Ours “Mercy…Dancing for the Death of an Imaginary Enemy” Album Review + Videos…

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In Case You Missed It Series: Episode 8

Ours

Mercy…Dancing for the Death of an Imaginary Enemy – CD // DD

American Recordings – released April 15, 2008

Reviewed by Zachary “+Norway+” Turner

 

Lineup for Mercy…Dancing…:
Jimmy Gnecco – Vocals, Electric Guitars, Bass, Drum outro, Percussion
Static – Space Guitar, Loops
Locke – Electric Guitar in instrumental, Piano, Keyboard
Anthony DeMarco – Piano
Michael Jerome – Drums, Percussion

Previous Releases:
1994 Demo “Sour”
2001 “Distorted Lullabies”
2002 “Precious”
2008 “Mercy…Dancing for the Death of an Imaginary Enemy”
2013 “Ballet the Boxer 1”
2017 ***upcoming “Spectacular Sight”

Tracklist:
“Mercy” 6:41
“The Worst Things Beautiful” 4:21
“Ran Away to Tell the World” 5:00
“Black” 4:51
“Moth” 4:34
“Murder” 5:35
“God Only Wants You” 4:23
“Live Again” 4:27
“Willing” 4:41
“Saint” 5:06
“Lost” 5:18
“Get Up” 4:50

                               Video of Title Track “Mercy”

 

The Band:  Ours is an Alternative Rock band from New Jersey.

Album Art:  “Ghost Girl” was made by James Gnecco IV.

Review:  In 2004, Ours relocated from New Jersey to Los Angeles to work with Producer / Engineer Rick Rubin. The resulting album, Dancing for the Death of an Imaginary Enemy was released on April 15, 2008.  If you are not familiar with Mr. Rubin, he is one of the most famous producers of modern music. He has produced music from genres like: Hip Hop, Rock, Heavy Metal and even Country.

Musically this album is very similar to the other music from the late 90’s and early 2000’s like heavy hitters like H.I.M., U2, Sixx A.M., and at some points have a Muse flair. Some more accurate (meaning more recent) comparisons are 10 years and Evans Blue. There is a heaviness in the music but not enough to change the genre from Rock to Metal.

800px-Jimmy_Gnecco_-_Rockwood_Music_Hall

This album is a family affair, in between the album art, the singing (track 12) and the lyrics themselves are focused on Jimmy’s family. It is also a heavy album because of the emotion that is delivered through the singing and with some string arrangements that are present, but not overpowering. Ours’ “Mercy…Dancing for the Death of an Imaginary Enemy” could be considered a sulky emo record; while it is a more downtempo album, it isn’t wallowing in its own sadness. It is just poppy enough to be played on the radio and even in some TV shows like NCIS and CSI.

While looking around for info on this album I found that there is hardly any reviews, so in turn, not much open love for it by “The Powers….”. This is a really solid album that (if you like any of the bands above) you should take a listen to. Ours mix their first two albums together perfectly; the great production that was used in their first album, and a rough (while still polished) vocals. The personal lyrics from all of the band’s releases are fueled by meaningful, personal and often times heavy in weight that only frontman Jimmy can deliver.

There isn’t a dull song in the album (and after 20 months) that shows how good Ours are as musicians, as well as arrangers. If I were to choose a favorite track, it would be the title track. It is one of the most powerful vocal performances by Jimmy Gnecco; along with “Live Again”. Give “Mercy…Dancing…” a listen as I cannot recommend

Stream, download, and buy the album HERE

Logo

Extra Links:
https://www.facebook.com/pg/oursmusic/about/?ref=page_internal

http://www.ours.net/ourspages/

https://www.discogs.com/artist/473602-Ours

https://www.amazon.com/Mercy-Dancing-Death-Imaginary-Enemy/dp/B00133KDWS

https://en.wikipedia.org/wiki/Dancing_for_the_Death_of_an_Imaginary_Enemy

Boris “Dear” Album Review + Video + Stream…

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Boris

Dear – Vinyl // CD // DD

Sargent House Records – released July 14, 2017

Reviewed by Santiago “Chags” Gutierrez 

 

It’s been twenty-five years since Boris was formed, taking their name from a Melvins song, they have since released a multifarious catalog of music. From the onset, they have run the gamut of ambient, drone, doom, noise, psych, punk, sludge, and shoegaze along with everything else in between, and no one has been able to pull that off as effortlessly as Boris has. They weave their multi-genre magic seamlessly and to great effect on every release. Takeshi Ohtani, Wata, and Atsuo Mizuno have been together since the formation of the band and the chemistry they have still bonds well to this day.

