“Underdog Appeal” is soaked in glam-era flamboyant riffola; I haven’t heard guitars this big since Spinal Tap. However, it’s all unpolished, the rawness giving a true mule kick to your ear. The layers of fuzz and explosive singing on “Make Some Noise” are definitely in the caveman spirit of Iggy and the Stooges. The best cut, the singalong anthem “Unsigned and Proud,” relishes in its garage-rock stomp with a delirious psychedelic pull. It’s not for everyone, and Alright won’t be winning over the short attention span crowd with the nine-minute closer “Record Store Blues,” but Alright’s uncompromising nature and the unpredictability of his songs has me in his corner.
Posts Tagged ‘heavy metal’
Posted in Music Reviews, tagged Alice in Chains, grunge, hard rock, heavy metal, Iron Maiden, Judas Priest, Kurt Cobain, metalhead, Metallica, Nirvana, the Scorpions on July 10, 2008 | Leave a Comment »
Reviewed by Kit Burns
For a band that is obviously influenced by Alice in Chains, Metallica, and Nirvana, the ominously named Throttlecaster are actually quite fun to listen to. Throttlecaster are indebted not only to ’90s grunge and hard rock, but also to the spandex metal of the ’80s, especially Motley Crue and Poison. However, Throttlecaster leaves the cheese behind, gorging itself on the gloriously flamboyant pop hooks of those American bands while remaining true to their European rock roots, namely Judas Priest, Iron Maiden, and the Scorpions.
The fuzz bomb “Deep Down” is ’80s metal with a post-millennial darkness in its undertow. You’ll hear the ferocious energy and torched riffs of Metallica in its explosive charge although the production doesn’t reach that group’s epic scope. “The Well” features a Middle Eastern tinge in its opening layers of guitars, and vocalist Erko Nomm somewhat resembles Kurt Cobain when he’s screaming. “Performer” is balls-to-the-wall glam rock. “Traffic” takes Alice in Chains’ chugging riffs and puts them in a decidedly upbeat context. This is an enjoyable, toe-tappingly good metalhead bonanza.
Reviewed by Kit Burns
Farchild/Chivalry Has Died
Washington State artist Farchild is about as far from the trademark Seattle sound as it gets. Then again, many of us still can’t believe that the Emerald City’s glory days of grunge were almost twenty years ago. Farchild eschews heavy-metal bombast for a seductively dark foray into electronic rock, hinting at the industrial crunch of Nine Inch Nails (her most obvious influence) without abandoning the pop hooks that her sultry, ominously attractive voice is most suited for. Farchild’s lady-vampire takes a near soulful turn on “Red Moon,” an atmospheric, moody cut with Cure-like ethereal rhythms. On “Timmy’s a Rebel” and “Orbital,” Farchild lets her vocals rip through the mix, recalling the banshee wailing of vintage Sinead O’Connor and Siouxsie Sioux.
If all the descriptions above seem to conjure images of Goth, well, Farchild is on the border between Goth and modern synthesized dance, darkwave with a subtle undercurrent of hip-hop, as on “Orbital” and the funky “Quo.” The R2-D2 blips and beeps of the opening instrumental “Quite a Bomb” should clue you in that Farchild is staking different territory than other Seattle musicians, past or present. And wasn’t that the philosophy of the Seattle scene to begin with, to do whatever the hell that you wanted?