Monthly Archives: October 2018

KING BROTHERS – Wasteland

Album: Wasteland

Artist: King Brothers

Label: Hound Gawd!

Release Date: October 05, 2018

https://www.houndgawd.com/shop/en/SHOP/Vinyl/King-Brothers-Wasteland.html

BY JONATHAN LEVITT

I don’t often say it but where has this band been all of my life? Imagine this, if you take the John Spencer Blues Explosion’s unvarnished primal rock and the Miracle Workers’ bluesy stomp and grate a bit of Jim Jones and the Righteous Mind on top and then place it into a 350-degree oven and bake ‘til doomsday you might come up with the band King Brothers. I’m always impressed by bands from Japan that seem to possess an encyclopedic knowledge of a very specific style of rock and instead of being just mere imitators, are able to synthesize and place their own distinct stamp on it.  “Wasteland” is a stormer of an opener that is groovy and menacing at the same time.  And if you thought that couldn’t be beat then get ready for the barn burner of a tune “Bang! Blues” this song brings the goods, distortion cranked to 10, reverb, and that wonderful stutter snare roll combines for one mega crack to the dome. “Break on Through” is a thundering cruise down Route 66 heading to that rumble just outside the city limits and when the melee ensues, it goes down in slow motion, fists flying and blood spraying the scene.  “No! No! No!” cops the melody from The Who’s, “My Generation” but is more of a balls to the wall affair, I like the tune but wonder what the reasoning was for so transparently lifting from a band that seems to inform little of the bands oeuvre. What I don’t question is the lifting of the woo woo’s and partial song title from The Stone’s “Sympathy for the Devil” on the track “Sympathy for Xxxxx”. Given the album’s musical leanings, this makes a lot more sense, because it’s obvious that The Stones’ brand of blues rock informs certain elements of Wasteland. This is a truly impressive album and one which has been on constant rotation here in my office. This high-octane record is truly worth acquiring and if the band comes to the states I will be first in line to see them.

DOWNLOAD: “Wasteland” “Bang! Blues” “Kick Ass Rock” “Break on Through” “Sympathy for Xxxxx”

Watch the video for “No Want” elsewhere on the freakin’ BLURT website…..

 

THE MORLOCKS – Bring On The Mesmeric Condition

Album: Bring On The Mesmeric Condition

Artist: Morlocks

Label: Hound Gawd!

Release Date: August 31, 2018

 

https://www.houndgawd.com

2nd gen garage/psych monsters, now based in Germany, deliver a sonic shiv guaranteed to leave you in some knida “condition”,,, Check out some choice audio, below.

BY BARRY ST. VITUS

Be very excited, or perhaps, scared stiff, as the night-lurching Morlocks have returned from suspended animation with an explosive new album of soul-shredding raucous ‘n’ roll.

No matter their rotating line-ups over the decades, Leighton Koizumi and his band of Morlocks have continuously stood out as the most twisted fuck-ups, and undisputed champs of Gen.II of the ‘60’s punk and garage genre. Their sound has always stayed true to their school of The Stooges, MC5, Wayne/Jayne County and the Electric Chairs and so on. You know, the Good Stuff. With those influences, the absence of puny paisley pop, and Leighton’s ferocious puma-growl vocals, their live shows have never failed to decimate their audiences.

Based now in Germany, The Morlocks’  B.O.T.M.C. is the first new album is eight years, since the well-played The Morlocks Play Chess, ripping singeing covers of classic songs from the label. Now, assembled in studios in ‘various secret locations,’ an exceptional assemblage of heavy hitters; Marcello Salis –guitar (Gravedigger V,) drummer Rob Louwers (Q65, Link Wray, Fuzztones,) Oliver Pilsner – bass (Fuzztones,) and Bernadette –guitar (The Humpers.) Ex-Dirtbombs bassist, Jim Diamond produces, bringing a Motor City greasiness to the project. He also produced early White Stripes stuff. The end project is 34 minutes of ear-blasting, eye-popping and mind-mangling originals.

The mangling starts with “Bothering Me,” a late-sixties-era Stones-type basher that’s infectious in the extreme. “We Can Get Together,” struts off into N.Y. Dolls territory, keeping the high energy up. “Heart of Darkness,” really knocked me over, a very “Repo Man” kind of vibe going on. With maturity, Leighton’s voice has mellowed down to Iggy’s baritone level, like a charcoal-lined keg of aged whiskey. The first truly garage-punk number presented is “No One Rides For Free,” sounding like something Jayne County might do. Dirty blues-tinged punk is served up next with ”Down Underground.”

