Saturday, April 21, 2012

Album Review: Emergency Ahead, Self-Titled


Last week, I saw the 5 year anniversary show of one of the flagship local bands here in Albuquerque, Emergency Ahead.  It was there second show in celebration of a special event for this band in just a few months, the first show being their CD release show. 

Now, lots of local bands put out albums.  It’s normally a pretty special event.  Not many bands have been together for over 5 years and have only recently put out their first full-length.  Emergency Ahead self-titled first release is 15 tracks long, several of which top the 6 minute mark, one even shooting past 11 minutes in length.  They’ve put in a lot of time on this project and it shows.  Having played more concerts in the last 5 years than probably any other local band, it was about time Emergency Ahead graced us with recordings, and they do not disappoint.

From a doom-y intro with high shrieking feedback undercurrents, Emergency Ahead blasts ferociously into their next song, “Messianic Mission”.  What immediately gets me about Emergency Ahead and this recording of theirs in particular is how piercing and high-pitched the screams are.  This vocal style permeates the album and in a few spots they have a nearly (gnarly) black metal quality to them.  The timber of the vocals keep this album from sounding brocore at any point while still allowing it to be punchy, have a few break-downs, and gang-vocals.  The quality of the vocals do something else as well.  They lend a subtly youthful, roguish quality to the music, which works wonderfully.

The guitar riffing throughout the tracks is reminiscent of Dead Kennedys in the way that it’s a bit surf-y while maintaining a hard-hitting punk sound.  At other points the guitaring sounds almost as if it was being performed by The Ramones, but mixed more clearly.  The song “Whining” has a really blistering and strange solo which I like a lot.  The solo/lead bit on “Bad Day” is absolutely blistering.

The album really reminds me of late-70’s and early 80’s punk rock.  In the middle of “Fun at the Mall” I feel like they should bust into “TV Party” because the notions being expressed and the tone they are presented in line up so perfectly with that song.  The beginning few seconds of “Road Rage” sound like some amazing, bleak musical fossil from 1983.  For much of the album this stylistic theme stays constant but then Emergency Ahead slaps you in the face with something like “Mountain Jam” (a song that would as easily be an electrified cover of a Planxty song as it could be a punkier version of 60’s hippie jam) or “Surf Run Away” (that on the quieter bits could be a Dick Dale track if Dick Dale hated society) or “Incephalicitus” (which has lots of weird vocal looping, talking, and strange singing with vocal effects and vocals changing levels in between pretty savage breakdowns) or the verse part of “Dead to the World” (which is uncomfortably bluesy and Will sounds really drunk here).

They’ve got brutal hardcore parts, thrilling and immature punk magic-tricks, strange and aimless grim noise bits, evil ska sections, and when they really go for it, the high timber of their screams seep into some really dirty places.  When the members of this band aren’t playing a show (which is unusual because they play every show) they’re in the audience thrashing around.  This is street punk at its absolute finest.  You could drop Emergency Ahead onto one of those big street punk labels like Hellcat or Fat Wreck Chords and they’d be totally fine.  In fact, they’d be a lot more fun to watch than The Unseen or The Casualties ever have been.  Here’s to 5 more years.

4 more years!  4 more years!  4 more years!

3 word chant!

5 0 5

up the punx!

Linx the shtuff!
http://www.facebook.com/EmergencyAhead/app_2405167945

Wednesday, April 11, 2012

Review of Logan Greene and the Bricks, Soylent Greene

I am unsure whether I have ever perceived the identity of a person as clearly through listening to their music as I have while listening to Logan Greene and the Bricks' most polished recording, Soylent Greene. The album is fun, funny, vital, and surprisingly unique for a country-influenced album consisting mostly of love-songs.

Throughout the album Logan and his 'mates craft a very pleasing blend of pop-punk and country which would absolutely please fans of either. The country sound that bleeds onto every track the Bricks offer up has more in common with Patsy Cline and Hank Williams Sr. than it does with the auto-tuned, right-wing, par for the course, boring as hell pop-country you'd hear on the radio. The album isn't as plodding or mopey as a lot of country can be though. This album has a pulse! So much so that it's clear the songs were not intended to be played at the tempo they are played here. This strange little aspect is probably my favorite characteristic of this album, as it really makes it stand out, not just in its genre, but in my entire music collection. The vocal parts on many of the songs were clearly written with a milder BPM in mind but the rushed tempos really give the album a distinct energetic feel. It brings it beyond country. It makes it fun and vigorous. It makes it punk. I fucking love it.

The album gifts the listener with things that are both expected (and very enjoyable) alongside a few surprises in which Logan almost seems to have used the presumption of the listener of the straightforwardness of his love-songs to sneak in some unusual treasures. Upon first listen, the second track "Your Love for Me" doesn't really stand out thematically from any other love-song.  A few months after the first time I had heard it I was riding in a car with Troy (the vocalist of The Hunger Artists) and he shared with me that he believed that the song was about Logan's mother.  When I heard that my head completely exploded.  I believe that interpretation to be dead on, and it makes this song one of the best and most unusual tracks on the album. 

Another stand-out track on this album to me is "Hold Me Close". There is a Dr. Dinosaur version of this song which I dearly loved during many late-night runs, and was at first turned off by this version of the song.  It has really grown on me though, and sets a more appropriate mood for the tune than the other version.  Logan sounds like he's singing from the cavernous depths of the Lost Dutchman's Gold Mine while bleeding out from a dusty gun-shot wound in his chest on this one.  It's pretty great.

For a country album, it's fast paced, light-handed, subtly seditious, and existentially joyous.  For a pop-punk album it's rather genuine, tender, differentiated from track to track, and well composed.  Give Logan and his talented 'mates a chance!

Listen here: http://logangreeneandthebricks.bandcamp.com/