren’t about the droning riff; it was about turning from circle pit madness to absolute crushing riff that Dimebag would have chugged a beer over.

Back then we experimented with all kinds of ideas in music, statements by bands who were influenced by art and Tom Waits instead of just Bad Brains on repeat. There were Straight Edge bands, and we all went through Straight Edge phases, while others kept legit to the party – Christians, Krishna’s, Vegans, whatever. It was a quilt of ideas, notions and it all worked.

But, like all things, many of the bands of the era drifted off into lore or unwarranted obscurity (if you can find anything by Indiana hardcore slayers Burn it Down, that’s an immediate purchase amigo). Converge is still around, but Coalesce and Botch are the things of “I was at X show” or “I was a year too late on them” which totally sucks. Fortunately, like all things cyclical a batch of bands are popping up that are carrying on the torch of that era of hardcore. And if you’re a lover of all things dissonant and vitriolic – you need Hesitation Wounds in your life.

I’d be remiss to say Hesitation Wounds are just some scrappy kids who were influenced by the aforementioned bands. Instead, Hesitation Wounds is a murder’s row of hardcore heavy hitters. Featuring former and current members of The Hope Conspiracy, Torche Amore, Suicide File and Trap Them - this ain’t exactly a pack of nobodies. Sure, there’s the elephant in the room of Jay Weinberg currently playing in Slipknot, but whatever – dude is getting paid. But let us not forget he played in Madball, and Against Me! Prior to donning a sweaty ass mask – his punk rock acumen is very much there.



On Hesitation Wounds first full-length record, Awake for Everything we’re treated with chaotic riffs, supercharged drumming, fuzzed out bass and vocals that could peel the paint off a living room wall. Awake for Everything is a harken back to that pure sound of the early 00’s when music was created in a vacuum when you had no idea what kids across the state were doing unless you went to their show.

Awake for Everything is like a love letter to an era when bands meant something to the kids at the shows when no one was there to see some dork whip out his eight string and imitate Meshuggah. Instead, it’s a directionless, cunning fucking masterstroke. I say directionless because it doesn’t feel contrived or concocted. It feels natural, constructed out of a basement while sipping PBR’s and arguing about which Sabbath record is the best. The songs can go anywhere, and change direction within seconds.

There is absolutely no point in picking out a standout track. This record doesn’t need that. What it needs is people to buy it, to own it, to love it and hopefully get these guys in a van on tour. Awake for Everything is the record folks my age have been waiting to be released, it’s a time capsule back to the heyday, but doesn’t feel like some forced thing that’s bloated and dishonest. Instead, Hesitation Wounds sounds like the band every musician over 33 talks about wanting to start but is always too busy with adult life shit. It’s so damned perfect.

Will kids in their early 20’s get Hesitation Wounds? I can’t say. I sincerely hope they do. Will folks in their later 30’s get it? You bet your life we will. If and when the band tours, you’ll see me there. Not up front, though. I don’t want anyone to spill my drink. I’ll be in the back gracefully nodding my head and remembering what it was like to be lucky enough to go to shows before everyone video’d every fucking thing.

Get off my lawn. Buy Awake for Everything at this very second.

-----------------------

Available at Amazon and all the usual spots.


Not edited by lazy editor in chief

Album Review: Quaker City Night Hawks - El Astronauta

A review by Trailer

Quaker City Night Hawks are back with a new slab of greasy Texas rock n' roll and seem poised to capture a larger audience. Many a band on the rise would take this opportunity to polish their hooks and sweeten their sound to the ears of the radio listener, but not QCNH. El Astronauta sees them take their sound in new direction, backward.

By backward, I don't mean a regression in sound, I mean a trip in the time machine, ETA 1974. This is an AOR record that wouldn't sound out of place pumping out the windows of a smoky van airbrushed with a wizard/unicorn combo on the side or a trashy muscle car with Todd from Beavis & Butthead driving over curbs.

