In music, there are the good artists who are creative and make great music that people can really enjoy.
Then there are the brilliant artists who are amazing, talented and people fall in love with. Matt Lowell is brilliant. (Apologies for the propaganda I am about to spew at you)
Swan Lake is a well formed EP by Matt Lowell a New York based artist and he is apparently quite well known. Graduating from Berklee College of Music, releasing other EP's, touring, performing- he has really gotten around.
“Swan Lake” opens this brilliant EP with beautiful vocals and guitar. His voice is smooth and perfectly in tune and just really really good to listen to not to mention how sensational he is on guitar. “Will you go now? Will you hunt me down?”
“Turret and Castanets” is faster paced and more rock than the opening song. It starts with electric guitar and drums but has a string accompaniment further into the song that is clever and accentuates and compliments what he is already doing.
“South Bend” goes back to the acoustic sounds to flatter the sad lyrics of this song- “You know you will stay here till the end See me off, see me off past the south bend”
The pace picks up again with “S.O.S Angeles” with great catchy lyrics and the high standard of music Matt Lowell just seems to pump out... “I'm doomed if I do, Damned if I don't”
“Sage and Manzanita” is slower in pace and has delightful and clean music which accompanies the sad, slow lyrics- “This may be too tough to handle This may be too tough to take This may be my own hearts mistake But I am bound to break”
“Youth and Innocence” has more raw acoustic guitar and ties off Swan Lake beautifully.
I really think this is an awesome, awesome EP. Smooth, uplifting, calming (Takes on from stabbing a page out of sheer frustration to nailing the drawing, all in 22 minutes) all over amazing.
The bastard great grandson of Lord Burgess is England’s conscience. He attempts to prove it with his debut album “England’s Bleeding.”
I’m making somebody really rich
While he pays me peanuts
Well, ain’t it a bitch.
I’ve got to get out of here.
- a verse from the track “Forget About It All.”
Andy Robinson, also known simply as “Robinson” expertly blends disparate musical styles - Klezmer, Folk, Jazz, Blues, Country, Alternative Rock - as he plays clarinet, saxophone, guitar, banjo, glockenspiel, accordion and percussion. Yet, what could have been a cacaphony of harmonies is a smooth and successful combination of melodies all for one purpose - to make you think about the human condition.
Always talk to strangers
Because they are always lonelier than you
Always talk to strangers
Because you never know when you’ll need a friend
- chorus form the track “Always Talk To Strangers.”
This son of a son of a son of a bastard knows what he wants and is not shy about telling us what it is.
Some people just want some money.
They believe it’s going to make them happy
I can understand but it’s not what I need,
What I need is much cheaper than this
I want a place by the sea with a record player
and an old beaten up guitar
with a pub down below
Just to stumble back home
and that’s all that I really want
and that’s all that I really want
and that’s all I thats all I really want
Some people just want a woman
And some kids just want a baby
They both bel;ieve that family’s the answer
But for me I want simplier than this
I want good clean fresh air and brand new cigarettes
A good pair of shoes and a comfortable bed
Girls come and go but this smile remains
and that’s all that I really want
and that’s all that I really want
and that’s all I thats all I really want
- excerpt from the track “That’s All I Really Want.”
Robinson is the whole package. He can play, arrange and write. He is from coal mining stock and echos British working class indignation.
Hip hip hooray for our new Governor
England’s joy is MacDonald’s big brother,
I don’t care for one or the other
In the pocket of America’s mother.
Our children are pregnant and drunk
Our fathers are useless scraps of junk
Johnny Rotten who sang without a key
Is nothing but a sold-out punk.
England’s bleeding now
England’s bleeding now
England’s bleedng everywhere
- excerpt from the track “England’s Bleeding.”
He writes folk songs like Bob Dylan. A faint echo of “Stuck Inside of Mobile With the Memphis Blues Again” can be heard in Robinson’s track “Stuck In Town.” Yet, his approach is never as raw as Dylan’s approach. It is polished and it sparkles with Robinson’s emotive voice. It is the perfect combination for love songs such as “Dance,” “In A Whisper,” “Little Ms. Darling” andthe album’s poppy “First Time.”
We smoke cigarettes,
We drink in the park
We always go out after it gets dark
We drink until three
She’s smiling at me
With her red wine lips
And her sweet french kiss
Yeah, I’m so happy I can almost cry
I don’t want this feeling to fade, Oh no
Maybe this could be the first time
Maybe this could be the first time
Maybe this could be the first time
I felt love
- first verse and chorus from the track “First Time.”
