04/16 – 04/20:

Boy Crisis, Tulipomania

Once upon a time, the future Kool AD of Das Racist almost made his way into the mainstream music biz as the singer for a dance-rock band called Boy Crisis. Founded at the same art college where he met his Das Racist co-conspirator Heems, Boy Crisis has the sound of a band like, say, Franz Ferdinand, but even then, Victor’s lyrics were humorous and unique, and really make the group stand out. Their record deal never quite worked out, and Victor ended up being a rapper, but for awhile there, things were looking very different for him.

Boy Crisis, “The Fountain of Youth”

The Dead Weather, Horehound

This album sounds like a bunch of friends playing music for fun. In the best way possible. That those friends happen to be from  lot of famous bands isn’t really the important thing, though it was certainly what got the band its hype. Its sloppy, fuzzed out, swaggering, blues-drenched romps hit me right between the eyes. It’s not revolutionary, it’s not cutting edge, it’s just a great time. It’s got more attitude and visceral appeal than any of the bands its members hail from, frankly. I never noticed... never even considered... how risque Bob Dylan’s “New Pony” was until I heard Allison Mossheart sing it. It’s one of the most fun albums I’ve heard in years.

The Dead Weather, “Treat Me Like Your Mother”

Mastodon, Leviathan

Mastodon’s second album is, I gather, many fans’ favorite. But for whatever reason, it’s never been mine. Opener “Blood & Thunder” is undeniably one of the very best Mastodon songs ever made. It’s on the strength of that song that I always put it on. “That song is awesome, surely I’ll want to hear this.” But somewhere in its running time, my attention always seems to wander off. Even the instrumental noodling that tended to crop up on their proper debut, Remission, never failed to keep me engaged. I can’t really explain it. I offer no defense, Mastodon fans, feel free to hate on me. I like it ok, but it’s just not as visceral as Remission or as experimental as Blood Mountain.

Mastodon, “Blood & Thunder”

God Forbid, Equilibrium

God Forbid’s 6th album is sort of a new start for the band. Founder Dallas Coyle left, replaced by Matt Wicklund from Himsa. Matt brings some new ideas to the group, and the result is an album that still sounds very much like God Forbid, but tries some new things, too. Fickle people cried foul, and worse “djent,” over album opener “Don’t Tell Me What To Dream.” Claims to “djentness” are exaggerated, but it does represent the first of many new approaches on the album. Dallas taking his half of the clean vocal harmonies he created with his brother, Doc, out of the mix is noted, but not only does Doc still provide clean vocals, traditionally growling frontman Byron Davis adds some clean vocals to his repertoire, as well. He hasn’t abandoned his more aggressive style, just switched it up some, and the results are a big success. The most striking departure on the album, which seems to have gotten oddly little press, is its overwhelming positivity and spirituality. Far from being Christian metal or anything, Equilibrium nevertheless does add some words of encouragement and references to a higher power that may surprise people. God Forbid has never sounded stale, has never made an album that wasn’t worthy of their legacy, but even so, they sound revitalized on Equilibrium.

God Forbid, “Where We Come From”

There you go.

--D