El Astronauta warmly embraces classic and southern rock, while maintaining the Night Hawks signature esthetic. You'll hear a little Steve Miller, a little ZZ Top or Skynyrd, but it's all with that modern QCNH flair. Not that they haven't always had these influences, the songs are just a lot more steeped in 'em this go round.

Opener "Good Evening" is a loping, bluesy introduction. Its slow burn verses lead into a cathartic "down here on main street" chorus that will surely put fists in the air, accompanied by blasts of stage lighting.

"Mockingbird" is probably the clearest single choice here, it's an anthemic slice of singalong rock goodness. Even it, though, is grimy and dank, like patchouli oil dripping down the wood paneling of a Chevy Custom. This is just a precursor, however… things really take a turn from this point in the album.



To put it simply: the middle of the album could be on the Dazed and Confused soundtrack. That's as high praise as I can think of in the rock world. Light 'em up and trip along to the sci-fi seventies vibe.

The home stretch includes the dialed-back, hazy "Duendes," the even hazier "The Last Great Audit," and the easy going southern sermon "Sons and Daughters." There's a clear emotional arc to the record, and it is that…. a record - meant to be digested whole.

It's a tasty dish, thematically about disillusionment and acceptance, that'll suit any mood or situation. It's party music; it's work background music; it's chill out music; it's driving music. El Astronauta is one of my favorites of 2016 and I hope you give it a listen.


------------------

El Astronauta is available at Lonestar Music
Amazon
iTunes

Album Review: Al Scorch - Circle Round the Signs

Review by Kevin Broughton

Chicago once put its own distinctive stamps on blues and jazz. And nearly a century later, a son of the Windy City has weaponized the banjo to change the way we hear bluegrass and folk, punk and country. Enter Al Scorch, the latest addition to Bloodshot Records’ stable of provocative, genre-bending artists, and his groundbreaking and innovative Circle Round the Signs.

Scorch (his real name – perhaps only “Al Thrash” would be more appropriate) combines a frenetic, relentless claw-hammer stroke, progressive themes and sensible lyrics for the common man. The result serves as a reminder of the versatility of the banjo, outside of the familiarity of traditional bluegrass. Scorch leads us on a historical survey of the instrument from Dixieland jazz to Pogues-era progressivism. He uses a French horn as a plaintive counterweight and a fiddle as a mournful muse.  And on Circle Round the Signs, you’ll see why The Huffington Post calls Scorch “the finest country-punk-folk-bluegrass banjo player in the country.” (I didn’t know that was a thing; damned if it ain’t, though.)

Woody Guthrie’s “Slipknot” gets a 21st Century go-round, and “Poverty Draft” is a thoughtful take on the military as career option in today’s economy.

Thoughtful and evocative of the best of the Avett Brothers, Circle Round the Signs is yet another example of Bloodshot’s finding stellar talent to give modern, fresh takes on timeless music.



----------

Circle Round the Signs is available on Bloodshot and Amazon.

Album Review: Arliss Nancy - Greater Divides

A Review by Matthew Martin

One of my favorite albums of the last 10 years is The Gaslight Anthem's The '59 Sound.  There is something so immediate and so basic in the words and the music.  It made me long for something that I couldn't quite grasp, or even comprehend.  Like, maybe the band, and maybe even I, had been meant for a different time or era.  Or, maybe it just made me want to drive for hours - sitting still didn't seem like an option. It was a pretty strong mix of feelings immediately after hearing that album.  It still makes me feel that way.  

While I have continued to dig most of the Gaslight Anthem's releases after that album, it's been a while since they have made me feel that longing.   

And, that's where Arliss Nancy comes in.  

Beginning with Simple Machines, I have had the distinct gut-punch feeling with every Arliss Nancy release. Greater Divides is no exception.  There is something within each song that tugs at the listener to reach deep, to think about those times that maybe were less than great and reflect upon them.  Maybe we could have changed those outcomes.  Hell, maybe we could have avoided them altogether.  But, really, this is life and mistakes are part of it and that's what makes it so fun, or at least, interesting.  