For Robinson it is all about the message. Whether the topic is a melancholy story about an on and off romance, such as the track “In A Whisper,” or a soul-searching exposition on life, such as the track“Happiness,” Robinson’s choice of syntax and cadence are used as formidable weapons.
I want something else
I want something else
Happiness should be caressed, not depressed by the sorrow
Happiness should be caressed, not depressed by the sorrow
Fat cats rule
While us dogs drool
And we bark at each move they make
They think that we’re small
That we don’t care
But I can tell you that our eyes are more open than theirs
I want something else
I want something else
Happiness should be caressed, not depressed by the sorrow
Happiness should be caressed, not depressed by the sorrow
- excerpt from the track “Happiness.”
Robinson ends England’s Bleeding with an introspective look at what he hopes the future holds. “Someday, Somewhere.” is a sweet ethereal nursery rhyme but is the least enjoyable song of the whole lot. That may be by design.. Robinson rails against the present but ends it all with a hope for a better future.
The album is music-based poetry with a message. It is a viseral and formidable debut effort. It will make you think. Turn it on, turn it up and listen.
I am a shallow music listener because usually I don't take the time to find out anything about the band I am listening to. I figure, they sound good, why bother finding out anything about them? Unless of course they are really, really good. (Did you know that Little Birdy was named after a Ween song?) The Vessels made me endeavour to discover something interesting as their music was so interesting, and this would also allow me to tack something onto the end of my recommendation.
“Have you heard the Vessels? Oh! You should they are good and *INSERT INTERSTING COMMENT HERE*”
So, off to google I go and the first thing I find is their webpage (handy thing > http://vesselsband.com/ ) and discover they are British. This may not seem major to many people but I am a real sucker for British music (I know... I am a traitor to my own country) and this seemed like something I ought to follow on with. I then found out that they had a previous album that they released back in 2008 (Don't worry. It is downloading now.) They also consist of five members; Tim Mitchell, Martin Teff, Tom Evans, Lee J. Malcolm and Peter Wright.
Moving on from my lame background information that most of you probably know already...
Helioscope. Good stuff. Actually, really good stuff. Considering I had to wait two hours for it to download because I went over my limit, it had better have been. It didn't disappoint.
The first song on the album "Monoform" served as a way of calming me down from the murderous- throw- my- laptop- out- of- the- window point I was at. It is sort of trippy and reminds me a little of "M4" by the Faunts but more rock. "The Trap" keeps the mood.
The first vocals on the album start at "Recur" and I like it. It is simple and perfectly compliments the complicated almost rock music your ears are now revealed to.
"Later Than You Think" opens with a calming soft sound that has you straining to pick out what exactly it is. The music then builds your suspense as it becomes louder and closer to you then fades off and opens up to another complicated, rhythmic and creative part of the song. The sound at the beginning then fades out, and it opens up to reveal another layer, then comes back to the sound. It goes round and round like this and it is a piece of music that is very well thought out and planned but still holds a spontaneous feeling in it as you aren't quite sure what the next layer it holds.
So maybe I am just a little girl on the inside because I was giggling for several minutes because of the title, and the lyrics of "Meatman, Piano Tuner, Prostitute", “We'll ride horses, After we bathe together.” This is not because I am an insensitive, immature person but because a few of my straight male friends were joking about riding horses naked together the very same night... Seemed like an odd and funny coincidence to me... After I got over my own personal problems I really had to respect this song for its creativity and musical talents. The eerie sweet tinkling music and right of stage singing gives way to the end rock climax.
"Art/Choke" then continues the rock mood "Meatman, Piano Tuner and Prostitute" just set up, but minus the vocals. It builds the rock mood, then breaks off to allow for some fancy frett work, then builds again. Heal takes you back into the electronic sounds that the Vessels seem to have mastered.
"All Our Ends" is my favourite song on the album. Vocals, electronic music, the complicated layering all perfectly matched and really hits the spot.
Finally, "Spun Infinite" is the prefect end to Helioscope with note holding lyrics to electronic mixed music. It seems quite a sad song, due to the elongated sound over the minor notes.
