It has to be said that initially A Fresh Bottle A Brand New Day, the latest album from US rock band Sunshine Riot, was an underwhelming proposition though it certainly kept attention rigidly in its grasp. The band brings a mix of country, rock, blues, and punk to their sound but across the album it is more a case of individual tracks investigating one of those flavours rather than merging them into one rich brew. In hindsight it was that which possibly restrained satisfaction the most for the album at first but given deserved time and focus it has to be said that the Americana glazed release has emerged as a rather pleasing proposition. It does not light any fires in the belly of passions but without doubt it is an easy to frequent and keenly digest companion.
The quartet from Boston began in 2007 at the creative hands of vocalist and rhythms guitarist Jonny Orton and bassist Jeff Sullivan. Completed by the more recent additions of lead guitarist Mark Tetreault and drummer Shakes Tvelia, the band has had their sound described as “Johnny Cash meets Kurt Cobain”. It is a description you can see in the band even if it does not really paint the inventive textures which ripple throughout their varied songs, certainly those upon A Fresh Bottle A Brand New Day. Renowned for their live performances and work ethic, Sunshine Riot’s bio say that things really clicked into place with not only the current line-up coming together but just before that the band linking up with 16 time Grammy nominated producer, multi-instrumentalist, engineer, and composer George Dussault. New to the band we cannot say if that was the key but certainly there is a craft and inventive heart to their music which suggests something has come to ripe fruition.
The slamming of a heavy door awakens the album and opening track Norfolk County Jail, its intensive provocation the starter for a wistful melodic caress before defiance and urgency bursts with striding guitar and rhythmic incitement. The vocals of Orton ably backed by those of Sullivan, unfurl the narrative of the song with the track lyrically and musically a steely and expressive encounter which sparks the imagination. Of all the tracks this is one which fits that earlier description of the band’s music, its melodic rock drama fuelled by a flush of punk and grunge like tenacity. It is a very pleasing start to the album setting up a ready appetite for things to follow though that hunger is given a bit of a false start by the following Natural Causes. Immediately soaked in a country blues twang and atmosphere, the song steadily strolls into view and provides an accomplished and emotive venture to contemplate. There is something openly familiar to the track which makes it accessible but does defuse any originality and thus the spark to excite ears and emotions. Nevertheless it is enjoyable and memorable.
Both the more than decent rock canters of Cotton Fevour and Old Soul Blues like their predecessor keep the album alive in pleasure if not excessive excitement. The first is a blues washed slice of Americana complete with a throaty twang and the second a sultry slice of reflective melodic rock. Again the pair pleases but fails to emulate the success of the opening track or the livelier gaited and magnetic Quicksand Love which follows them. There is a simple honesty to the song’s first persuasion which coaxes before the vocal blend and plainly attractive hooks make their bait known. The song in turn is then left looking a little pale by firstly the impressively catchy and deliciously soulful Elizabeth Stone which features the richly textured vocals of R&B singer Carl Smitty Smooth around a core of virulent temptation and then even more so by the outstanding Senorita Punk, which as its title suggests is a riotous temptress bred in prime punk rock. Both songs provide the pinnacle of the album, taking it to new heights, especially the second with its voracious attack and scuzz smothered energy.
The next up Margaret Mae with its deep bass growl and jagged guitar bait continues to keep album and pleasure high, the song a vivacious stroll with eighties new wave vibrancy and mischievous alternative rock enterprise. The track saunters with a gentle but bold swagger, teasing ears and thoughts with persistent relish before bursting with eager will in its chorus.
The climatic Boxcar Cowboy brings a spaghetti western landscape into a union with an Americana rigour to capture the imagination again with its individual drama before the fiery and more intensive rocker Sweet Kerosene spills its sonic energy and melodic flames over the senses. Both tracks reinforce the fact that the second half of the album is a more compelling and thrilling venture to explore with the band than across the first few songs. Whether by coincidence or by intent Sunshine Riot save their strongest explorations and dramatic creations to the rear of the album and it works a treat though you wonder if a different order of songs would have made the release more consistent in its suasion.
Closing with the acoustically guided and okay Home, Sunshine Riot and A Fresh Bottle A Brand New Day provide an entertaining proposition which took its time to fully convince. This it does though, even with a few moments still lacking the kindling to light the passions, and invites a definite interest in the band’s new full-length marked for later this year.
The self-released A Fresh Bottle A Brand New Day is available now!
7/10
RingMaster 21/04/2014
Copyright RingMaster: MyFreeCopyright
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and threatening the senses with dark riffs and rhythms with the entrance of opener Twisted Lip. The track soon settles into a feisty keen stride, the bass of Alex Ghilardi growling imposingly whilst the guitar of Florent Beaucousin coaxes and fires up thoughts in league with the richly impressive tones of Marques. It is an immediately flaming temptation which elevates its psyche metal seeded bait with the pop rock twist of the chorus. That Faith No More comparison is a swift suggestion though song and Pink Tatami only use it as flavouring to their ripe feast of sound. Across its saunter the song fuses in some funk twists with a Red Hot Chili Peppers lilt and a strong melodic rock grunge like enticement, an ingenuity which only adds to the potency.
mischievous passion of the song reminds of another duo, The Black Frame Spectacle from Canada, though sound wise they are more rockabilly seeded. The song rampages with riffs and rhythms flailing in the hungry energy, from the very first second never relinquishing its feverish persuasion until the last heated note, even in the incendiary slow blues prowl midway. The vocals are as vibrant and slightly grizzled as the sound, a nice causticity stalking their surface fitting in perfectly with the fire bred hues of blues guitar in solo and rampant riffery.
inviting as the guitars unwind sonic tendrils and beats provide a forming heart for the piece. The vocals also come in a mellow and harmonic breeze which washes over and wraps around the ears until an explosion of passionate energy and rhythmic penetration brings everything into intensive focus. The vocals subsequently veer with almost wild abandon from clean to a Rob Halford like wail and then into a bestial predation, twisting and evolving from there on in like the music around them. As mentioned each song reveals more of its depths as numerous encounters are embraced, the first track seemingly having patience in its declaration to offer a fresh aspect to every immersion into its impressive flight. With the wealth of styles employed in its maze of invention and sound, song and album fluctuates in success depending on personal tastes, but never relinquishes the strength and potency of its initial temptation across the vast landscape.
enticing guitar hook alongside the distinctive vocals of Aherne. The song is soon walking through the ear guided by the continuing to allure groove and firm rhythms. The song does not exactly plod along but certainly it has no appetite to raise any frantic energy in its bluesy almost melancholic gait. Despite that the song still makes a compelling if not striking engagement with the guitar craft of the pair especially magnetic bait in a strong and satisfying song.
engulfing the senses like the jaw of a sandworm in Dune. The entrance smothers and takes the listener into its cavern of shadows before expelling a loud graze of sonic endeavour and richly gripping hooks. The distinctive voice of Berrow is soon taking over centre stage as the song’s narrative entwines the imagination, extra suasion from the equally individual tones of Southern adding extra bait to the temptation. With a throaty bass coaxing from the lady only adding to the spice alongside the rattling rhythms of Laidley and the wonderful emerging consumptive discord, the track is a maelstrom of enterprise and unpredictability engaging and provoking thoughts and emotions.