"Try to remember a time when everything was different and everything felt alive," sings Kyle Oppold on "Before You Go."  Or, take Cory Call's opening on "Finches" where he laments a lost love while watching his dog chase birds.  It's simple, but it's affecting.  We've all been there- doing something so mundane that dizzily brings back some sickening memory.  

Relationship failures and successes are where Arliss Nancy shine.  These failures and successes alternate between themselves, friends, and exes from song to song.  "Much of Anything" and "Brother, I Tried" are Kyle and Cory's takes on a call to arms against all the obstacles and problems that can be frustrating for a smaller, independent band and dammit do they work.  I can almost see the massive hugs after each song.  

When I first listened to this album, I was a little put off (very slightly, mind you) by Cory's new singing style- it's a bit more high pitched.  However, that was barely an afterthought after the 2nd and 3rd listen.  This is the only kind of album I ever want Arliss Nancy to make.  I hope they continue to do this exact sort of thing for years to come.  The band is tight, the music is wonderful, the songs are as good as any the boys have ever written, and this album is one of their best. 

One of the things I've never been able to do for whatever reason has been see Arliss Nancy in concert.  I hope that changes very soon, so guys if you're reading this by some coincidence, come to D.C. and let's have a beer.  And everyone else, if you are on the fence about this album, just take the plunge and buy Greater Divides right now. 

---------

Greater Divides is available on Amazon, iTunes, the band's site, etc. 

Album Review: Larry Hooper - No Turning Back

Larry Hooper's No Turning Back surprised me. I did not expect the bearded everyman troubadour to go the routes he chose. It's a bold statement, and one that may lose him dedicated fans, but gain a whole new audience, or probably not. Normally, I'd vaguely summarize an album in the opening paragraph before delving into its contents, but I don't want to spoil anything …so lets dig in.

"Daydreams" leads off the album with a funky hip-hop beat that bass drops into a nu-metal sounding guitar riff. Larry then comes in with a "yeah baby" and you know this isn't going to be anything you might enjoy. The song is about working all day long, but daydreaming about skidding your pickup into your girl's drive at 5 after 5 with a 6 pack and all the romantic notions of a horn-dog 17 year old. It's an interesting about-face for the formerly thoughtful Texan, but hey, bills don't pay themselves.

"Cry Me a River" is, yes, a cover of Justin Timberlake's smash hit. While lacking the smooth pipes of Mr. Timberlake, Larry makes the song his own. In fact, he has the audacity to lead into the song with the statement "I wrote this for all them girls done me wrong." Legalities and copyright aside, Hooper proceeds to rap the entire song. He's a surprising adept rhyme dropper.

Later on, in the song "Practice Makes Perfect," a rollicking hick-hop track about shooting stuff, a strange thing happens. Though the track-listing says Courtney Patton is the vocal guest, there's actually just a slowed down sample of Rihanna's "Work." Again, I'm not sure this is legally on the up and up. It also doesn't really make sense, but Larry's trying everything here.

Help me

"I Was Wrong" is a folk-ska song that sounds a little like a Cure cover band with your uncle Mark doing lead vocals. Incongruently, the song is about Larry reconsidering his opinion of Linkin Park. I don't even know what's going on anymore.

"Fire and Brimstone" turns out to be a black metal re-imagining of the album's 4th track, the aggressively bro-country "Barabbas." I'm a little worried for my friend. Larry seems to have taken a cue from Zac Brown Band and decided to fling everything he can think of against the wall, hoping for some traction. Unfortunately, the wall is teflon coated and he's slinging Astroglide.