Opener ‘D.O.W.N. – Domination of Waiting Noise’ sets the pace with a powerful and impactful intro of controlled noise with enchanting vocals. ‘Deadsong’ continues along the same path with an electronic drone number that showcases whispered vocals among haunting screams and howls. ‘Absolutego’ may be considered the most accessible song on the record, as it follows a more traditional song structure. You can find the official video for ‘Absolutego’ on YouTube as well.

‘Beyond’ is a highlight of the record as it takes the listener on a roller-coaster tempo ride while vocally, they hit every mark perfectly. ‘Beyond’ segues into ‘Kagero’ where Boris showcases their noise/experimental/dreampop skills with efficacy. Shoegaze-like vocals are featured on ‘Biotope’ with dreamwave and noise components.

Boris brings the doom with ‘The Power’ and ‘Memento Mori.’ Both tracks would irrefutably fit perfectly on any respectable doom record. ‘The Power’ is an instrumental piece that recalls elements of Electric Wizard and Trouble. The vocal tone on ‘Memento Mori’ is damn near perfect to go along with the funeral doom musical melee going on behind it. Certain elements of the song reminiscent of the gloriously classic Italian doom era.

Pro Band Pic

This brings us to ‘Dystopia Vanishing Point.’ To say this has song of the year potential is an understatement. Clocking in at almost twelve minutes, this one will be hard to beat. The song intro is reminiscent of a great soundtrack record. Chino Moreno-like vocals kick in to go along with the slowed down shoegaze vibe followed by an amazing guitar solo that runs the final five-minute leg of the song. The album bookends nicely with “Dear” which hearkens back to the slowed down drone feedback style we heard on ‘D.O.W.N. Domination of Waiting Noise.’

Boris are still going strong after all these years, continually looking for ways to challenge themselves with experimentation. Dear, like most of their albums, is about motion and magnitude. It is without a doubt a spiritual journey and despite the variety of genres explored, it’s still dexterous in its delivery. Thankfully Boris never seems comfortable staying fixated on one single style or genre. They continue to change and explore the dimensions of sound. I think by now it goes without saying that this will undoubtedly make my end of the year top ten list.

LowFlyingHawks “Genkaku” Album Review + Track Stream…

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LowFlyingHawks

Genkaku  幻覚 – Limited Vinyl // CD // DD

Magnetic Eye Records – releases August 25, 2017

Reviewed by Terry “The Ancient One” Cuyler

 

Band Line-up
Dale Crover – Drums
Trevor Dunn – Bass
Buzz Osborne – Vocals and Lyrics on Tracks 1 and 4
Toshi Kasai – Vocals, Fx and Guitar on Track 4
AAL – Guitars, Vocals
EHA – Guitars, Lead Vocals
Artwork and Design by laolab
Photos by Mata
All tracks Low Flying Hawks

 

REVIEW:
Doom fans this is Terry “the Ancient One” and I want tell you about an upcoming release from Magnetic Eye Records called Genkaku  (Japanese for “hallucination”) by a band called LowFlyingHawks. A follow up to their acclaimed 2016 album Kōfuku the band latest album “Genkaku” will once again feature Melvins drummer Dale Crover and bassist Trevor Dunn (Mr Bungle) alongside the dynamic instrumental duo of doom AAL and EHA.  Genkaku also features Melvins frontman King Buzzo who lends his vocals on two of the albums tracks.

 

Band Pic

 

After listening to LowFlyingHawks first album “Kōfuku” and then the  early release of their album “Genkaku” I feel I can say they lived up to their boasts that Genkaku would be a doomier // riffier album full of tectonic guitar dirges and simmering intensity. While listening to their latest album I could feel the darkness.  The feeling it gave me was rather like the chills I got watching the Japanese supernatural horror movie The Ringu (The original version of the the Ring). This is one of those doom albums you sit in a dark room and listen in it’s entirety to get its full effect. All the tracks on this album are out of this world my favorites are ‘Virgin Witch,’ ‘Space Wizard’ and ‘Sinister Waves.’

Genkaku is available for Pre-Order, the Digital Album will be released on August 25th, 2017 and is also available in Vinyl and CD Digi-pack. Genkaku was produced, recorded, and mixed by Toshi Kasai (The Melvins, Big Business), and mastered by James Plotkin (Electric Wizard, Moon Duo). If you like post-metal doom, shoegaze and Agalloch this will fit into your collection quite nicely.

