“An album called Disobey by a group called The Refusers – you can’t get any more defiant than that, and that is exactly what rock and roll is supposed to be.”
The words of band founder, vocalist, guitarist, songwriter Michael Belkin tells all about the heart and intent of the band’s new and third full-length, indeed their sound overall. It is a collection of songs which snarl with defiance and irritability yet infest ears and incite the body with broadly flavoured rock ‘n’ roll in decades courting styles. Lyrically it reflects and attacks with incisive honesty and rigour while musically it has the body bouncing; a combination which makes the upcoming release of Disobey one compelling proposal.
Formed in 2010, Seattle hailing The Refusers sparked real attention with their 2016 album Wake Up America. It was a release which reflected and roared at a corrupt and twisted political and social world. It is fair to say things have not changed for the better in the world over the past two years and Disobey equally preys on its perverse habits and immoral practices. It focuses on the bad heart of America but as we all know it is a ruin reflected across the world from corner to corner.
Belkin links up with a host of musicians for the new album including bassist Steve Newton, drummers Sebastian Belkin (Michael’s son) and Brendan Hill from Blues Traveler, and keyboardists Joe Doria and Eric Robert, who has performed with John Oates, Keb’ Mo’ and Lucky Peterson. Disobey opens up with Playing With Fire and immediately lures ears with its blues tinted groove and potent rhythmic shuffle. Belkin’s vocals are soon joining the bold mix, adding accusing sparks as the track burned its presence upon the imagination. It is an intriguing start to the release, a song which did not explode on the senses but got under the skin by the second to arouse attention and an anticipation of things to come.
The following Why Do They Lie strolls in next with a deceptively calm swing, keys a tantalising lure in its developing melody nurtured rock ‘n’ roll. An instinctive catchiness soon had hips swaying as feet tapped; the track a swift persuasion before the album’s title track aroused the senses with its classic rock meets The Cars like canter. As lyrics focus and ensnare thoughts great hooks and fire bred grooves ignite the appetite, Hammond keys a tasty companion to the magnetism.
Eruption brings a call for change on a great funk ‘n’ roll saunter next, guitar and keys again a masterfully alluring incitement to accentuate rather than temper the lyrical charge while My Baby Loves Rock And Roll is a mischievous contagion echoing its title. It is a romp of the familiar and fresh which just hit the spot, swaggering along like an old inhibition evading friend.
Across Disobey, there is a seventies/eighties glaze to its rock ‘n’ roll, the following Fake News epitomising that essence with its melodic rock though to pin down straight comparisons is difficult thanks to The Refuser’s individual character of imagination and sound. The track was another which had us hooked early though the album was just as effective at pleasing ears with a more persistent almost nagging temptation as through Government Slave, another classic/hard rock nurtured proposal with tenacious hooks and teasing grooves.
The final pair of Free The Captives and Emancipation close the album up; the first a calmer but no less assured slice of rock balladry wrapped in the ever appealing embrace of keys. Its successor is a final cut of addiction flirting captivation; its chorus especially irresistible. As the album, there is something of Midnight Oil to the track, more in lyrical insight but also a little in its sound even with its more classic rock breeding, which just adds to the appealing hues at work.
Defiance and rock ‘n’ roll go hand in hand; always has and always will. The Refusers mix both with craft and adventure within Disobey; an album which may not be the most unique but leaves its rich mark rather enjoyably.
https://therefusers.com/ https://www.facebook.com/TheRefusers/
Pete RingMaster 12/06/2018
Copyright RingMaster: MyFreeCopyright
It takes little time for the variety within Amplify to emerge; from The Cars meets John Butler Trio feel of the first song, a Gary Numan air colours the following I’m Not Ashamed, though it is a spice predominantly cast by the vocal tone of Jones. Nevertheless, a great range of emotive and rhythmic shadows wrap the energetic canter of the song, adding weight and intrigue to the hazier lures of guitars and harmonies. As its predecessor, it takes little time to get fully involved with the grungy encounter, a swift persuasion matched by You Take Me Out of My Head and its thumping slice of bullish hard rock and anthemic rock ‘n’ roll. From its fiery jangle and imposing rhythms, the song demands attention, rewarding the submission with addictive hooks and beguiling grooves courted by the delicious throb of Drummond’s bass. Riffs are equally as formidable and persuasive; the track the perfect blend of aggression and seduction with blues enterprise for further drama.
Diversity continues to enrich album and ears as the sultry smoulder of The Weed Don’t Lie radiates warm melodic and harmonic persuasion across an exotically textured landscape whilst hugging the increasingly impressing voice and presence of Star before High & The Mighty brings its own individual tempting to bear on the imagination. A web of varied rock flavours from electro to heavy, the song entices like an unexpected mix of Ministry before they went metal, Heaven 17, and Spineshank. The track is another of the peaks of the album matched quickly by the melodic shuffle and seducing of Annie and an excellent spin on EMF’s classic, Unbelievable.
The country rock spiced The Last Day Of Summer has feet and hips swaying with eagerness straight after, the pop rock catchiness already glimpsed in earlier songs now in full vibrancy with matching melodies and backing vocals before the outstanding Only Henry Rollins Can Save Us Now hits even greater heights. Feverish dirty rock ‘n’ roll to have you grinning whilst punching the air in defiance, the track twists and turns from start to finish. It is a roller coaster of snarling riffs and juicy hooks embracing everything from punk metal to ravenous hard rock through to jazz induced festivity and much more.
From its firs breath Junkie Luck is a rich enticement of guitar, the strings of Deering flirting alongside the sonic lead of Lloyd Stuart Casson (ex- Rock City Angels) before the former’s recognisable and always persuasive vocals potently leads the emergence of the song’s infectious heart. The swinging beats of drummer Repo (ex-Smack) manage to cage and incite further devilment in the song, assisted in kind by the prowling lure of Scarlet Rowe’s bass, both aiding the track’s grip on the listener’s hips and involvement. Musically Junkie Love is like a fiery blend of The Cars, Cheap Trick, Turbonegro, and Sweet with a healthy punk rock attitude but it emerges with a character and uniqueness which roars Smash Fashion.
It is not a roar to stop you in your tracks but certainly one that boldly turns up and strongly nudges attention, and as found here, a swiftly keen appetite its way too. First track Stan, which comes with a just as alluring video, opens on a winey web of guitar tempting as rhythms robustly line it’s sonic coaxing. The strong and expressive tones of Barbone, backed strongly by Pontone, soon have ears just as fully engaged, his voice as the song’s sound, carrying an open air of familiarity to create a presence lying somewhere between Gruntruck, The Cars, and Joe Jackson. Increasingly it blossoms an invasive flirtation of keys and creative drama with a virulently infectiousness in tow which makes easy work of exciting ears and an ardour. It is arguably not a song offering real surprises but with plenty of imagination soaked flavours it is a thorough, inescapable enjoyment.
The rousing swing of the track is replaced by the emotive serenade of Hate Song Part I (Exile), a female delivered vocal caress on the senses awash with evocative keys and a laid back, shadow built bass prowl. It is a slither of a song at a breath over a minute but a transfixing set up for the electronic adventure of Phantom of the Disco. The band’s latest single is a bubble of dance bred electronica and varied impassioned vocals. There is a whisper of OMD to it, as too of Thomas Dolby and Blancmange, but they are mere essences in the thick ambience and emotional shadows fuelling the impressive drama.