No holds barred music reviews and the musings of a rock 'n' roll fanatic. If you have a song or an album you'd like me to review pop an email to firstname.lastname@example.org with the songs/album and some background info.
We’ve all been there. It’s something-o’clock in the morning and the end credits roll on the final episode of your Netflix binge. You look around with bleary eyes, unsure of what’s real and what’s not, unsure of how you ended up on the couch in the first place. It’s this dark moment in the cycle of escapism that is perfectly captured by self-proclaimed Capetonian bedroom musician Bonbonvillon in his darkly ethereal debut single ‘Television’s on but There’s Nobody Home.’
Bonbonvillon’s effect-laden voice oozes out, calm and strangely reassuring, like a mad preacher comforting a congregation of heart-broken, sleep-deprived souls as the melodies dance around each other, always flirting with the edge of insanity but never taking the plunge. Notes that appear seemingly out of nowhere and unexpected breaks only add to the underlying sense of madness and keep stagnation at bay in this ode to insomnia.
Bonbonvillon’s first offering is unique in its soundscape and excellent in its delivery, turning a sensation experienced by so many into a comforting sonic journey.
Friday night was a night of debauchery, head-banging, and mosh-pits as the die-hard rock ‘n’ roll community united to celebrate the launch of The Medicine Dolls’ latest offering in their ever-growing catalogue of EPs, ‘A Compulsion to Ruin.’ Naturally they weren’t the only the only band lighting up the stage as The Dodgy Odds, Elle E, and Julia Robert were on hand to turn the night into a party while DJ Swamp Girl kept the good times going between sets.
The sex-funk rock ‘n’ roll of The Dodgy Odds got the ever-growing crowd in the mood with the opening set of the night. As their epic bass-lines and impossible-to-ignore rhythms spread through the air so the energy levels lifted until everyone was dancing, no matter how many left feet they had. By the time Elle E took to the stage with her sultry garage-rock wizardry the fuse had been lit and her electric performance made it burn harder and faster, bringing it close to detonation before Julia Robert got to have their bit of fun.
Resplendent in white and perfect in synchronicity Julia Robert calmly and confidently navigated their way through their set without compromising on intensity as they held the crowd’s undivided attention from beginning to end and set the perfect platform for The Medicine Dolls to blow the roof off the place.
And that’s exactly what they did. As they blitzed their way through songs old and new, each as brilliantly executed as the next, the dance-floor became a sea of indiscernible bodies as people head-banged and moshed as though their lives depended on it. By the time they left the stage there wasn’t a single body free of sweat and smiles as everyone tried to catch their breath enough to order yet another drink from the bar.
The masters of staying relevant, Weezer, dropped a surprise cover-album earlier today called ‘the Teal Album.’ Presumably in response to the immense popularity of their cover of Toto’s ‘Africa,’ the album consists of versions of everything from The Turtles 1968 hit ‘Happy together’ to TLC’s 1999 chart topping ‘No Scrubs.’
The album opens, predictably, with a cover of the internet’s favourite song ever, ‘Africa,’ before moving on to a delicately balanced, powerful rendition of Tears for Fears’ ‘Everybody Wants To Rule The World.’ Staying true to the source material with some additions here and there Weezer’s final product packs a harder rhythmic punch and is embellished with some tasteful guitar work.
There’s also a treat for all you metal-heads. Hidden in the middle of this nostalgic bliss is a faster, more manic version of Black Sabbath’s ‘Paranoid’ which feels like it could go flying off the tracks at any second. With its angrier riffs and screaming guitar solo Weezer have taken the song to a whole new level that I’m sure will bring a smile to Ozzy’s face.
Perhaps the only blemish on the album is their cover of ‘Billie Jean.’ From the jump it lacks the punch of the original as the drawn out vocals and riffs give you the feeling that it would rather be in a warm, comfy bed.
‘The Teal Album’ is the surprise that no one knew they needed. Not only is it a beautiful nostalgia trip, it proves that Weezer are musicians of the highest caliber as they find a balance between respecting the original songs and making them their own.
Greta Van Fleet, a band comprising three brothers and a drummer, hailing from Frankenmuth, Michigan, named after a Frankenmuthian woman, and with a combined age of 21 became rock ‘n’ roll’s hottest commodity before their debut album ‘Anthem of the Peaceful Army’ was even released.
Their Led Zeppelin-esque sound has proven to be as divisive as anything Billy Corgan blurts out with supporters passionately defending them and nay-sayers ridiculing them for their “old-fashioned” sensibilities. Whichever side you fall on, you can’t deny that Greta Van Fleet is the most gripping thing to happen to the rock world since My Chemical Romance broke millions of young hearts almost six years ago.
At a time where bands are either going commercial or settling for being on pop-culture’s back-burner Greta Van Fleet proudly fly their freak-flags high which begs the question: Just how did four kids from a previously unknown town with a sound straight out of yester-year become the most talked about act at last year’s installment of Coachella?
It probably has something to do with the timing of their break-out. We’re at a point where people who were around at the height of guitar-rock’s dominance share the world with generations that have heard of Led Zeppelin and Rush only as faint whispers of a time gone by. Their sound is old enough to attract the ears of older generations and they’re young enough to draw the gaze of the social media generation.
Then there are the people in the middle. The newly fledged adults whose parents were smart enough to pass the glory of their youth on. A generation that largely suffers from nostalgia for a time of acid-fueled parties, peace and idealism, lofty ideals and the belief that maybe we could all love one another, a nostalgia-trip with guitar rock as its soundtrack. Greta Van Fleet are simultaneously familiar and exotic, a warm embrace from the past and an epic discovery from the present.
All of this is, of course, ignoring the sheer class of the band and the beauty of their music. Guitar rock was the last bold step that “pure” rock ‘n’ roll took before technology became the new fascination. Perhaps there’s something hidden in the genetic code of rock ‘n’ roll fans that knows it wasn’t done with us yet.
Whether you love them or hate them, no one can deny that Greta Van Fleet is the answer to that tired old gripe, “They don’t make ’em like they used to,” and maybe they’re the trigger rock ‘n’ roll needs to take its place at the top of the musical hierarchy.