Braddock Station Garrison – High Water

Braddock Station Garrison

    Merging evocative Americana with feisty rock ‘n’ roll, US band Braddock Station Garrison make a very pleasing and richly promising introduction with their debut EP High Water. Six tracks which ignite the imagination and appetite for instinctive melodic rock, the release is an adventurous endeavour which at its heights ignites the passions and in its quieter moments of persuasion provides a vibrant and absorbing charm draped with drifting emotive shadows. It is not an explosive invitation into the band but one of compelling substance and lingering persuasion.

     Hailing from Washington DC, Braddock Station Garrison’s seeds began when vocalist/guitarist Steve Schillinger and guitarist Tom Soha, who had known each other for years, started to jam together. Officially formed in 2011, the band was soon expanded with the addition of drummer Michael Chapman and original bassist Patrick, who left the band last December to be replaced by Jim Bledsoe. Taking influences from artists such as Tom Petty, Neil Young & Crazy Horse, Cheap Trick, Aerosmith, Johnny Cash, and The Smithereens, the band has evolved a sound which grabs attention whilst suggesting, certainly on the EP, that it is still a work in progress with greater potent things to come.

    High Water has its major highlights topping and tailing the release but in between offers an equally magnetic clutch of dark coveredged melodic enticements. Opener Into Your Arms is a dramatically infectious treat setting things off in immense style. From its first breath thumping muscle bound drum beats hypnotise the ear soon joined by a gloriously throaty bass lure making even greater bait for the imagination. Once the excellent expressive vocals of Schillinger cast a sultry lure over proceedings the track melts the passions and steals their allegiance. At this point the song reminds of the Orson Family track Heartbeat, evolving as flames of caustic guitar ignite the atmosphere alongside rasping riffs into a more Chris Issak seeded encounter with essences of Roy Orbison to its almost rockabilly lilted temptation. It is a masterful and virulently contagious stomp with a melodic acidity which brings garage rock rawness to its beauty.

     The impressive start provides a tall order for the following songs to complete and though for the main they run in the openers wake, all starting with A Lot to Ask offer a pleasing and accomplished endeavour to immerse in. The second song is a straight forward melodic rock stroll but with, vocally and musically, a distinctive enterprise to give it a unique if not ground-breaking character. Thoroughly enjoyable and deceptively infectious the song passes the ears over to Fall, which with a similarly cast blend of riffs and melodies continues the expressive pull of the EP. No aspect of the song stands out with striking brilliance but everything slots in and unites for a skilled and mature invention which treads existing paths with invigorating energy and enterprise.

    The following Maria With Child with a stronger country twang to its presence is the least persuasive song on the EP though there is little to dismiss about its melodic elegance and rhythmic convincing. There is certainly a close similarity to the song with the previous pair of tracks and if there is any sobering thought to temper the enthusiasm for the release it is that you wonder if they bring enough variety in their songs yet. As the pleasing guitar craft and quality shows backed by all other elements, skill and imagination is not lacking.

    California Specific gently coaxes in the listener with a singular guitar and vocal beckoning before expanding with a fuzz kissed blaze of sonic temptation and crisp rhythms which sculpts a smouldering rock pop contagion blending seventies psychedelic radiance with modern alternative rock adventure. Without ever exploding into the fire you expect, the track is a riveting and thrilling proposition which answers in some ways that question about bold variety to the band’s songs, a reminder immediately reaffirmed by the excellent closing track, Girl Gotta Gun. A scuzz fuelled garage rock built romp with garage punk bred abrasiveness and caustic guitar flaming, the track is different in every aspect to what came before but still fits effortlessly within the release and easily at home with the previous Americana coated songs.

   Without doubt the first and last songs are the pinnacles of the EP, and hopefully the direction that Braddock Station Garrison explore further but such the strength and appeal of the rest of High Water, you suspect only good and enthralling things will come from the band as they spring forward from this impressive start.

Get the High Water EP as a Buy now name your price download @ http://braddockstationgarrison.bandcamp.com/

https://www.facebook.com/BraddockStationGarrison

8/10

RingMaster 28/01/2014

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Helldorado – Bones In The Closet

Helldorado pic

Basking in the sultry heat and sweltering ambience of Bones In The Closet, the new album from Norwegian narrators of scintillating murder stories and rapacious shadows Helldorado, the overriding thought whilst within its seductive devil spawn arms is that you are being cradled by one of the major contenders for album of the year. The twelve track release is sensational, evocative beauty and dark intent saddling the senses for a Tarantino/ Morricone sculpted ride of the purest pleasure and imagination.