Though Hooper tries very hard, it doesn't all work, or rather, none of it works at all. From the veiled references to Star Wars porn parodies, to the spoken word asides about sweatbands, to the inexplicable constant profanity, No Turning Back is an absolute dumpster-fire-nado that will remove the better part of an hour from your life with no positive return. Lets hope Larry goes back to the intelligent folk-tinged country he's known for on the next try, but I have my doubts anyone will help kickstart his next effort after this raging inferno of batshit. No turning back indeed.



 ---------------------------

If brave, you can buy No Turning Back on iTunes, CD Baby, or Amazon.

Album Review: Hollis Brown - Cluster of Pearls

A Review by Robert Dean

Many times when I hear the label “Americana” thrown around, I cringe. It’s become such a catch-all phrase, a hodge-podge of styles trying to describe one common ground: the lack of one element that’s rock or blues or country.

But, when I hear about bands doing the Americana thing from places like New York, I tend to get extra skeptical. While New York has churned out some of the best bands in history – down home blues is Chicago’s thing, and what does city slicker New York know about the country or the artist's struggle in a day where rent can financially ruin you? A lot apparently.

On Hollis Brown’s recent Record Store Day release, Cluster of Pearls, we’re witnessing a band figuring out their sound and getting the flavor just right. Even if it comes wearing a Yankees hat and likes bagels and lox instead of biscuits and gravy.

Hollis Brown capture a vibe on Cluster of Pearls that sounds like it coulda been brewed down in Muscle Shoals, with beers and smoke in hand.

I’ll admit, I went, and YouTube searched Hollis Brown’s music before this review and was middle of the road on some songs for their reliance to trying to be too poppy, maybe a little too much like a Jason Mraz with dark soul or something you’d hear in Target. I dunno. I also think dipping grilled cheese into ketchup is delicious, so whatever.

On Cluster of Pearls, the music feels different. It seems focused, maybe evolved. And apparently, after some Internet snooping, Cluster of Pearls is a collection of B-side tracks, which is nuts. This collection feels like a nod to The Band, The Flying Burrito Brothers and even some moments of The Stones in the Exile on Mainstreet era.  And if anyone’s got something to say aboutt Graham Parsons, they can just fuck right off.

The record’s opener, "Completed Fool" sounds like a funky, bluesy Hall and Oates take on Maneater, except not shitty. (Sorry 80’s dorks. I hate Yacht Rock.)
The last track, "Miracle" gives off a City and Colour vibe that’s a nice change of pace for the overall composure of the record. There are a lot of shades of Hollis Brown on the record, and it’s rad to see the different shades of their musical personalities shine through.

"Don’t Want To Miss You" is easily the best song on the record. It’s a classic bar room bummer, and it’s done so well. With its lonely beer bravado, it paints the immediate picture of a candle lit dive with too few patrons and a bored bartender wiping glasses to pass the time. Nothing’s on tv and no one’s watching anything but the world pass by. And at the end, there you are – staring into your drink with no one around to complain to. Just you and the whiskey staring back, testing you. That’s what "Don’t Want To Miss You" feels like.



There’s a little bit of everything on Cluster of Pearls, with nods to riffs straight off a Black Keys record, and harmonious melodies that a focused and together ala – you guessed it, The Band. Naturally, when hearing the jangly, foot-stomping riffs of Hollis Brown, I imagine playing shows with bands like Quiet Hollers, or Brian Fallon.

If this is any indication of Hollis Brown’s path to follow, the results will be exciting to behold. I’ll even forgive them for wearing cowboy hats in New York.

-------
You can only get Cluster of Pearls in record stores, if they have any left in stock, or eBay etc.

However, you can get Hollis Brown albums here http://www.hollisbrown.com/
or Amazon, etc.

Album Review: Go Run Donkey Hot!

Go Run Donkey Hot! - Sumerth
A Review by Robert Dean

Snap. 

When you get an email from a band call “Go Run Donkey Hot!” you tend to want to know more. I mean, what a name. It turns out these dudes are from Croatia and are on the shoegaze come up.