All in all, a good album. The strong instrumental and electronic sounds are quite polished with the vocals enhancing the music instead of being the reason to have the music. Refreshing and invigorating to listen to.
For the past couple of years, there have been a lot of great debut albums by indie bands. Now that may be hard to believe for some, but it’s surprisingly true. Whether it’s a New York new wave band or another alternative indie rock band, the quality is out there, but the key is finding those bands. Back in 2008 I kept hearing about this New York post-punk, new wave, and indie rock band that has a playful, party sound called The Virgins. Sadly, it wasn’t until 2009 when I took advantage of actually checking out their eponymous debut album, The Virgins.
Now I don’t normally admit this, but it’s one of the only times I do regret not buying an album right away. After I immediately purchased the album, I listened to it five times and haven’t looked back since. The Virgins are arguably one of the best bands to emerge in the past five years.
However, due to their cocky, playful lyrics they have been heavily criticized for their music promoting promiscuity and being used in Gossip Girl, 90210 and 17 Again. Luckily, they have also gotten air time on Entourage and an awesome reference in Kevin Smith’s Cop Out as the band Bruce Willis’ daughter, Ava Monroe (Michelle Trachtenberg), wants to play at her wedding. It was the latter reference that made me want to elaborate more on this suave, slick, and sensational band, The Virgins.
Energetic, enigmatic, and entertaining, The Virgins captivate you from beginning to end on their debut album. Living a life full of debauchery, the album is filled with stylized 80s energy dance music. You will have fun listening to this upbeat and uproarious album.
The album starts off with a smack to the face. Reminiscent of “Kick Out the Jams” by the MC5, “She’s Expensive” starts out with profanity to kick off their eponymous debut album. The catchiness continues with one hook right after the other and takes you on a joyride of what lies ahead for the entire album.
With the swagger of The Strokes, this New York quartet just keeps up the pace with their next track, “One Week of Danger.” The song is filled with some sleazy, sexy music that has killer dance beats.
The good times continue with “Rich Girls,” a song filled with insightful advice of hopping into bed with random strangers and dealing with stuck up “girls.” It’s undeniable that their audacious and ambitious lyrics attribute to their fun party songs. Like a Franz Ferdinand song, “Teen Lovers” delivers an irresistible quickly paced catchy song that stays in your mind long after you have stopped listening to it."Fernando Pando" perfectly captures that regrettable one night stand in a stylish sweet sounding song filled with a heavy bass that you can’t help, but laugh and feel his misery at the same time.
Starting off with some remarkable riffs, “Hey Hey Girl” is an easy going, raunchy song that puts an extra swagger in your step and is once again another entertaining song. Cumming’s soothing voice enlightens his listeners and shows a deeper side with “Private Affair.” Nothing is more devastating than finding that special someone who won’t commit because “She has always avoided falling in love.” It’s a great example of how The Virgins music is relatable to the teen demographic and mature listeners at the same time. Everyone can appreciate this band.
Suave singer Donald Cumming at times sounds like Elvis Costello with his wide ranging voice from joking around about meaningless sex to tender heartache, an aspect often lost in today’s music. It’s all fun and games for this lively bunch who have created a fast-moving, appealing album. Killer bass and funky beats enhance each song to create one remarkable album. Other bands to check out include Hockey and The Teenager.
Randy Newman once wrote a song called, “I Love L.A.” As someone who has grown up in Los Angeles their entire life, it seems like every waking moment is spent in the LA and Hollywood area. However, I always seem to have a New York state of mind. Maybe it’s because my family is originally from New York or the fact that the East Coast continues to make great music. Unlike the West Coast, they actually develop their talent before establishing their image and gimmicks. In any case, there is a new badass New York hard rock band that people should keep an eye out for, April’s End.
April’s End is a New York heavy hard rock band that fuses alternative and melodic lyrics to create a breathtaking blend of alternative metal music. Entertaining, energetic and ecstatic, lead singer Cyrille Robes commands the band with her powerful vocal range that demands to be reckoned with. Immediately, one can’t help, but think of all the female lead singers fronting current rock bands like Avril Lavigne and Hayley Williams of Paramore. However, Robes is reminiscent of a badass, bitchin’ lead singer with a killer band like Wendy O. Williams and the Plasmatics, Joan Jett & the Blackhearts and Amy Lee of Evanescence. Disregarding April’s End is a mistake.