“Genkaku” is sure to be a best-of-2017 contender. Pre-order Genkaku below and get ready to be fucking floored.

Enhailer “Grisaille” Album Review + Stream…

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In Case You Missed It Series – Episode 4

Enhailer

Grisaille – CD // DD

Blackseed Records – Released June 2, 2016

Reviewed by Andy “Dinger” Beresky

 

I’m not sure how many of you are familiar with the Akron, Ohio band Mockingbird. I’m fairly familiar with them, as I was privileged enough to be able to share the stage with them on multiple occasions.  Their sound was a progressive and melodic take on sludge/doom metal, in the vein of early Mastodon and Baroness, yet there was something so PURE about them.  They were completely removed from any of the mainstream trappings that the aforementioned bands eventually came to embrace.

I don’t typically like to define artists in terms of their former bands or other projects.  All the same, it’s hard to talk about High On Fire or Om if we don’t also talk about Sleep, isn’t it??  Drummer Chad Beverlin from Enhailer also plays with the criminally underrated Mockingbird, and there are enough similarities in their sound that it’s worth bringing them into the conversation.

 

Enhailer have a slightly goofy name, which is both endearing and problematic for me personally.  I like the name, though I know how using puny names can sometimes come with a stigma or turn people off unnecessarily.  Yes, I play in a band called Palace In Thunderland.  People tend to either love it or hate it. It’s goofy, and funny, and fun….we hope.  That’s really up to you, not us.  It’s also meant to be a bit artsy, and that’s the same vibe I get from Enhailer.  They’re instrumental, so we know that they’re artsy.  However, this is not the more stripped down minimalism incorporated by fellow instrumentalists Karma To Burn, nor is it the hip neo-melodicism of Pelican. This is something far darker and dirtier, like if we truly pushed Mogwai into the depths of despair that they’ve always mildly flirted with.

There’s nothing demure about Enhailer.   They encompass everything that I love about the American Midwest.  If you’ve never been, I’d highly suggest that you spend some time there.

While Mockingbird tended to write more songs with a more traditional vocal-driven structure, the lack of vocals allows Enhailer to work more with a classical, theme and variation motif.  The six songs tend to build, evolve, and intensify organically, which is what prompts me to compare them to Mogwai. The major difference is in the atmosphere itself, which is bleak, heavy and haunting, due largely in part to the guest keyboards, which loom and pulse in the background.  Technically Enhailer are a trio, though it’s hard to talk about this album without bringing in the keyboards, as they truly add a nice touch.  It’s also worth noting that their seem to be some form of growls in the background of a couple songs, though I think this is just for effect, and to add to the atmosphere.  I don’t think there are any discernible lyrics.

 

Band Logo

 

I really dig the production, which manages to sound both full and never excessive.  The songs themselves usually lurk at a comfortable, mid-paced tempo, and combine quieter, more introspective sections with full on dirgy doom riffs.  It’s a nice blend with a unique take that firmly separates them from the rest of the post-metal pack.  I get the feeling that this is really just a sampling of what Enhailer have to offer.  These six songs clock in at just over 30 minutes.  I’m thinking that they’ve got a lot more to say, in their typical manner of not speaking or singing a single word.

Pink Frost “New Minds” Album Review + Stream…

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Pink Frost

New Minds – Limited Vinyl // CD // DD

Under Road Records – Released June 16th, 2017

Reviewed By Andy “Dinger” Beresky

 

Taste Nation LLC founder and owner Matthew Thomas is well aware of my penchant for shoegazing at this point in time and had recommended I check out this new Pink Frost album.  He described them as a shoegaze band that was going for a heavier sound on their latest album.  At this point in time, I should be well aware of his penchant for understatement.  This album sounds like the ungodly love child of Smashing Pumpkins and Uncle Acid And The Deadbeats, conceived at a Cure concert during the Disintegration era.  This certainly ain’t a bad thing – let’s recall that The Smashing Pumpkins were my favorite band in high school, and Disintegration is a top ten all-time album for me.  The heavier tracks are blown out with some seriously fat fuzz-tones straight from the Siamese Dream era, and they have the melodies to match.    However, the overall vibe is dark, evil, and ethereal, which may sound like an unlikely combination, but they somehow pull it off.  It’s like listening to the soundtrack from your most pleasant nightmares ever.

