When Sean is not caught daydreaming of a luxurious beachfront life in California, he can be seen saving lives in his free time - by a pool, that is! With a love for writing and music at a tender age, Sean's unique tastes in novels and music far surpassed those of his peers. Only diversified interests in big screen releases - movies of various genres, rivaled these passions. Sean's calm nature, yet quick wit, and love of impromptu comebacks allow him to easily become a part of many social circles. Those who know him best appreciate his loyalty. Academic interests and pursuits in the field of psychology round out the picture of this individual's profile!
little hurricane, a dirty blues duo from sunny San Diego, deliver one catchy straightforward sound. One half of the two-piece is Anthony “Tone” Catalano on lead vocals and guitar; the second half being Celeste “CC” Spina, a spunky female who rocks out on drums and also supplies the backing vocals. It’s easy to conjure up comparisons of The White Strips (or stretching it a bit here, The Black Keys, minus the female aspect, that is). Tone’s voice echoes Jack White’s emotional power which gives rise to an instinctive weighty delivery. Even more arresting are CC’s ghostlike empty back up vocals barely indistinguishable to those of Meg White. They even have an equivalent formula to The White Stripes with a few call and response tracks such as their exceptional single “Give Em Hell” and “Crocodile Tears.” But don’t think they’re just another typical blues duo, little hurricane pack their own kind of distinct punch to get their own little storm a brewin’ inside of you.
Ahhhhh a windy, rainy and stormy day, what better way than to admire the irony in reviewing little hurricane’s debut album Homewrecker. In one single year after bursting onto the scene, the duo has been able to turn enough heads to become one of San Diego’s most auspicious acts, even opening for M. Ward and the Shins at SXSW.
Homewrecker kicks off with the swampy foreboding “Trouble Ahead”. Also featured on the track: a stopgap guitar slide and what might be a prominent influence of Soundgarden’s Kim Thayil characteristic riffs chuging along behind Tone’s simmering vocals. CC’s ghostly vocals appear on little hurricane’s first call and response track, the eerie and blazing “Crocodile Tears”. In breaking up the similarities, these two hot barn party songs are more unconventional and more of an Americana spin-off of the White Stripes execution.
The muted “Shortbread” also conjures up comparisons of Meg White’s vocals with a straightforward indie rock feel. The jangle of “Haunted Heart” also fits into that same category. Sometimes, however, they step into unknown waters with the quiet and delicate “Tear Bucket”. It’s with these tunes that you start to feel as though they stray away from their dirty blues, packing their bags for Rock City to start a nameless rock band. However, not to worry, little hurricane employ their own unique methods in producing solid songwriting and calculated execution. Not to mention their knack for damn catchy hooks.
Every song on Homewrecker has got its highlights on every song but those which shine with exceptional vigorous precision and contagious melodies are most notably, “Lies” and “Give Em Hell”. It’s a surprisingly engaging and consistent, tense blues-rock album, especially for as a debut. “It’s more of a party, and less of a disaster”, so don’t let the duo’s name fool you. It may be a little hurricane but its definitely is a big storm.
The M Machine. On first impressions I thought that I would be dealing with an indie metal or rock ensemble, on the contrary, the San Francisco-based DJ trio are, lets say, an unclassifiable, genre bending indie-electronic group (electronica, house, trance, dubstep). Little is known about the M Machine, consisting of Ben Swardlick, Eric Luttrell and Andy Coenen, keeping a low profile. However, with the release of a few tracks namely, “Promise Me a Rose Garden/Glow,” “No Fun Intended” and “Trafalgar” piquing the curiosity of Skrillex, eventually signing them to OWSLA, his indie dance label. Even though they’ve kept themselves on the down-low they’ve still managed to accumulate 25,000 “likes” on their Facebook page and have their summer jam-packed with festivals.
Now, the M Machine step into the light and out of mysteriousness with a conceptual debut, Metropolis Pt. 1. However, it was never the aim of the three DJs to be mysterious but rather to have a sharp and well-produced six-track EP before offering it up to the masses. The M Machine, along with their label, OWSLA, decided to split their full length LP into two EP releases, with the second release of course being entitled, Metropolis Pt.2. Coenen didn’t want listeners to be force-fed something quickly, but on the contrary have some time to appreciate the effort which went into producing the music.
