REVIEW
DZ Deathrays Black Rat
Tere is (surely) a small minority for whom Andrew W.K.’s I Get Wet was a galvanising musical force. Tis group are now in their 30’s, cursing their beer guts and probably wishing they remembered more about what being an undergrad was like. Enter: DZ Deathrays, an Aussie “thrash” duo out to fill a void in this generation’s party culture that can only be filled by the power of positive pseudo-metal. However, the band’s newest LP, Black Rat, doesn’t wholly live up to genre expectations. Te brash attitudes are occasionally in check, as are the gravelly vocals (see “Less Out of Sync” and “Ocean Exploder”), but it’s clear that the Deathrays have some pop sensibilities to reconcile with. “Northern Lights” is a commercially viable, power chorded affair trying its best to seem contemplative. But any sincerity is bound to fall flat when there are irreverent tracks like “Reflective Skull” on the album for contrast.
DZ Deathrays’ Facebook page declares: “we started at a house party…we will most likely end at one”, and their best tracks are simple and raucous enough to fill a basement with good vibes. “Gina Works at Hearts” has all the intensity of a Death From Above 1979 song and—in a lot of ways— the Deathrays’ ethos is closer to some tongue-in-cheek brand of hardcore than Trash.
Ultimately, Black Rat is fun, if not consistent. It isn’t clear if the band want to create accessible thrash-pop for pissed-off young people or reach toward something more universal (and, invariably, less genuine).
Jen
Linkin Park Te Hunting Party
Linkin Park were at the forefront of nu-metal in the Nineties. Teir debut Hybrid Teory was played to death in metal clubs, so much so that they almost became a pastiche of themselves, before being put firmly in the 'old school of nu- metal' category. Instead of tirelessly trying to keep nu-metal alive, an impossible task almost because of the name alone, they evolved their sound. Tey produced very successful, chart-friendly electronic rock while still retaining their aggression and signature style (helped in no small part by Chester Bennington’s recognisable vocals). All good so far. So what next for the angry boys from California?
Well, Te Hunting Party, their sixth album, is quoted as being a return to their Hybrid Teory days and a statement against current rock bands trying to ‘play it safe’. In order to make a stand in the world of rock, they have gone back in time to what they used to do, to show others what they should be doing now. A nice idea, if a little pompous, but it falls short. Te composition and production of each track is beyond reproach, but nothing really stands out. Hybrid Teory was raw, catchy, aggressive, danceable - a punch in the gut for rock music. Tis? Not so much. It’s almost like they have too much experience, in their late thirties, to make an album like that again. And if you’ve got Tom Morello from RATM to play guitar on a track, actually get him to play something audible and memorable eh guys?
Te Wytches Annabel Dream Reader
Well this is an incredibly satisfying affair! Te Wytches are such a punch-in-the-neck thrill to witness live I was concerned their hedonism couldn’t be captured on record. But here it is, bottled up in 13 intense packages, all doom, melancholy and groove. Full of the energy and passion of youth, the band seemingly give a fuck about everything, whilst simultaneously exuding the idea of being untouchable and nonchalant. It’s a heady mix that drags you in from opener ‘Digsaw’ all the way up until single ‘Robe For Juda’, never losing its skeletal grip.
It is heavy and it makes me DANCE. Te bass is quite frankly addictive; thick, meandering and filled with purpose. It gives the record focus and backbone, leaving singer and guitarist Kristian Bell to fill out the insides with screams and licks that make my teeth hurt. Te production is way slicker than their first offerings but there remains a squalid lo-fi, scuzz ball sound herethat is absolutely brimming to the eyeballs with energy. It is reminiscent of Te White Stripes first LP in that respect– not necessarily in content, but certainly in character.
Despite the urgency there are some surprisingly delicate moments; ‘Weights and Ties’ and ‘Summer Again’ show diversity and are downright heart breaking. As a result this record proves to be a storming combination of perfect psychedelic garage pop fit for dancing, surf doom melancholia and songs to make out to. Every element makes me weep in a totally appropriate way and for that, I am grateful.
Lenore Ellie Jones
8/August 2014/
outlineonline.co.uk
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