“Time To Move” really whips things up in a Iggy/Stones-flavored mash-up that will most likely kick your ass to Mars.  “One Foot In the Grave” rides pretty close to classic Morlocks material, with lots of snarl and slathered with Iggy and Flamin’ Groovies attitude. The first real fuzz-bomb to drop is “High Tide Killer,” which is reminiscent of a lot of the stuff exploding out of Sweden in the ‘80’s. Killer indeed! The hyper-energetic “Easy Action” is led off by a long drum beat intro, then power chords, and having the flavor of the Saints throughout, really cranking up the power-juice. The album closes with perhaps the best of the batch, a song that anyone who ever caught The Morlocks live in the ‘80’s will certainly remember, “You Don’t Know” which has been dusted off and polished to a high sheen, as well as tricked out with some of that electric jug sound innovated by the Elevators. This one is a real gem, folks!

All said and done, B.O.T.M.C. makes for an outrageous return for The Morlocks, and is easily their most sterling work to date. The material, the playing, and the production are incomparable in this genre or other hard-rock of late. The album could proudly take its place on the record shelf next to the catalog of almost all of the aforementioned bands and pretty much hold it’s own. Substance-wise it lives up to what it aspires to.

DOWNLOAD: “You Don’t Know,” “Heart of Darkness,” “High Tide Killer,” and “Easy Action.“

 

 

 

THE BLACK LILLIES – Stranger to Me

Album: Stranger to Me

Artist: Black Lillies

Label: Thirty Tigers/Attack Monkey

Release Date: September 28, 2018

 

BY JOHN B. MOORE

Just a few tracks into The Black Lillies latest, Stranger to Me, you’d swear this was a 1980s-something release, sandwiched somewhere on the charts between Eddie Rabbit, Alabama and 38 Special. The blend of country with Southern rock is remarkably strong and distinctly charming. At a time when every other band out there not adding in synths and samples, is looking to include a banjo or mandolin player to adapt to the Americana sound, Knoxville-based The Black Lillies bring an authenticity to their music that can’t be faked.

Stranger to Me, their fifth release, continues down the same path they set off on with their 2009 debut and have followed with ever since. There is the risk here of sounding a little too familiar – some of the songs manage to almost bleed into one another– but elsewhere on the record, when they do step out of their comfort zone, they hint at moments of greatness. “No Other Way,” for example, with big rock guitars or the much quieter “Earthquake,” with its sublime harmonies, are some of the best songs the band has written to date.

Despite some ebbs and flows, overall Stranger to Me is more of what The Black Lillies are great at, flawlessly mixing country and rock, without sacrificing the appeal of either.

 

DOWNLOAD: “No Other Way” and “Earthquake”

Rhett Miller 10/6/18, Philadelphia

Dates: October 6, 2018

Location: Ardmore Music Hall, Philadelphia PA

Live at Ardmore Music Hall near Philly, the Old 97’s frontman showed off his impressive solo chops.

BY JOHN B. MOORE

Rhett Miller seems to be on a constant loop of record/tour/repeat.

Having just put out Graveyard Whistling, the latest from his main gig in Old 97’s last year, followed by a fairly exhaustive tour, he went to work on his soon-to-be released solo effort The Messenger (due out Nov. 9), and is already on a solo tour again before the album comes out. He somehow managed to squeeze in an Old 97’s holiday record that they will tour behind in just a couple of months, as well.

That being said, Miller was still in full entertainer mode just a few miles outside of Philly in the small, but impressively booked Ardmore Hall (a cool, intimate venue that manages to lure everyone from Fishbone and George Clinton to Willie Nile and a Hall-less John Oates). Miller commented on the venue after a fantastically-spirited version of “Our Love”.

“We were driving near the venue and I thought, well this is a really beautiful part of town, we’re so close to Philly proper, but I couldn’t figure out where we were” recalled Miller. “At that point I watched a really cute girl trying to turn left. Then this guy behind her yells out, ‘No left turn, asshole!’ Then I realized I was in Philly.”

And just like that, the crowd was enamored with Miller. It didn’t hurt that he reeled through one great song after another, pulling from across his half-a-dozen-deep solo catalog and many of the Old 97s greats. Miller managed to hold the crowd’s attention through a 20-song set, in a stripped-down setting, with just him and an acoustic guitar.

He even previewed a new song from the Old 97’s forthcoming Holiday record. The loudest singalongs came at the end when Miller played a remarkable cover of Petty’s “American Girl” that segued into the Old 97’s “Time Bomb.” If Miller is exhausted from the constant write/record/tour routine, he showed absolutely no signs of that weariness in Philly. A remarkable show from start to finish.