Metropolis Pt. 1’s opener, “Immigrants”, sets the tone for the rest of the album with an elegant retro-dance feel. It brings to the surface a surprisingly timeless feel, conjuring up images of sci-fi films, i.e. Metropolis Pt. 1‘s album artwork. A contagiously effective opener on the EP captivates you with an amalgamation of Nintendo-like synths.
“Deep Search” is out of the norm for typical electronic dance music tracks, besides the characteristic drop. One could easily see inspirations drawn out of the darker electronic deadmau5 tracks, switching from synths to strings, ultimately giving the track an elegant melodic shift and bringing your ear buds into an entire new dimension. Continuing on the same lines of ‘out of the norm’ “A King Alone” and “Faces” seem to have more of an indie dance feel and definitely promote vocals, which lie beyond the boundaries of electronic dance music. The robotic “A King Alone”, which doesn’t rely on vocoders, consists of a somewhat untouched or for a lack of better words, authentic feel. It is a delightful tack and certainly more lighthearted than some of the heavier tacks on the record. “Faces” might lack in length but makes up for it lyrically. What would be a truly creepy track is transformed into a calm and appealing track due to the brassy jazz alto vocals.
The DJs were inspired by the film Metropolis, directed by Fritz Lang, in which their sound finds its origins in the dark art deco visuals of Lang’s film. Although, one thing is certain the M Machine have definitely found their niche in electronic dance music, conveying to Rolling Stone: “The beautiful part of electronic music right now is that it’s literally infinite. We write songs just like any other indie band or rock band would, but every instrument is powerful and big because it’s all electronic. You have the best of both worlds – the heaviness of dance music, but you then have the soul of vocal driven music.”
When the Swedish-American music production three-piece Miike Snow released their self-titled debut album it was met with mixed reviews. After producing hits such as Britney Spears’ “Toxic” (co-written and co-produced by two members of the band, in the past when they are known hit makers Bloodshy & Avant) and their claim to fame, “Animal”, their follow up, Happy to You, might not be the that highly anticipated event their label said it was going to be.
The trio’s sophomore album, Happy to You, is more carefully made and less immediate than their self-titled. This was a time when Miike Snow brought to the front the feel of a more solemn Gnarles Barkely. Miike Snow were underground electro-pop musicians pushing the envelope and not afraid to churn out mainstream hooks.
Fast-forward to Happy to You, where hooks have less emphasis and are replaced with muted dazy beats; as aforementioned it’s a smarter and more carefully put together album, but ultimately less satisfying. That goes to say nothing on the album tops “Animal” although the outstanding “Devil’s Work,” an upheaval of horns, strings and vigorous piano riffs, is a close contender.
A military beat, contrastingly relaxed and unhurried vocals and a sharp hook provide “The Wave” with a delectable zest. Yet this is only the start of catchy tunes. “Paddling Out”‘s charm hinges on spirited house piano and accompanying early-90’s elation, with “God Help This Divorce” amalgamating arch-MGMT-like falsetto vocals with a serene folk which will get your body moving. Surprisingly, Lykke Li, determined resuscitator of the dullest songs, cannot do much to help the fait of the spiraling synth track “Black Tin Box”.
What Miike Snow urgently needs at this moment is that hit, one like “Animal”, which will launch them in the mainstream music world. In spite of this Miike Snow are rocking out in a much better spot then they ever would have expected. Happy to You, is still a giant step in the right direction, a giant step that we never thought they would make.
Montreal indie electro-pop five-piece, Honheehonhee Prepare to Release their debut album “Shouts” November 22.
If there’s one band you should be listening to it should be the most talked about Montreal band of 2011 right? Right! And this ain’t an overstatement people. Throw in some energized indie-pop, a splash of playful synths, mix in some damn-catchy melodies and coat with electrifying live performances and you got yourself, Honheehonhee.
A complete hell of a good time.
From this hot Montral indie,electro-pop five-piece, come “A. Is For Animal” the anticipated first single from their forthcoming debut album, entitled Shouts (which will be released on-line, November 22nd). An absolute favorite of mine, “A. Is For Animal” comes with its very own killer video. Fresh off their performance at Halifax Pop Explosion, be sure not to miss Honheehonhee live on their Fall “Shouts” Tour.
So, give the readers a little background on yourselves, and we’ll go from there.
Honheehonhee, and our debut album “Shouts” (out November 22nd online), is Greg Halpin, Stefan F.-Gow, Matt Raudsepp, Erin Halpin, and Marc Danson. We are a five member rock band from Montreal, QC, Canada.
