Saviours’ 2009 album, Accelerated Living, was one of the very first reviews I wrote after launching this blog. Now, almost two years and about 250 reviews later, the Oakland band is back with their fourth full-length, and when most bands at this point find a mature, polished groove in which to fit themselves, Saviours, quite unabashedly, are holding on to that ripped-jean, skate-or-die stoner metal sound like it was the last beer on Earth. The raw, basement-grade quality of Death’s Procession is the perfect platform for the dirge of riffs — both chugging and melodic — on display here; the red-eyed mix of NWOBHM mayhem and slacker thrash come together like an old school stink bomb thrown right into the Grim Reaper’s face. But Saviours only ride the traditional wave so far as the sludgy shore, at which point they stomp around in the wet sand, light a raging fire in some boozy deity’s name, and party all night amid a quagmire of bikers, broads, killers, dealers, and wizards. If we’re both around in another two years and 250 reviews, I guarantee it will be the same damn deplorable business, oh so excellent and brutally bad-ass, because Saviours know no other way in which to excel.
Check out the video for “Crete’n” from Death’s Procession!
The brothers Bird, the oft-shirtless duo from Illinois or outer-space, I can’t remember which, have returned with a proper full-length (as opposed to 2008′s seven-song Reservations), self-titled and much ado about everything. The knotty fuzz Tweak Bird is able to strangle out of drums and a baritone guitar is impressively grotesque; pair that with gamma ray vocals, some saxophone and flute, an appropriate obsession with Marc Bolan, and the knob-noodlin’ skills of the Deaf Nephews (Dale Crover of Melvins and Toshi Kasai of Big Business) and you get ten heavy, spacey, progressive pop blasts influenced by all the necessary evils. Tweak Bird’s design is such that they eliminate the need to linger, spoof glam over jam, and even though they offer two of their longest songs to date (“A Sun/Ahh Ahh” and “Distant Airways”), they still microwave the hell out of the stoner mandate and stomp all over the stardust. This album is as weird as it is wonderful — an outlier, a rare breed.
Check out the videos for “Lights in Lines” and “A Sun/Ahh Ahh” from Tweak Bird!
Snarky, shameless, sleazy, Bator-bitin’ rock n’ roll from a bunch of finicky young upstarts that, by all accounts, oughtta be playing video games or workin’ some mindless part-time job after school, not signing themselves up for dereliction duty, cursed to mumble and stumble their way through a life of whiskey-swillin’ and ne’er-do-wellin’. The righteous punk rock that drips off of Reckless Relations, The Adjusters’ debut full-length, easily does their homeland proud (that’s England, in case you’re wondering) and will ignite in you a raging flame of hope for rock n’ roll’s oft bleak and soggy future. I mean, just dig all that twinklin’ ivory, man! And those teenage riffs with the blues-infused solos and glam pop hooks. Killer! The Adjusters hand out fistfuls of silk scarf pomp and back alley stomp in equal measures here; name your favourite old school degenerates and I guarantee they sound just like ‘em. But the kicker with these lads is that they also sound like the best part of every decade since the 50s, which includes, but is not inclusive to, Chuck Berry, The Stooges, The Joneses, and hell, even Social Distortion. I don’t think I’ve heard raw, glistening energy like this since Silver’s 2004 debut, White Diary, and that album is fucking brilliant. If they keep this up, The Adjusters are well on their way to being bloody brilliant as well.
Saviours
Tweak Bird
The Adjusters