Let me be honest. I initially brushed them off when I was handed their Break Through Sorrow EP, but after a few days passed I decided to give them a chance. I am so glad I did! Kicking off with “One Chance” the band blasts off with their hard rocking sound solidified by Danny Lysogorski’s drums. Reeling you from beginning to end, the amplified sound of Daniel Buquicchio’s guitar and JayR Castillo’s bass along with Robes robust voice, creates a stimulating song. Their abilities to pump up the listener make them a band worthwhile to check out. As a matter of fact I hardly could contain myself as I listened to this entire EP. I was just overwhelmed with energy.
“Push” just continues the steadfast energy emulating from this excellent EP. With catchy lyrics and a hard sound, it’s easy to understand why fans of heavy music like Killswitch Engage, Atreyu, and Bullet for My Valentine have appreciated the band. Their brutal, brash music makes it hard to truly classify them as they continue to waver back and forth between various hard rock and metal genres. Nothing solidifies a band’s intensity and integrity like not wanting to be labeled. Break Through Sorrow is consistently good like its predecessors. The fourth song “Tranquility” is the only song that seems out of place, but as the title suggests, it’s very relaxing and it calms your heart down before getting your blood pumping once again for the final track, “No Other Way.” At times “No Other Way” reminds me of Evanescence’s “Bring Me to Life.” It’s undeniable the similarities between the vocal ranges of Amy Lee and Cyrille Robes. Cyrille Robes is definitely someone to keep an eye out for and good things seem destined for April’s End.
I was ready to write What Laura Says off even before I heard anything from their sophomore album. I mean the band’s from Tempe, Arizona, a college party town that is the home of Arizona State Sun Devils. I’ve been there. My brother went to ASU and they are reputed to have some of the most well-paid college football players in the world (outside of USC.) Tempe is a town of western oddity - usually ten years behind the times; partial to country, mariachi and ranchera music; and always up for a college beer bash. It is also a suburb of that liberal Arizona bastion known as Phoenix. This is a state where they have prisoners incarcerated in pink pajamas outdoors in the desert; require their citizens to carry identification at all times; and permit them to carry loaded firearms in public. Let me just say I was a bit skeptical that Tempe, Arizona could produce much in the way of cutting edge alternative rock music.
So when I cued up Bloom Cheek my expectations were exceedingly low. I even thought of boycotting the album altogether as a political protest of sorts over Arizona’s immigration policies. But that would not have been fair to the artists Danny Godbold (keys, guitar, vocals), James Mulhern (guitar, percussion, vocals), Greg Muller (drums), Mitch Freedom (bass, vocals) and Jacob Woolsey (percussion) that comprise What Laura Says. So I soldiered on and I’m glad I did.
The album Bloom Cheek crosses genres, bends melodies and exhibits stellar musicianship. One reviewer, Mindy Peterman for Seattle pi Music, likens it to “the more experimental Beatles records.” I didn’t hear the Beatles but I did hear vestiges of Steely Dan, King Crimson, the Commodores, Pink Floyd, Flora Purim, the Beach Boys and Leadbelly all in just the first five tracks!
The album starts with “Training,” a jazzy, alternative song with superb guitar parts and infectious pop vocals and harmonies. The next track, “On The Fence,” boasts ethereal vocals and a harmonized up tempo beat that is almost a samba, but not quite. The song for which the album is named, “Bloom Cheek,” follows. If I didn’t know better I would say the tune was a lost Donald Fagen and Walter Becker classic.
After their foray into Steely Dan-like music What Laura Says moves on to the sound of Brian Wilson on the Smiley Smile album with “I Follow.” Then comes one of my favorite songs on the album, a straight ahead acoustic blues piece “Keep Running Show Special.” The guitars are amazing; the harmonies outstanding. The song sounds like Leadbelly’s “Black Betty.”
The album takes a turn with “Lines and Colours.” This one is in the genre of experimental rock with overtones of Pink Floyd and King Crimson. It starts off slow and morphs into a driving beat covered with rising and falling harmonies and guitar. Then, it stops and instruments are used as sound effects. Listen and you feel like you are in a submarine. I was ready for Justin Hayward to read from “Nights In White Satin,” “Breathe deep the gathering gloom. Watch lights fade in every room. . . .” The song “Gardener of Wonders” which follows returns to the feel of the Beach Boys’ experimental music. It encompasses haunting harmonies with droning and swelling instruments that also contain sound effects that reminded me of a coming storm.
