Take even a cursory glance at the gloriously garish cover art before ye, and this much is exceedingly clear: Long Island's own Gorilla Wizard know how to have a good time. Their debut album, Tales From the Cauldron, is a bombastic and rip-roaring piece o' work, through and through. If you're not in the mood for high-energy fun, this wasn't made with you in mind. Don't really know what else to say.
Chunky grooves and contiguously crunchy riffs rule the roost. You know what I'm talkin' about--the kind of sasquatchian chest-beating riffs that lumber into the swamp and then back out again, dripping and covered in gunk, without a goddamn care in the world.
As much of the album operates according to this simple but effective guitar-driven approach, any tracks I would consider standouts simply apply the formula most egregiously. "Smashosaurus," "Maple Crunch," and "Black and Blue" are perhaps the most memorable moments, and the best introduction to Gorilla Wizard's jubilant brand in general.
At Ye Olde Sleeping Village, it's a little odd for the vultures (and other carrion-feeders) to spend time occupying any locale other than the maggoty plague-pit. Thus, imagine our surprise when a Turkey Vulture rapped, Poe-esquely, on the door of our hallowed scriptorum. It presented a package before taking gangly flight--and so, here we are, new Turkey Vulture demo track in hand. How apropos. Funny how it happens, but what can we say? Music promo is an interesting world these days.
For those of you not in the know, Turkey Vulture are a duo out of southern Connecticut with little regard for genre barriers or convention. Their singular brand of metal-by-way-of-punk-by-way-of-americana is informed by a motley cast of characters--not least among them being Dolly Parton Herself. We reviewed their two-track this summer, and, despite having very few songs indeed to grasp in grubby hands, we’re always impressed with whatever Jessie May and Jim Clegg have cooked up. The latest, an acoustic cover of folk ballad “In The Pines,” is no exception to this rule.
Lest ye readers read the forthcoming praise and subsequently turn upon us scribes in our lofty ivory tower, brandishing pitchforks and torches whilst profusely bleeding through wretched earholes, let me make something clear. Treading Water, the debut LP from Milwaukees’ two-man grind unit LIFES, is not a pleasant listening experience. Both in conventional and unconventional sense.
Treading Water is a brief but pugilistic cacophony, a squealing and burping punk-ridden grindy mess. LIFES carry themselves with the boisterous aggression, powerviolent attitude, and hardcore gravitas of Iron Lung or Dropdead, combined with the wild grinding invention of (my personal scene faves) The Locust. But sonically, the closest comparison I can draw is the vocal delivery of Liberteer's Matthew Widener. That said, both Zak Rudnik and Dave Holochwost handle vocal duties; I'm not sure which is which. Both are pretty damn excellent, it should be worth noting, and no matter who is roaring, the message comes across clear.
There are two (non-original) versions of Dolly Parton's immortal "Jolene" that I can, in good faith, recommend. The first is the hauntingly beautiful 45-at-33rpm monstrosity that some madman decided, quite accurately, was a good idea. The second is Turkey Vulture's rompish take on the classic--this track being the b-side to their debut release, which descends on ragged wings at the end of this month.
The joint effort of Jessie May (of Owl Maker) and Jim Clegg (of Lobsterface), Turkey Vulture blends grimy Americana with pedal-to-the-metal...well, metal. The entire 5 minute affair is distinctly flavored with bloody punk rock 'tude, leaning into the unbiased and seemingly belligerent anger of the 90's punk scene. On single "Boxer," Jessie May's abrupt fluctuations between harsh and pseudo-clean vocals sound like the bastardly combination of Lemmy's grit and Poly Styrene's sing-song menace. Meanwhile, rollicking--dare I say bouncy--riffage leads the charge, and Clegg's wild drums lend the affair an appropriately unrestrained maniacism. "Boxer" is a cautionary tale, filled to the brim with a pertinaciously punky verve and vigor.
Promo material cites, among others, Motorhead and Social Distortion; if we're going the route of gritty leather-clad rock + rockabilly pun, Danzig and The Distillers feel like an equally apt comparison. The same can be said of the aforementioned "Jolene," which feels like a wholly unique take on the song we all undoubtedly know and love. It's fast paced, it's startling, and yet it still maintains that hooky Parton charm. This is punk rock operating at it's finest. Lastly on the docket is bandcamp exclusive track "Bee Avenger," a humorous slice o' life in the lives of May and Clegg. It's upbeat, fun, and merits inclusion if only for the grin-inducing goofiness. Punk doesn't do so well when it takes itself too seriously. Turkey Vulture can be angry and still have a good time, and that's nothing to scoff at.
Prognosis? Boxer is, like, 5 minutes. Even if it weren't so short, it would certainly merit your attention, cuz this thing is fun as hell. When Turkey Vulture's next release hits, we'll be waiting.
Turkey Vulture - Boxer will be released June 28th, 2019
As of late, reviewing anything under the voluptuous roster of Kansas City’s The Company has become a bit of a struggle--it’s honestly difficult to come up with constructive criticism to balance out the radiant fanboyism. Young Bull’s excellent Midnight Climax came out last year, but I'll be damned if it doesn't fit the pattern of relentlessly high-quality content, contributing to a certain, well, bullish trajectory. Worth a review? You bet.
If you don’t like music of the pugilistic variety, get ye gone. Characterized by coursing coarse-grit riffs and rhythms that recall Motorhead at their harshest, this debut takes genre expectation by the horns and wrestles it into submission with merciless mud- smeared aggression. Gravel gargling roars punctuate a rowdy, rollicking, and otherwise uproarious atmosphere. With a vicious punky streak and a sludgy swagger, Young Bull is like unto stoner metal as a Panzer is unto motor vehicles. Not transcendent, so much as willing 'n' able to pulverize anything in its massive path.
Given the quality of standout tracks “Horned One, “13 Reasons,” and “Chainwhipped,” Side B tips the scale, resulting in an album that feels slightly off-balance. That said, the break in formula these tracks provide is welcome. Tempo changes aplenty, combined with a distinctly hard-rockin’ and high-octane approach, pave the way to a satisfying…title track. As it were.
YOUNG BULL - Midnight Climax was released June 2018 from The Company, and comes highly recommended.
Providing thoughtful reviews of music that is heavy, gloomy, and loud enough to wake us from slumber. Written by a groggy-eyed, highfalutin peasantry.