 

Band Pic

 

Pink Frost actually have a bit of a back catalog, even though this is my first time listening to them.  That’s a shame, as this is my kind of band.  I’m going to do a bit more exploring into their past efforts and see where they take me.  It makes total sense that these guys and gal are from Chicago, also the hometown of The Smashing Pumpkins.  They’ve got that classic 90’s Chicago sound, with just a dash more of a modern edge and slightly sinister overtones.  New Minds  is rather entrancing in its approach, how it balances these somewhat disparate elements.  The opening title track starts off noisy and upbeat, with an off-kilter riff punctuated by a punk-ish rhythm section assault.  ‘Bare Roots’ is my favorite track on the album, with its relentless groove, stoner-ish riffs and incredibly guitar melodies.  There’s a breakdown into a quieter middle section that is straight up Siamese Dreamy, like something the Pumpkins would have used on tracks like ‘Silverfuck’ and ‘Geek U.S.A.’  The biggest difference is that you’re not going to hear any of the over-the-top lead guitar pyrotechnics that Billy Corgan was able to pull off in his heyday.

New Minds isn’t all about being heavy, and Pink Frost certainly shift gears into shoegaze and dream pop territories on tracks like ‘Avian’ and ‘Headlights.’  Despite the cleaner, lusher soundscapes employed on the quiet tracks, there’s still an underlying emotional longing and a resonant, bittersweet darkness in the lyrics.  Take some of the “Avian” lyrics, for example – “I will take what’s given/And I will steal your air/I’ll take your breath away/And the name you once wore.”  The vocals are emphasized and enhanced by a delivery that’s one part whisper and one part sneer.  The guitar interplay is textured and nuanced, even when the fuzz is full throttle, and the rhythm section certainly holds things down.  Production wise, everything has its place in the mix, and it’s all very full and powerful.

This is a solid album from start to finish, and culminates in the haunting samples from a newscast about a large fire on final track, “We No Time.”  There’s not a clunker or weak track to be found on New Minds, it’s one long goth-fuzz mindfuck of a listen.  I’d be curious to catch these cats live, and I’m also quite curious about what their next album will sound like.  Personally, I’d like to encourage them to continue in the heavier vein, because what they’re doing is working in my eyes and ears.  New Minds is one of this year’s stronger albums, and it’s gotten quite a bit of repeat plays from me, which is always a good sign.

Lineup:
Adam Lukas: Guitar, Vox
Paige Sandlin: Guitar
Alex Shumard: Bass
Jesse Hozeny: Drums

New Album Review – Gold “Optimist”

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GOLD

Optimist – Released January 5th, 2017

Available in Vinyl // CD // DD // Merch 

Van Records Ván Records (world excl. N-America) | Profound Lore Records (N-America)

 

Created 2011

Band Members – Milena Eva – vocals / Thomas Sciarone – guitar / Kamiel Top – guitar /

Jaka Bolic – guitar / Tim Meijer – bass / Igor Wouters – drums

Rotterdam, The Netherlands

The first minute and  a half is nothing but guitar chords setting a tone of dissonance before Milena’s voice enters with her signature clarity and grabs your attention beckoning “Remember…” and the journey of this, the third full length release from GOLD, is underway. ‘You Too Must Die’ establishes the pace and as lead off, it is plush in the mix and makes you thirsty for more. ‘Summer Thunder’ uses the same extended intro of a minute before Milena states “There is nothing I would rather do…” and the galloping drumline pulling the rest of the band forward into this composition that perfectly suits the title conveying that very thunder through your veins until the sudden end. ‘White Noise’ enters with a cacophony of twisting notes and the body comes in with a more even pace, yet one that still compels you to keep up to the end. ‘Teenage Lust’ fades in slow and mysterious sounding, much like the subject does for the entire 5 minutes plus, no drum line is needed for the tale there in, while ‘No Shadow’  hits with a driving beat, quickly joined by thick base before the guitars join with punch that beckons you to keep chasing along with them.

 

Live Band Shot

 

‘I Do My Own Stunts’ begins with a fury and there is nothing holding back here with the masterful fills and the edges of three guitars chugging on in sonic syncopation. ‘Be Good’ hits with Milena’s command “Stick to your guns…” and we’re off for what is, to this point, the fastest song on this record and is as lush as can be until the sudden stop-ending. ‘Come With Me’ is as quick-paced with the noodling guitars intersecting with a fury of quick-picking that accents the solo perfectly, the rest never missing a beat.