“Roll Some Coin” starts with the sound of change being dropped - somewhat like the start of “Money” by Pink Floyd. This track is an progressive instrumental rocker. Screaming guitars, distortion and swells. Much heavier than anything else on the album. There is no electric guitar on the 1973 album “Hymn Of The Seventh Galaxy” by Chick Corea’s Return To Forever. However, the sound of “Roll Some Coin” is rather similar. “I’d Dance For You” slows things down and feels like a Steely Dan album cross-fertilized with the Beach Boys’ album “Smiley Smile.”
On “Grocery List” What Laura Says starts with a reggae rhythm but quickly turns to a mixture of pop evoking the Beach Boys of the late 1960’s. After “Grocery List” is completed the band turns to “Take It Spoke,” an acoustic folk song accented by Brian Wilson-like harmonies, that ends with a classical jazz piano outro The album concludes with “Lambhair McDaniel,” a song with a very 1950’s, early 1960’s, ballad rock feel - like the Drifters meet Zappa. The song and the album ends with clipped and processed ethereal guitar and keyboard playfullness.
What Laura Says tours extensively. As they say on their blog “Here we are, yes indeed, here we are.... on the brink of doing what every Arizonan dreams about doing when the onslaught of summer sizzles the backs of our necks: road tripping.” Through June 25, 2010, the band will be all over the East Coast - from New York, NY to Tampa, FLA. From the end of June through mid-July 2010 you will find them on the West Coast. Outside of Arizona the only paper you will need in order to see them is a concert ticket.
Precocious. The act of being ahead of one’s times, developing early, talented beyond any reasonable explanation for being so damn young. Yep, that pretty much describes this blazing sopomore album from just-ending teenagers, ACIDIC. Forget any preconceived notions you may have about teenage bands before you pop this on your ipod. Yeah, I know, names like The Jonas Brothers or Hanson come to mind --at least my mind-- when I think of real young bands, but trust me that’s not what we’re dealing with here.
With an average age of just 19, I had no inkling of the maturity these guys bring to their music. And rather than playing some version of a snotty, anyone-can-do-it, Green Day-by-the-numbers, pop-punk, the boys of ACIDIC make it clear that they’ve studied well under the masters of rock. Sure there’s some Green Day here, and a touch of a whine in the vocals, but it never approaches annoying. Instead, all that I hear are the massive retro-classic rock rolling riffs, punky chops, and big guitar flourishes.
Along those lines, “Strata Red,” is one of the major standout tracks here. Kicking off with a big Bonham intro, the boys barrel headfirst into a rollicking Zeppelin riff that can only be described as totally solid. The guitars drop out for the first vocal verse but come roaring back with a vengeance, chugging and spurting, big and beefy. At this moment, I guarantee you, you’ll stop thinking of these guys as a teenage band. In fact, no further mention of their youthful age will appear in this review. What we got here are some serious rockers, locked in, and blasting it out with frenzied abandon. From start to finish-- including the easy-to-chant-along chorus-- this song is a winner. “Retrograde,” also stands out as the work of a band to be reckoned with. Riding a retro-riff so big and ballsy, I bet Tony Reed, the mastermind behind Stone Axe would be nodding with approval. There’s a touch of an emo feel here, mostly in the vocals, but again this ain’t no teenage punk band. This is full-on, Ripple approved rock and roll.
While those two tracks are my standouts, they’re by no means the only strong cuts here. “Tell Me,” blazes with a slicing intensity, “Closer to the Sun,” feels like it’s the boys first neo-epic, while “The Big Bang,” is their most Green Day-ish, radio ready, should-be hit.
Ok, so the kids are young. What we got here is some serious musical maturity and some even more serious musical chops. Keep your eyes on these cats. The kids are definitely alright.
All-star rock super group Terrible Things featuring Fred Mascherino (Taking Back Sunday), Josh Eppard (Coheed & Cambria), and Andy Jackson (Hot Rod Circuit) have just released their debut single "Revolution" yesterday via iTunes & ShockHound, and they've asked the Ripple to make the song available in full-stream on our site. Always being a fan of free, legal music, we couldn't resist.
The full-length debut is due out late summer on Universal Motown. The album's concept is about the arson that ravaged Fred's hometown of Coatesville, PA. So if you like what you hear, go out and support the band.
