The place is dark, poorly lit. A few townies sit hunched over at the bar cradling their pint glasses. On the floor there are a few interlopers bearing flannel shirts and tattered jeans amongst a standing, waiting crowd of friends and random comers. Cans of Pabst Blue Ribbon are nursed inside while outside people smoke cigarettes waiting for the next rockers to go on. This is the scene.
Dead Cats Dead Rats (yeah, you know, like The Doors tune) hail from the North Shore of Massachusetts, and while just a trio, they pack a sick, grungy sound that would indicate they’ve been doing this thing for awhile. How long have they been together? Don’t know; they have just the self-titled release and a quality music video for “Marla” which can be viewed at their web site and YouTube. They have also been esteemed as contestants for the highly-renowned WBCN Rock N’ Roll Rumble.
The band’s sound is a concoction of grunge, punk, and garage rock. Singer/guitarist Matt Reppucci’s delivery and angst is much like that of Kurt Cobain – a little raspy, a little screechy at times. This fits the hasty Misfits-esque riffing of songs that average about two minutes in length. It honestly wouldn’t be the same if the songs were any longer. They need to be quick and in your face to be effective. And there aren’t any solos. It’s just rock, a lot of it really catchy, and there literally isn’t enough time to squeeze in fancy doodling.
What I like most about Dead Cats’ style is that the bass is so prominent. This isn’t to say it’s the focal point, but it’s not muddled out by the guitar and drums like so many bands unfortunately do to the instrument. The bass is not just a foundation here. It’s tasty and heavy in numbers like “Donkey Lips” and “Cross Bones” and there’s tapping or something to begin “Marla.” Both guitar and bass together make for that grungy, dirty tone.
Of all the bands in the Boston area, Dead Cats Dead Rats are one of my favorites. Make them one of your’s.
May 19, 2009
Album review: CKY - Carver City
Carver City is the first release for CKY under Roadrunner Records and is a great offering to start the band’s term with the label. And it’s also a great start to their “reunion” after being apart for some time for personal reasons. The music is refreshing (more on this later) and the last release on Island Records, An Answer Can Be Found, just seemed a little out of character for the band. A change in scenery can make a world of a difference.
So what or where is Carver City exactly? It’s a fictional New Jersey town the band came up with as a theme for the album, a seaside town that represents inspirations of childhood nostalgia and memories. One such inspiration derives from a Deron Miller family getaway which becomes “The Boardwalk Body.” It’s an intriguing theme considering the songs derive from actual events.
The band seemed to have lost that skater rock, disdainful style they had (they were once on the Warped Tour and were then kicked off in true CKY fashion, mind you), and their third release, An Answer Can Be Found, is a testament to that. There was just something off about that album. The passion and poise weren’t there. It was a solid effort but not what the band’s following was probably looking for. But CKY have resurged with grandiosity for their fourth release, a follow-up which shatters all expectations.
Once an artist changes style or heads in another direction, it’s not common to see a return to old form, but CKY defies this logic. “Hellions On Parade” is the third part in the Hellview theme, preceded by “96 Quite Bitter Beings” and “Escape From Hellview.” Not bad company, eh? It’s also the first single, the first track, and the first sign of a triumphant return. Following suit, “Rats In The Infirmary” is another song reminiscent of Volume 1 with dark, perhaps even industrial tones. Further, “Imaginary Threats” and “A#1 Roller Rager” have the fuzzy, little riffs and melody found abundant in Infiltrate-Destroy-Rebuild.
Carver City is everything CKY has come to be, and it’s a breath of fresh air... and a relief!
http://www.amazon.com/review/R3FZ9XW7TV3YFE/
So what or where is Carver City exactly? It’s a fictional New Jersey town the band came up with as a theme for the album, a seaside town that represents inspirations of childhood nostalgia and memories. One such inspiration derives from a Deron Miller family getaway which becomes “The Boardwalk Body.” It’s an intriguing theme considering the songs derive from actual events.
The band seemed to have lost that skater rock, disdainful style they had (they were once on the Warped Tour and were then kicked off in true CKY fashion, mind you), and their third release, An Answer Can Be Found, is a testament to that. There was just something off about that album. The passion and poise weren’t there. It was a solid effort but not what the band’s following was probably looking for. But CKY have resurged with grandiosity for their fourth release, a follow-up which shatters all expectations.