Final track ‘Tear’ begins with a melancholy dirge of notes that summon the dark clouds to return to bring the cover to consume the tears that flow from Milena’s lips into our ears and is the one that stands out as the go-back-to track to take it in again.

 

Pro Band Shot

 

Front to back, a stronger album than the previous two and shows that with maturation comes growth both lyrically and musically and each song delivers with a different flavor than the one previous. This could be the one that breaks GOLD out into the rest of the world and is well worth checking out. NOT metal by any stretch and they refuse to classify their own music… no need for all of the micro-genre’s so prevalent these days and that is indeed refreshing. Something NEW & DIFFERENT, as it is supposed to be. For the masses…

Link:

Words by Ric “Suisyko” Dorr

New Album Review – Beach Slang “A Loud Bash Of Teenage Feelings”

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BEACH SLANG

A Loud Bash Of Teenage Feelings – Vinyl / CD / DD

Polyvinyl Records – September 23, 2016

 

“Guitar, bass and drums. Played loudly.” And that is how Philadelphia’s own BEACH SLANG describe their music via Bandcamp and Facebook as no pretense, just strait-ahead to the point. And that is exactly how they want it. Representing the latest incarnation of post-punk pop wrapped in teen-angst and power chords, this second full-length release brings 10 tales of strife / love / hate and getting through it all screaming, “I still taste you in the ash of every cigarette you kill.” I think everyone KNOWS that feeling.  If you don’t, you are a better person for it!!

Mixing a delivery that rings richly of PSYCHEDELIC FURS meets GREEN DAY, then devoured by SOUL ASYLUM and finally, snorted by SONIC YOUTH all the while adding that ‘snap’ of GANG OF FOUR soaked drum lines being brought to a froth with the richest production values utilized as of yet by this four piece, we have this gem that stands on it’s ‘own eight feet’ as it were, not trying to clone the 2015 1st full length album. James Alex, songwriter and front man for Philly indie-punk outfit Beach Slang, says that “‘A Loud Bash Of Teenage Feelings’ (Polyvinyl), is a crash-and-thunder collection of songs about what it takes to keep yourself going, to make it through the rest of the night—hell, through the rest of your youth—and beyond.”

 

Live Band Shot

 

Opener ‘Future Mixtape For The Art Kids’ sets the tone from the top, e-chords and lyrics, “Play it loud, play it fast” and you are already moving when the rest of the bands hits stride with the first step.by the last line, “We are fucking alive” and the squealing note fades.  Next comes the faster ‘Atom Bomb’ that punches you right in the face from the first second. Pure rage-rock-n-roll hammering forward non-stop to the end. The jangly guitar intro to ‘Spin The Dial’ sets a slower tone with that early SOUL ASYLUM vocal permeating this tale of being “born at the bottom but…”

‘Art Damage’ rips open with a multi-layer guitar line that sounds almost happy with the aforementioned PSYCHEDELIC FURS style delivery from James giving a nod of influence in this track as well as ‘Hot Tramps’, ‘Wasted Days Of Youth’, ‘Young Hearts’ and the quintessential love song ‘The Perfect High’, all that secret recipe mix of spices and seasonings to create this date-friendly blending of songs that run the gamut of scenarios and flavors. ‘Punks In A Disco bar’ has more of that SOUL ASYLUM / SONIC YOUTH blend of punchy guitar lines and reverb soaked vocals that just keeps you moving as sitting still is not an option and there is no fighting the urge anyway.

 

Who Would Ever Want Anything so Broken

 

It appears to be a continuing trend, the last song is the standout here for me. ‘Warpaint ‘ stands out as one of those songs that could be either the perfect opener for a live gig or the ultimate closer in said scenario, it is that powerful and attention grabbing of a song.  The first minute thirty is just guitar and vocal before the rest of the band kicks in for the final minute. Striking me as a song of encouragement and direction with the lyrics “Make a muscle with your brain. You’re not as broken as you are brave. All the things that fuck you up, knock them out then come back to us.” By the time that final ringing note decays to silence, the grin doesn’t leave your face with the satisfaction factor of what you have just consumed.