Tell us a little about the history behind the band.
We’re all little boy best friends plus a sister. The only thing preventing us from being any closer is our inability to communicate via telepathy. We’ve been playing music together forever, as far back as elementary school. Greg used to play drums, we all used to play acoustics at one point, Erin played bassoon once upon a time, I’m still trying to push for everyone wearing tap shoes on stage. All these various iterations of bands came and went, but it was always the same people. Last year we realized we had never recorded an album, so we changed our name, wrote totally new and different songs, and made it happen. Honheehonhee was born.
For those who have not heard of Honheehonhee, what would you tell them? What are your inspirations?
Honheehonhee is a nearly-nude frisbee game in the snow. The only reason we are in a band is because it’s fun for us. We are inspired by people and things that are exciting and honest. If an audience member ever stripped down and threw around a frisbee during our show, we’d love them for life.
What is one thing die-hard Honheehonhee fans do not know about you?
We email Yao Ming every day with requests for him to drop everything and become our manager. Similarly, Muggsy Bogues only gets a single text message from us per year.
Your debut record, “Shouts” is set to be released on November 22nd,What can people expect?
People can expect the record to sound much like our live show: jangly, jumpy, jaguar-like, jittery, jammy, jesty…etc (pretty much any “j” adjective you can think of. Weird huh?)
Is there a story behind the title?
There isn’t any actual story behind the title. It was a word that we actually kind of stumbled upon during numerous, late-hour, round-table discussions of the album. The album has a lot of these kind of animalistic, kind of beligerent sounding background vocals parts that can be characterized simply as cries or shouts. We didn’t like the word “Cries” because we didn’t want ourselves to come across like a bunch of whiny babies so we settled on “Shouts”.
If you had to sell the album on one track which one would it be, and could you tell us a little about that track?
Probably “A. Is For Animal”, not just because our parents like it but because it seems to be the track that resonates best with a room (parentless) full of people. There are a bunch of hooky musical parts that can get stuck in your head as well as a few falsetto bits dispersed throughout the song that make it a little different sounding than other tracks on the album. Even though it feels like we’re describing a Bee Gees record, we’d like to assure everyone that IT DOESN’T SOUND ANYTHING LIKE THE BEE GEES.
What has the release meant to you on a personal level?
The release truly means everything to us. We’ve been carrying this record in our bloated uterus for about a year now and, having nurtured it for all this time, we’re finally ready to deliver this sucker! We couldn’t be more proud with the way it turned out and would especially like to thank our engineer/co-producer Greg Smith for his invaluable contribution to the record.
What has been the highlight of your career so far?
Probably this question since you referred to it as a career.
What can fans expect in the near future? (What is your tour looking like?)
A sweaty mess. We’re playing 10 more dates across Canada over the next few weeks. At each one of these shows people can expect to see us sweat more than we ever have. Incidentally the volume of sweat that comes out of us tends to be directly related to the amount of fun we’re having.
Where do you see yourself and the band in ten years from now?
President of the universe. Or maybe driving a fleet of solar powered city buses called Sunheesunhee (if they exist).
You can give them a shout at: honheehonhee@gmail.com Or follow them on Twitter: @honheehonhee
When Girls’ debut, Album, hit the shelves in 2009, it was met with the utmost praise for an indie album in recent memory, and for numerous reasons. It was front man Christopher Owens’ emotion-fused lyrics, haphazard charm, and his relatable manner that helped launch the indie rockers’ debut release, Album, into a contender spot for album of the year on many indie ‘best of’ lists, because of this, the San Franciscan duo was inevitably showered with over-night success. Even 2010’s, Broken Dreams Club EP was a gem. The follow-up expands on nearly every aspect of the forerunner and affixes unaccustomed novelty to these indie-hotshots’ sound.
Yet again, Girls outdo themselves on their latest release, Father, Son, Holy Ghost, in every way sonically possible– a very high bar to set for their next record. Owens sings, “They don’t like my bony body/ They don’t like my dirty hair… or the things that I say, or the stuff that I’m on” on Holy Ghost opener, “Honey Bunny.” The front man brilliantly sets up the theme of the album: speckled with carefree spiritual sense of assertiveness, embellished with lovelorn tracks and held up by charming apprehensiveness – the ideal record for the recluse who can easily identify with Girls’ enthralling past of cults, drugs and wealthy contributors. At the core of Holy Ghost is a revamped Owens’ who is preoccupied with hopes of finding someone who will love him for all that he is, a definitechange from the basking self-pity which coats Album.