Once an artist changes style or heads in another direction, it’s not common to see a return to old form, but CKY defies this logic. “Hellions On Parade” is the third part in the Hellview theme, preceded by “96 Quite Bitter Beings” and “Escape From Hellview.” Not bad company, eh? It’s also the first single, the first track, and the first sign of a triumphant return. Following suit, “Rats In The Infirmary” is another song reminiscent of Volume 1 with dark, perhaps even industrial tones. Further, “Imaginary Threats” and “A#1 Roller Rager” have the fuzzy, little riffs and melody found abundant in Infiltrate-Destroy-Rebuild.
Carver City is everything CKY has come to be, and it’s a breath of fresh air... and a relief!
http://www.amazon.com/review/R3FZ9XW7TV3YFE/
March 17, 2009
Album review: Static-X - Cult Of Static
Cult of Static, Static-X’s sixth studio release, marks a decade since the band released their debut, Wisconsin Death Trip. One thing is for sure of late, I don’t have to wait long for releases – the band has released three albums in three years, the sandwiched album being Cannibal Killers Live, a box set featuring footage from the tour in support of 2007’s Cannibal. So when Wayne Static, front man and founder, announced in 2008 that a new album was nearing completion and would be released soon, it came as a backhand to the face. I asked myself, do these guys ever stop to smell the roses?
Cult of Static is a reference of thanks to the devoted followers and fans that have supported the band’s efforts to get them where they are today. The first track, “Lunatic,” was released on the Punisher: War Zone soundtrack, and then re-recorded for this album to feature a guitar solo from Megadeth icon Dave Mustaine. The solo seems just slightly thrown in just because they had Mustaine’s partnership (and it sort of was judging how Wayne Static described it in a Headbanger’s Blog interview), but it’s cool nonetheless.
Cult of Static is also somewhat of a symbolic pennant of Wayne Static’s new flame, Tera Wray, former adult film star. Not only is her name in song titles, but she appears to be featured on the artwork front cover – both Wray and Static pose as a crowd of clones of themselves. The first single, “Stingwray,” is really the only song that’s classic Static-X, so it’s no surprise this was the first choice.
That said, the rest of the album is where the direction changes. Not only are the songs darker than before (the band had their blinkers on in Cannibal, but just didn’t make the turn), but they run longer with an epic atmosphere. “Tera-Fied” at over five minutes is the epitome of this including solemn, mysterious synthesizers. With mystifying loops and sounds, intense piston-pumping riffs, “meedley meedley” guitar solos, and powerful, gritty vocals, the “evil disco” sound we strive for is here but with a darker tinge. Static-X have certainly had different sounds over the course of a decade, and Cult of Static remains to differ from anything they’ve done, but it’s all gravy.
http://www.amazon.com/review/RGWS2VU0LCEYB/ref=cm_srch_res_rtr_alt_1
Cult of Static is a reference of thanks to the devoted followers and fans that have supported the band’s efforts to get them where they are today. The first track, “Lunatic,” was released on the Punisher: War Zone soundtrack, and then re-recorded for this album to feature a guitar solo from Megadeth icon Dave Mustaine. The solo seems just slightly thrown in just because they had Mustaine’s partnership (and it sort of was judging how Wayne Static described it in a Headbanger’s Blog interview), but it’s cool nonetheless.
Cult of Static is also somewhat of a symbolic pennant of Wayne Static’s new flame, Tera Wray, former adult film star. Not only is her name in song titles, but she appears to be featured on the artwork front cover – both Wray and Static pose as a crowd of clones of themselves. The first single, “Stingwray,” is really the only song that’s classic Static-X, so it’s no surprise this was the first choice.
That said, the rest of the album is where the direction changes. Not only are the songs darker than before (the band had their blinkers on in Cannibal, but just didn’t make the turn), but they run longer with an epic atmosphere. “Tera-Fied” at over five minutes is the epitome of this including solemn, mysterious synthesizers. With mystifying loops and sounds, intense piston-pumping riffs, “meedley meedley” guitar solos, and powerful, gritty vocals, the “evil disco” sound we strive for is here but with a darker tinge. Static-X have certainly had different sounds over the course of a decade, and Cult of Static remains to differ from anything they’ve done, but it’s all gravy.
http://www.amazon.com/review/RGWS2VU0LCEYB/ref=cm_srch_res_rtr_alt_1
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