Author Archives: L.

Alestorm – Back In Time

There’s something to be said for a band that knows exactly how silly they are, exactly what the audience is expecting, and exactly how to play to their strengths and limitations. Such is the case with the keytar-toting Scotsmen formerly known as Battleheart: it’s really hard to hate a band that devotes an entire track to describing how they plan to milk this Pirate-Metal thing for all its worth (“Scraping the Barrel“), and several more to their dear, dear love of alcohol (“Rum“, “I Am A Cider Drinker“, every other track). Back Through Time, with its pair of Viking-themed tracks and awesome cover art, might get you thinking this is Alestorm’s inevitable concept album: it isn’t. While unified by slick production values, a hook-based chanty style and – of course – lyrical content, Back Through Time runs away from itself after the introductory track – a clear symptom of a band having far too much fun with puns and revelry to worry about backing up their time-traveling framework with anything more substantial. That is completely okay: Back Through Time is perfectly comfortable as an infectious and unexpectedly hilarious action-film of an album.

Sometimes that’s all we really need.

B+

Originally published in The Peak, June 2011.

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Battles – Gloss Drop

The art of Gloss Drop looks like a half-melted gelato, it’s an eye-screaming shade of pink, and it bears a disturbing resemblance to that chicken-paste the Internet introduced us to last year. In all its bizarre and intriguing glory, that pile of goop is the perfect accompaniment to Battles’ latest sonic blender of extreme technicality, prog-rock groove and surprising danceability.

Their second album sees Battles returning to their mostly-instrumental roots, mostly eschewing vocals in favour of deep polyrhythmic jam sessions, fusing programming and studio virtuosity into a thick groove that begs to be played loud. Every sound on Gloss Drop is percussive: the electric guitars are distorted into steel drums, synthesizers whirl across tracks like “Futura” and “Africastle“, and vocal features are kept minimal as John Stanier’s manic drumming conjoins everything with metronome efficiency. Every sound bleeds into every other, blurring into an organic pastiche (paste?) that only ever slows to amass it into another monster loop a moment later. If you don’t mind your summers a bit psychedelic, this might just end up your joint.

A

Originally published in The Peak, June 2011.

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Stuff We Like: SATAN IS REAL

Once upon a time, Charlie and Ira Loudermilk ditched their hilarious last name, took up the ‘Louvin’ mantle and produced one of the most bizarre, ironic and successful Christian Country albums of all time. Ira Louvin/Loudermilk had an aesthetic vision: two car-salesman lookalikes in powder white suits manically flourishing their jazz hands under the watchful eyes of a 12-foot plywood Satan, heaps of tires blazing just out of sight nearby – the ultimate simulation of Hell. This, friends, is 1959’s Satan Is Real.

Charlie and Ira wrote twelve evangelical songs ranging in title from “Are You Afraid to Die?” to “Satan’s Jeweled Crown”, beating Metal to the satanic album-title punch by a cool two decades. Ira, for one, lived every minute of it: from his reputation for alcoholism to that one time he was shot three times (in the back!) for abusing one of his (many!) wives, he ensured that the irony flows pretty thick in Satan Is Real. This is evangelical country at its most effective, iconic and hilariously ironic. Johnny Cash was a big fan.

We like Satan Is Real because it is astounding – seriously, look at that cover.

Originally published in The Peak, February 2011. 

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