Even on other parts of the record, Owens’ differing character is apparent throughout. “Die” portrays Owens and Chet “JR” White brazenly strumming on Deep Purple’s “Highway Star”, while massively rocking out in a poppy Brian Wilson way that is beyond what we would have ever predicted from Girls. And is it just me that thinks “Die” sounds a bit too much like Wolfmother’s “Woman”? You be the judge.
“Vomit”, my personal favourite and Holy Ghost’s leading single, is undoubtedly the album’s most haunting and somber song. It scales from a bare, disturbed start – “Nights I spend alone / I spend ‘em runnin’ ‘round lookin’ for you, baby” – to an uplifting and subtly moving, stadium rock finale. Owens can be heard singing “Come into my love” pleasantly over the sounds of a gospel choir – the evidence pointing to a turbulent past is gone.
Father, Son, Holy Ghost blows its predecessors right out of the water. The album, excels in every dimension possible, diversifying the breadth of their previous accomplishments – without putting themselves in a precarious position.
Archers of Loaf are one of a kind and 1993’s Icky Mettle asserts itself as a milestone in indie rock history, period – there’s no doubt about it. And it goes with out saying that their career was (is)… interesting, to say the least. It is fitting, as front man Eric Bachmann declares “And there’s a chance that things will get weird, yeah that’s a possibility” on Icky Mettle’s “Web In Front.” With the career of the North Carolina indie rockers spanning only eight years, Archers signed with Alias Records a year after Icky Mettle and with a scarce amount of singles. Archers of Loaf pursued their career to the fullest, subsequently toiling for the next years – writing and touring non-stop – outshining other fellow acts in the process. And when 1999 rolled around and their career came to a non-fanfare close, the quartet was left without any bragging rights.
However, their unquestionably vibrant music and outlandish approach gives rise to a one-off style. Bachmann’s intelligent and implicit lyrics are met with coarse and instinctive vocals. And with this Archers of Loaf also give rise to indie cornerstones such as Modest Mouse.
Icky Mettle undoubted starts off with an explosion of tightly knit songs, with “Web In Front” characterizing the tone of the album. The lyrics of “Web In Front” are impractical to analyze verbatim, producing a track which is direct and relatable. It highlights Eric Bachmann’s craft along with the adroitness of the other band members to consign exertion and variation to the vocals of Bachmann. Therefore, congratulations is in order for Archer’s guitarist, Eric Johnson, who is able to achieve this feat with his flitting and melodic guitar riffs, hitting the mark on the front man’s especially poignant notes which Bachmann lyrics deliberately avoid.
Perhaps, you might say that the theme on the album is break-ups or maybe even Archers’ uncertainties about devoting their time to a band. Evidence for the latter theme appears on “Might” as their front man declares “It’s awful self-indulgent to think that you might like this song” complementing the vicious thrashing of Bachmann and Johnson’s guitars.
Archers of Loaf are quite clever at giving Icky Mettle fans – intrigued by of “Web in Front” – another piece of the pie on “Plumb Line.” The track follows the same characteristic indie rock eccentric formula with a pinch of more involved structure. “Plumb Line” can be viewed as a distinct track altogether with sonic shadings embellishing it, yet still sticking to the same recipe to give hungry fans what they came for. Similarly “Slow Worm” fits into place with an added exhausted and heavy sound. As much as Icky Mettle follows an identical pattern it does have its share of experimental bits. “Haste Paste” and “Sick File” are perfect examples of this. The former shines with its country infused side, tearing up the indie sound and spitting out a fuming and enraged hoedown. Later comes “Sick File” an even more intoxicating and enticing track embellished with blistering and irate punk style.
This current re-mastering of Icky Mettle marks the start of a slue of deluxe reissues on Merge Records, which impeccably summarizes Archers of Loaf’s vibrant hay days, all of the ‘slacker’ singles, the fragmentary splendor of Icky Mettle and the succeeding polished work. Accordingly, Icky Mettle, deserves a place in the ‘Indie Rock ‘N Roll Hall of Fame.’