I got a chance to check out their new record Summerth, and it’s kind of like… sexy elevator music. I think if you’re into Mike Patton you’d dig this. It sounds like the sex scene in an 80’s movie with those Cinemax horns and the couple in question fall into bed with soft lighting. The dude has monster pecks, and his lady is in lacy, black lingerie. Afterward, she wears a button up shirt with nothing else. (side note: has that ever happened to anyone in real life? It feels like a movie trick; buttons take way too long to just “slip on” when there are plenty of t-shirts to go around in the conventional closet.)

That’s what Go Run Donkey Hot! sounds like - music to fuck to. It’s sleepy; it’s dreamy, and it’s layered. There’s no moment when the whole record trainwrecks and you’re holding your head in your hands wondering what the hell went wrong. Instead, Summerth is an album you can leave on in the background and get nasty to.

And with the loss of Prince, we need more of that in the world.

 

-----------------

Check 'em out here.

Facebook: https://www.facebook.com/GoRunDonkeyHot

Bandcamp: https://gorundonkeyhot.bandcamp.com

Album Review: Sturgill Simpson - A Sailor's Guide to Earth

Lead Us Across the Sea, Sturgill
A review by Robert Dean

Being a father, some things get to you. You start to question a lot of your life choices, what you’ve achieved, what your health is like, and what kind of legacy you’re leaving for your kids. On Sturgill Simpson’s new album, A Sailor’s Guide to Earth, the eclectic troubadour explores the ups and downs of fatherhood for his young son, the only way Sturgill Simpson knows how.

Track by track, A Sailor’s Guide to Earth is a logical follow-up to the massively successful Metamodern Sounds in Country Music – it’s even riskier, bolder and is entirely his own. The record is a complicated onion of layers, emotions, and sounds. To even call it country is almost impossible.

While country is prevalent throughout the themes of A Sailor’s Guide, the songs are darker, the songs are deeply personal, everything isn’t a story carved out of some Nashville guy’s notepad, it’s Sturgill’s actual life – his mistakes, his moments of glory. This record is a play by play of what it’s like to be a man in a world that can be cruel with absolute certainty.

But, that’s not to say the record isn’t brilliant. It’s easy to see why when other country artists are relegated to a strictly country or Americana, or roots audience while Sturgill finds love in all corners. Being one of the few to play the main stage at festivals like Coachella one weekend, and Lollapalooza, the next, Sturgill Simpson is in a world unto his own.

This batch of songs, they’re beautiful, ugly and oceanic – one minute everything feels like 1970’s Stax straight from Memphis, oozing with Soul, and the next, we’re tonally somber with the reflections of a man who’s atop of the world. The horns are vibrant and bright, they lend so much, then we’re treated to the juicy organ. There’s just so much going on; it’s almost too creamy, too delicious to fathom the heads exploding out there in country blinder land. A Sailor’s Guide to Earth is NOT for the Luke Bryan fans of the world. (Editor's note: It's not even for a lot of Americana fans, apparently)

"Keep It Between The Lines" is a groovy, funky, filthy jam. It’s pure cool that can’t be replicated; it’s the kind of song that just…happens. It’s one of those brilliant moments when it all comes together in a song and works – if Sturgill tried to recreate it at any time again in his career it would never work. "Brace For Impact," the record’s first single is a foot stomper that sets the bar pretty high upon first listen. But, in typical fashion, the album’s single isn’t even the first track, it’s near the end of the record. Instead, we’re taken down a musical road that’s long and winding with sonic overtures that feel more Pink Floyd than Waylon.

"All Around You" is almost as if Sturgill found a way to marry doo-wop and traditional country in the most decadent, salacious way, tasting like pure chocolate cake. And then there’s the elephant in the room: Sturgill's take on the Nirvana classic "In Bloom." And to be honest, it’s the only way covering Nirvana works. Kurt Cobain left a legacy that’s along the lines of Jim Morrison, John Lennon, Jimi Hendrix, The Stones: when you cover the music, you’ll always be harshly judged for your vision of what perfection is.