Time for another journey (a two-parter this time) through the hallowed basements, bedrooms, and home studios of some of the most interesting D.I.Y. projects to grace the Ripple mailbag. Just like before, our hat gets tipped to the D.I.Y. musician, producing and creating when a whole world of naysayers may be standng before him (or her). All for the love of music. And what a varied set we have for you waveriders today.
The Photons - Glory! EP
A while back when perenial Ripple favorites, Grand Atlantic, were touring the US for the first time, me and the Mrs Racer set out to Hotel Utah in the City to watch our boys tear the place apart. And they did. But before them there was an entirely too long list of opening bands, most of which verged beyond the annoying. At one point, me and the Mrs were going to step outside to let our ears rest before Grand Atlantic came on, but something about the band taking the stage made us stick around and check them out. And good thing we did.
The second The Photons plugged in those little hairs on the back of my neck stood up to pay attention. Mixing an eclectic, quirk pop atmosphere, like the Decemberists with some charming guitar-based jangle rock, The Photons took immediate control of the stage and all 200 of the ears packed into that tiny club. A seven piece, multi-racial, multi-gendered outfit, The Photons threw every thing into the mix besides guitar, bass and drums, including bassoon, clarient, glockenspiel, bells, toy piano, gang chants and I believe a xylophone. And somehow they manage to do this without ever swamping the sound in excess or noise pop, always maintaining the meat of the melody. "Glory!" the title song off their self-released EP is a dynamite example of how quirk-pop can be engaging without losing itself up the butt of the PolyphonicSpree. "Where Were You Last Night" follows suit, both songs carried by the energetic, near-frenetic vocals of James Parrish. Both of these songs are impeccably crafted slices of quirk-pop perfection. Can't-miss winners.
And talk about a cool D.I.Y product, each copy of the Glory! EP comes complete with an indy black and white comic book, "We Are the Photons," drawn by bassist/drummer Calvin Liu.
Fun and engaging, The Photons were for real. Unfortunately, their webpage says that they've gone out on indefinite hiatus, but we'll keep our fingers crossed for more Photons to come our way. In the meantime, you can download a couple of free tracks from the band at www.wearephotons.com.
45-70 - Get Ready to Bleed
In case you need a reference, this minimally produced, self-manufactured disc comes complete with a photo of a gun chamber loaded with 45-70 shells. Combine that with the tell-all title, Get Ready to Bleed, and you'll get a good idea what your ears are in for with this little retro-metal treat. Rocking on like the '90's and all of nu-metal had never happened, 45-70 take their licks from the pages of early (still cool) Motely Crue, rough and tumble Metallica. Toss in another chamber full of NWOBHM spit, venom and bile, plus the desire to pound their heads against any hard surface within reach, and we got the formula decoded.
I can't really remember where these cats hail from, but I think it's someplace way up in Michigan or such, far away from civilization, culture and non-fur covered women. As such, the boys banded together to create what all men lost to the world need: music to vent out all your testosterone and chest-beating manhood. And do they ever.
45-70 have studied their lessons well and can take command of a riff like a general taking control of his troops. Each track pounds with elemental NWOBHM guitar fury. Drums explode with the frequency of blind man walking through a mindfield. Bass is heavy and pummeling while the vocals add just the right amount of Vince Neil squeal. The album kicks off with a fury. Opening cuts "Under," and "Honesty" just may be as good D.I.Y. metal as we've heard around here in some time. "Under" opens with a particularly nasty guitar riff, tearing right into a true "face melting" guitar solo. The opening wailing scream leaves something to be desired, but once the verse drops in the vocals work out just fine. Bass rules through the verses propelling things along like a tank cruising a battlefield. Listening to this track reminds me of all the ballsy excitement that reigned through the record store when the NWOBHM was new and in full flight. Each new release just brimmed with a punky-D.I.Y excitement. You never knew what you were gonna get, but it was all done with passion. That's what 45-70 got going here. An undeniable passion for their metal freakout.
"Honesty" ups the stakes a bit, showing some strong songwriting chops. Yeah, sure the drum sound needs to be beefed up, but remember these cats recorded this album in their tundra cabin between deer and moose hunts. You can almost taste that moose flesh here, as the song slinks and trods along to the raver of chorus.
From there the album doesn't let up. Raw and bare D.I.Y. metal that's definitely worth the effort.