Hailing from Worchester Massachusetts comes Dom, with a story to tell. At first glance the trio aren’t strikingly ruthless, but take a closer look…
Let’s start at the beginning, breaking onto the scene with their 2010 Sun Bronzed Greek Gods debut EP – Dom graced the public with their anguish coated manifestos “Burn Bridges” and “Living in America” – declaring “it’s so sexy to be living in America!” Some may call it a rags to riches tale, but nonetheless it’s something to boast about. What I’m talking about here is the smart aleck group, Dom, that attained the prized spot atop indie pop’s junk pile through the most improbable means – gloating bizarre anthems by means of do it yourself of the most substandard kind.
And there’s more: Comprising of a front man too intimidated to divulge his last name to the public and part of a record label that comprises the likes of Kylie Minogue. Nonetheless, Dom’s charm rests in the gems of their stupefied, stoned, wistful summer synth pop tracks.
Although, their Family of Love EP follows the same formula, it is undeniably more refined than their previous recordings. Dom and company undeniably know their vocation and therefore have flourished to make it their goal to pander to it without breaking a sweat. Through all the hazy sunny dream anthems lie flashy influences from David Bowie to Mariah Carey, ultimately attempting to amalgamate ‘teenie bop with space rock.’
In keeping with the other host on their label, Minogue, Family of Love spits out ‘80’s insipid, corny pop. The EP consists of the inane, “Telephoned”, title track featuring a telephone keypad dialing solo and the superbly ambitious “Damn” is filled with an ocean of surf-grunge guitar riffs. The vivacious guitars on “Damn” showcase Dom’s vigor as their space rock side becomes apparent. The second to last anthem, “Happy Birthday” conjures up the synth pop of their past catalog, and is filled with a fun and unquestionable catchy synth riff, which roughly compensates for the absent lyrical value. The album comes to an end with the soothing, bar-piano gambol, “Some Boys”, in which Dom introduce the female vocals of ‘Emma’ giving off a Best Coast vibe to Family of Love.
It is impressive that with an EP of such brevity Dom are able to hone every single track. All this to say that maybe it wasn’t the best choice to record this cunning five-track, Family of Love EP in a real studio produced by Nicolas Vernhes… The charm of Dom lies in the unpolished psychedelic synth tracks, which the identifying Dom furtively or drunkenly sink into your head, and not when they creep in all bona fide and lacquered.
If you’ve seen Lavell Crawford on season five of NBC’s “Last Comic Standing,” you know there is no subject too taboo for this performer. As a runner-up, also scoring rolls in “Chelsea Lately” and “Breaking Bad”, he is back in his hometown of St. Louis to captivate us yet again. You can’t help but notice that there is no nonsense or off-the-wall qualities about this comedian – he is just plain funny! With a set about his mama, the superpowers of the president, childhood, watching “Thundercats” and drinking chocolate milk, Crawford undoubtedly brings a charming and engaging personality to his on stage act.
Despite Crawford’s sizable appearance and substantial persona, it’s fascinating that his set isn’t founded upon jokes about food or being overweight, more he acknowledges it. And when those jokes do pop up, they pass by posthaste, leaving one to overlook the weight and focus on his uproarious set.
The nine-track, thirty-two minute routine begins with his tale of what he would do with his $250,000 winnings had he been the victor on “Last Comic Standing.” Not before long, do the highlights of this sound collection arise, including “Mama’s Got Your Back,” “Grocery Store” and “Don’t Let Nobody in the House,” immediately starting his hysterical bit.
Crawford’s adroitness is manifested in his ability to transport you and the rest of his listeners, dead-center in the middle of the rib-tickling stories. Not only is he able to make us cheer him on during his tales, but he also configures his set to show off his originality and endearing bearing. The question does not even need to be posed… you will definitely fall in love with Crawford’s charm, tremendous persona and uproarious stories over and over again.
If you missed the special, “Can a Brother Get Some Love?” on Comedy Central, you can still catch it here. Be sure to pick up Lavell Crawford’s album and DVD combo, “Can a Brother Get Some Love?” when it hits stores on August 16th.
With a career on its way to the dumps, Leeds band Kaiser Chiefs decide to focus on the very thing that was lacking in the band’s picture… creativity; the perfect remedy to rejuvenate the Chiefs after their three-year hiatus.