"In Bloom" was covered in a way that would please Kurt, it’s haunting, stark and without the jagged vibrato of the original, and by doing so, the song stands on its own amongst an album that’s thick and just goddamned perfect.

Behold world, Sturgill has done it again. Buy A Sailor’s Guide To Earth right now and help us throw gasoline on the establishment while Sturgill Simpson is the preaching madman we’ve all been waiting for. Let his church welcome all those who are lost and share his message: get weird, or die tryin’.


-------

It's available everywhere... you don't need links.

Album Review: Flatland Cavalry - Humble Folks

Review by Trailer

This one hits the spot.

I haven't felt much like writing reviews for a while now. It's not that there hasn't been some good music put out this year - just nothing I felt I could put any passion into writing about. Also, since we've brought on the full-barrel punk energy of Robert Dean and the damn near peerless wordsmithery of Kevin Broughton, there hasn't been much need for my everyman type reviewing, but this new album from Flatland Cavalry has pulled me out of mothballs.

Flatland Cavalry's Humble Folks is also the first album of 2016 to stir up all the feelings I like to have when listening to music. From the wistfulness of "A Good Memory" to the driving introspection of "Devil Off My Back," the sentimental wanderlust of "Traveler's Song" to the sad-sack lamenting of "Goodbye Kiss," Humble Folks is a tour-de-force of emotions and textures.

"Easy on the ears, heavy on the heart" reads the description on Flatland Cavalry's website, and that couldn't be more accurate. Their sound is an easygoing mix of red dirt country, pop melodies, laid back swing, and heartworn folk. And there's so much fiddle. Lord, but I love me some fiddle and I love Laura Jane's fiddling. It's all a perfectly accessible approach but one that doesn't scrimp on the craftsmanship and songwriting.

"Tall City Blues" grabs you with its portrayal of loneliness and unfulfilled dreams amid the high-rises and concrete canyons of the city. You can just imagine the twenty-something small town boy taking the accounting job in Houston, then slowly realizing the "difference in making a living and loving what you do."

"Stompin' Grounds" rescues that dispirited fellow back to his home town where the Shiner is cheaper and colder and the people are warmer. There's a lot of that sort of longing in Flatland Cavalry's music - yearning for real interaction and authentic folks. It's a welcome and relatable desire in a world that seems to grow more mean and detached with every passing day.




Humble Folks is a great album; certainly one of my favorites of the early year, and well worth your listen. It's a familiar sound, but one that with repeated listens will reveal deeper layers and twists of melody you haven't heard before. These songs are sure to make you think, smile, hurt, and tap your foot. Sometimes all at once. That's what good music does.

-------
Flatland Cavalry is a no-doubter for fans of Turnpike Troubadours, Wade Bowen, The Damn Quails, and the like.

You can find Humble Folks on Lonestar Music , iTunes, etc.. (Out today)

Album Review: Shooter Jennings - Countach

Shooter Jennings - Countach
A Review by Robert Dean

One thing you can count on when it comes to Shooter Jennings is the dude does not give a fuck what you think. When everyone wanted him to do one thing, he does the complete opposite. Someone says “career suicide” and guess what? The dude will ride straight into that storm with both fingers raised.

How else could he have had the guts to record his masterpiece Black Ribbons when everyone wanted a Waylon copy? Sure, why not release a concept album that has more in common with Clutch than whatever’s playing on country radio. Shooter’s next move? Just when everyone thinks he’s gone and left them for Mars, he drops Family Man – a traditional country record that was razor sharp, and able to put folks in their place with one swoop. And with both of these choices, he was about to cement his ability to morph into anything he wants to be; that’s the power of Shooter Jennings. Let’s not get lost in forgetting The Other Life, either. It’s also so overwhelming to think about in one musical palette, but it all belongs to one man.