Bones In The Closet is the fifth album from Helldorado and again draws on a startling and provocative mix of blues, country folk, rock, and shadowed misdemeanours with a stroll through Mexican deserts and tequila soaked climes for this release. As across their previous releases the cinematic lures of their music is as potent as its sensory incitement and here leaves the listener perpetually wiping the dust from their eyes and pulling their mental stetson/sombrero down whilst chewing on a cigar Eastwood style. There is strong diversity running through the release too though, from walking through the smokey hauntings of a hanging man scenario down in the south you can find yourself breaking into a garage rock soundtrack to a Russ Meyer film or a blues bar atmosphere with whiskey in hand. It is a thrilling and evolving encounter which with essences of the likes of Johnny Cash, Tom Waits, Nick Cave and Stan Ridgeway joining those of Mariachi El Bronx, Guano Padano, or Dennis Hopper Choppers, never gives the passions a moment to grab their breath.

The trio of Dag S. Vagle (lead vocal, guitar, organ, piano, autoharp, mellotron), Hans A. Wassvik (bass, backing vocal) and Morten Bones in the ClosetJackman (drums, saw, percussion), immediately cast the long arms of the sun onto the neck with opener Gallow´s Bird whilst sizzling the surrounding air with a blaze of brass persuasion from the trumpet of Ole Ellingsen which springs from an instantly inviting drum burst. The guitars gather in the senses with devilish temptation whilst the bass of Wassvik adds its individual prowl to the dawning scene soon narrated by the excellent tones of Vagle. Passionate and soulful he bellows out with emotive glory whilst the guest backing vocals of Pål Jackman play co-conspirator in drawing thoughts deeper in to the compelling song. Virtually dripping sweat from the humid embrace driven by vocal and musical fire, there is an instantaneous ardour bred with the track such its intensive might and rasping charm.

As the following Misery And Woe boldly steps forward with melodramatic keys framing the door into its expressive heart and Vagle cast his spellbinding delivery upon the ear again, it still is hard after many listens to the album and previous tracks that the band is Norwegian. They make the likes of Chris Issak sound less American than Helldorado and it just enriches the imagery and adds the deepest depth to the transportation of thoughts into their aural paintings. The second song is a slowly burning reflection of despair and regret, the tale of an unavoidable destiny with thick emotion swamping every syllable and melodic beauty from the cursed soul.

Dead World with its garage rock stomp switches the scenery for a sonic kaleidoscope of psychedelic colours and mutually vibrant emotions, the keys dazzling the ear whilst the guitar twists and turns with melodic enticement. With harmonic squalls thrilling with rich textures of The Stones to their crowd and The Doors like bait of the keys, it is a raucous and vital storm of blistering joy and an exciting temper between the surrounding songs. Its successor John McMiller like the second song on the release is a powerful and demandingly evocative piece of songwriting and staggering realisation. Another dark hearted soul laying open his past and looking for an end to his life’s previous purpose, the track carries his declaration forward on a gait which is a shadowed romp, its lively surges breaking out from more restrained and arguably redemption searching melodic caresses though the centre of the tale is not asking for such. It is another varied and staggering discharge of invention and imagination which is rewarding with further rapture from the heart.

Only four songs in and no more convincing is needed to the triumph before the ear but the release just continues to exhaust the passions, the likes of the feisty and magnetic Please Come Back which again features Pål Jackman on support vocals, the brilliant and irresistible Times of Trial a true authentic  mariachi classic, and the title track with its muggy noir corners and western sparks, continuing the impossible addictive influence of the album whilst Two Headed Horseman with its garage punk tipped crescendos within more sun-baked glamour and the sixties lilted road trip of ´69 Camaro just rip further furnace hot lust from the heart in their and the album’s direction.

Completed by a final trio of brilliance in the haunting Lost Highway Motel a place home to lost souls of all inclinations, the black tale of love and violence Johnny´s Song, and a delicious version of the Morricone piece Sixty Seconds To What?, there is little left to say but sigh like an overfed diner and declare Bones In The Closet one of the major highlights of the year so far and will certainly be acclaimed so by the closing of its eyes too. With a mention also for the slide guitar contribution on the album from Ry Krüger required, this is a release everyone should dive into without reservation, and Helldorado a cemented lustful passion for this site.

http://www.helldorado.no

https://www.facebook.com/HelldoradoOfficial

10/10

RingMaster 25/04/2013

Copyright RingMaster: MyFreeCopyright

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