Since their popularity has never been established based on innovation, its quite lionhearted that their fourth release, The Future is Medieval, delves into the future of music – a fan complied release. Fans were able to choose 10 of their favorite songs from the 20 posted on their website. Thus, leaving the quality and sequencing of the tracks in the hands of their fans. Side note: is this just a marketing stunt from Kaiser Chiefs, persuading fans to purchase two (“separate”) albums, ultimately paying double the price? Well…just a thought.
Coincidentally enough the indie-pop five-piece give originality a new name while looking to a future music marketing gimmick for their fourth album. Fans were even able to choose their own cover. But is this stunt really beneficial? If hearing short snippets doesn’t seem like the most trustworthy option, I can vouch for the second half of the album…. you’d do anything to keep yourself from being slipping into boredom.
“Saying Something,” and “My Place is Here” are undoubtedly intentional fillers, yet others will fly by unnoticed but not deliberately… On the other side of the coin the Chiefs dupe wiry ideas into polished masterful tracks. If this isn’t enough – even the stand out tracks miss the mark on characteristic Kaiser Chiefs excellence.
However, if an album recalls the Beatles, more directly Lennon – that’s gotta count for something, right? The Future is Medieval, does indeed shine with diversity and innovation. Lennon’s acoustic guitar and charming vocals are brought back to life on the waxen “If You Will Have Me”; a poignant message delivered by a son of divorced parents. Or maybe “When All Is Quiet” filled with euphonies and laboriously played music-hall piano and, the thrill stricken guitar and keyboard on “I Dare You” mixed with the Beatles “Tomorrow Never Knows” drumbeat will strike a chord.
Subject and manner are juxtaposed by the Chiefs on tracks such as the persistent “Little Shocks” about ADHD or some type of total distraction; and the impermanence afflicted “Starts with Nothing” arranged against a boldly energetic cavort instrumentation coated with psychedelic guitar riffs and futuristic clamor.
It’s a nice gimmick that the Kaiser Chiefs have set up for fans. Who doesn’t like to be in control? But was it all about that, or did the Chiefs have countless dilemmas about the sequence and which of the tracks would make the cut? Too much flexibility isn’t a true artistic statement. If they were trying to follow in the footsteps of Radiohead (with explicit releases sequenced by the band themselves, such as In Rainbows and The King of Limbs) – The Future is Medieval falls short. Not surprising that they do not care about the format of the album, they have undoubtedly always been about the singles. As any skeptical person can see, this stunt isn’t about the freedom of choice for fans, it’s quite the opposite – it’s about stealing money from their pockets in hopes to make up for the lack of return from previous failed releases.
The Baltimore-based noise-punk foursome, Dope Body, released their third record, Nupping, as claimed by their Tumblr page. Most likely one of the only bands courageous enough to list Rage Against The Machine as a guiding influence, they have created an innovative and exhilarating rock album these days.
It is somewhat hard to put a finger on what to say about Nupping. Influences on their press release note nu-metal, Beach Boys and Michael Jackson. Yet, the newest record does not give the slightest hint of any of these influences. However, Rage Against The Machine is more than evident, especially on the beginning of tracks, such as “Bangers & Yos.”
Dope Body borrow from amalgamations of nu-metal, punk-funk and even spazz-core. The quartet adopts the distinctive music of the alt world appended with loops, askew beats and pedals driving listeners into obscure absentmindedness. It’s striking that Nupping contains a track dubbed “The Shape of Grunge to Come”… perhaps a reference drawing from Refused’s The Shape of Punk to Come ?
Nupping is as close as it gets to replicating Dope Body’s live performance. The album is impeccable in terms of encapsulating Dope Body’s eruptive onstage dynamism. Opening the record with “Enemy Outta Me,” lights a match with a characteristic off count loop, but is hastily coated in blistering rock riffs. Zack Utz, bass and guitar, multitasks with balancing his guzzling stoner riffs against mob of electronic babbles. Yet, where a colossal guitar solo would fit, a static and electrifying squelch fills its place.
If you didn’t sense a Rage influence yet, it is sure to strike you on “Bangers & Yos.” As if playing a rubber band stringed guitar, conjuring up images of “Bulls on Parade,” thankfully the track is disconnected enough to be steps away from a Rage lawsuit.
Dope Body tease and play with signature rock music; wrenching guitars out of key and fabricating vigorous rhythms only to flip the bird when confronted with fist pumping emotional release. Even if Utz’s glitchy breakdown of Tom Morello’s distinctive riffs with his comprehensive pedal system, secretes creative aspirations, deep down Dope Body still give off that punk aroma.