In describing what was put into the writing of this record, James said “I did feel a sense of responsibility to the kids who told me they were finding something in our music that brought them back from a bad place, the ones who were getting BEACH SLANG tattoos and quoting lyrics to me after the shows. I don’t want to let those people down. Am I leaving behind work that’s going to matter? What’s this going to say about me when I run out of air, and my son is listening to these records and tapes that I left behind. Is he going to say, ‘Yeah my dad was all right’?  I want to do right by them. When this whole thing started it was like, ‘Alright, I’m going to get to hear my sappy little songs played loud and interact with other human beings again,’ the admittedly shy Alex says looking back on Beach Slang’s existence. “Then one day this really sweet explosion happened and Beach Slang became a thing that mattered to people.”

James and Company put everything into their music.  They sweat it, bleed it and it shows in every note of this album.   Simply, they are a rock and roll band that makes records, tour and repeat… find out when / where they are playing and get out and SUPPORT!!

Words by Ric “Suisyko” Dorr

 

New Album Review – Ebisu “Lure”

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EBISU-  Lure

Release date: February 07th, 2017

Label – Self Released. Format: DD

New York is the home for this band that Ken Ghani (vox/guitars), Nikhil Kamineni (guitars/bass/synths/noise) and Tama Vadja (drums) have procured to give this epic 3-track EP to us and this is indeed something special.

A not so subtle mix of elements of post-apocalyptica/ambient/doom/industrial with a splash of stoner thrown in for good measure, Ghani / Kamineni have created a soundscape of shadows and whispers and foreboding that as ‘Sycamore’, the opener, fades in, you can feel the fog swirling as you advance with caution into the quagmire of what awaits next. Full-instrumental here that sets the tone for the remaining two tracks as the sounds that surround you seem to wrap tighter and tighter as you approach ‘The Merchant’ that is waiting in front of you and greets you with an almost tantric sounding drone-chant. Once the first hit of the snare rings out, the whisper-screams float by your ear and the droning repeats and repeats lending to the feeling of mystic capture that permeates and then seems to dissipate for the fade out of the song. ‘Good At Craft’ comes in with a lone guitar progression followed by more ambient noises closing in again from all sides, slowly closing in. The same whisper-vocal weaves around like so many snakes, the power chords giving them body to strike as you abandon to the enveloping you feel closing around like a black velvet glove that is getting firmer in its grasp of plush control, accentuated by the increased intricacy of the music that rings of almost divine splendor in that same plushness as EBISU drive you from where you stand to the multi-dimensional planes from which they have brought forth this musical mastery.

 

Band Shot

 

Amazing mix with solid production values give this release the power to crush and if this is the future of ambient-sludge -goth-doom hybrids, I say BRING ME MORE because three tracks just isn’t enough…

Words by Ric “Suisyko” Dorr

Album Review – Heavy Traffic “Plastic Surgery”

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Heavy Traffic

Plastic Surgery

Twin Earth Records

Released December 17, 2016 – Cassette / DD

 

Twin Earth Records brings us their offering from Heavy Traffic that was purportedly recorded “live to tape” over the course of a March 2016 weekend. Ian Caddick and Tav Palumbo had recorded five albums of material in the two years previous to moving to Brooklyn, New York in 2015, intent on putting a band together to focus on playing live. Two months later this was the result.

First thing I gotta say is the vocal mix is a little too over-saturated and echoplexed to be able catch most of the lyric content on first listen. Leaning heavy on psych rock, combining elements of noise, doom, punk, and shoegaze, most of the songs move along at a tempered slower pace until “Three Stigmata” when the staccato mixes with fills galore lending to a faster pace and listenability that has been missing until. “Medicated Bed” also has a faster pace complete with guitar solos brought into the forefront making this the one I kept going back to as the standout. The bonus song with the release seemingly reflects on two members referred to as White and Green on the band’s Facebook page, presumably Ian and Tav, clocking in as one of the longest songs offered and goes back to the slower tempoed stoner tromp of the first half of this record. The track listing needs to have a smoother flow in and out as they demonstrated they could do with “Acid Sweater” running smooth as glass into “Broth Drain”. We’ll see with the progression of these guys. If they are as prolific as reported, this should be the first of much to come and I hope the polishing continues until it is refined as they find the balance in the vocal mix so the words conveyed are easier grabbed. Seeing Heavy Traffic Live would be the venue to get the full affect in my opinion of this solid debut on Twin Earth Records.   If you like your Traffic “Heavy,” this is release is for you!

 

Band Pic

 

Band Members:
Ian Caddick
Tav Palumbo
David Grzedzinski
Dan Bradica

Words by Ric “Sui-Syko” Dorr