On Shooter’s newest record, Countach, no one could have predicted what would come next. A dizzying array of textures and sonic landscapes, Countach is a schizophrenic look into a mind that’s overflowing with musical ideas and too stubborn to stick to one thing. Countach shouldn’t work, but it does. The sounds land because the record doesn’t feel like a collection of songs (see: Black Ribbons) but an overall vision. The mood drops and swells, always daring the listener to see where they’re willing to go next.

For god’s sake, the record is a synth pop meets country, disco funk party that has cameos by the late, great Steve Young and Marilyn Manson. Putting it in a category is the impossible task not fit for any human. Some moments feel appropriate for an 80’s love scene ala Miami Vice while others speak at the darkest recesses of what we think Shooter is. Who else is capable of mixing pedal steel with pop-heavy synths?

Countach isn’t for the traditionalists, and it’s not for someone who’s expecting a return to whatever preconceived form you think Shooter Jennings needs to adhere to. There is no form. There is only what he chooses to pursue.

 Oddly, I feel this Bruce Lee quote best describes Shooter Jennings musical vision:

 “Be like water making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way around or through it. If nothing within you stays rigid, outward things will disclose themselves. Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or it can crash. Be water, my friend.”

 If this quote means something to you in how you feel about music, buy Countach – you’ll be better for it and grasp its vision. 

----------------

Countach is available at BCR Media, iTunes, Amazon, Spotify, etc.

Album Review: Black Rhino - Black Rhino EP

Black Rhino - Black Rhino EP

A Review by Robert Dean

Chicago has always had a thriving music scene. While some decades are better than others for output, there’s always a crop of bands doing it right. Black Rhino is an up and comer that’s on the “doing it right” musical side of the tracks. And thank God, for a long while too many bands were way too into copying Disturbed. The Smashing Pumpkins phase has passed, and no one wants to copy Alkaline Trio any longer. Essentially, the cultural appropriation of Chicago bands is over currently.

But, back to Black Rhino:

Being a newer band, Black Rhino are admittedly finding their sound, but the e.p. they just dropped has some pretty wonderful moments on it. I don’t even know if the e.p. has a name, but I know it’s just been released on their Facebook page, and it doesn’t suck, hence me taking the time to review them.

The Black Rhino e.p. is a fascinating look at a band that’s very much a work in progress. The songs are a little all over the place but leave you hopeful that these dudes could provide a nice kick in the teeth to Chicago’s stagnant music community. The music feels legitimate and heartfelt.

A beautiful touch of Black Rhino’s sound throughout the e.p. is that it’s not shy about leaning on musical influences. While the band is young, it’s not a bummer to hear traces of Beatles riffs or a little nod to some Sonic Youth here or there. It’s actually kind of nice.

"King Coma" is easily the stand out track on the e.p. without a doubt. It’s a solid mixture of Fugazi and At The Drive-in guitar riffs with a schizophrenic vocal style that matches perfectly. The groove is crooked, and the guitars are a little off timed, which makes it perfect. The overall expression of "King Coma" is frantic and maybe a little unsure of itself, but I like that – it’s got fire.



"Raincloud" is the other Black Rhino standout. It’s a little reminiscent of Alice In Chain’s "Got Me Wrong," but it evokes a mood, an aura of accepting that life is pretty fucked up. The vocal layering is spot on, vintage Stone Temple Pilots, which when done correctly is a welcomed treat.

With folks a little tired of music sounding like it’s straight from a Mario Brothers game, it’s nice to hear a band that’s got more in common with the 90’s style of rock and roll than anything we’ve heard recently. There’s more classic Pearl Jam here than anything from the 00’s, and I’m perfectly fine with guitar riffs touched by Stone Gossard or someone grabbing a megaphone and chanting like Scott Weiland used to.

If this e.p. is any signal of the direction of Black Rhino, the future looks bright from these Chicago boys.

-----------------

You can hear Black Rhino EP here: https://soundcloud.com/blackrhinochicago/sets/black-rhino-ep