The album is a result of a very successful donation drive that had band members break-dancing in Pitt Street Mall to Meshuggah, re-enacting orgasm scenes from movies publicly and offers to write hip-hop songs to donators. It’s evident that their drive went well, because the album sounds pristine and punchy.
It meets a middle ground between Clutch and Queens of the Stone Age, with an occasional sprinkle of Funkadelic. The guitars scream, the bass growls, the drums slam and the vocals boom.
In 2004, The Snake The Cross The Crown released their debut disc Mander Salis which, despite showing the diversity of Equal Vision, sounded more like a band experimenting with many different styles, but not quite hitting the nail on the head. Though containing some great songs, it is almost as if the vision was too large to be attainable. The band took a minor hiatus after touring behind Mander Salis before heading into the studio to record their sophomore release Cotton Teeth. There must have been a lot of thought during their downtime about the direction to take their sound because their newest release is their most focused and accessible effort to date, combining the alt-country and indie folk sounds of Mander Salis, with a renewed passion and attention to detail of what works best for the band.
The glorious, musically satisfying comeback of a band that was just about to break through to a wider audience a few years ago when their lead singer Evan Phillips was taken out of commission and live performance for seven months because of an obstinate injury. We’re talking about The Whipsaws, a hopeful combo from Anchorage, Alaska, a region that has so far not been known for its plethora of talent in the Americana/alt.country genre. After Phillips’s recovery, the band got back together, played some shows, wrote new songs and recorded this album. It’s not an accident that the album is self-titled like debuts usually are. This is a second coming. No question: The Whipsaws is a success, it ties in with their earlier output and yet it’s a reboot – Alaska is back to claim its place on the map of rock’n’roll!
Anchorage, Alaska? We’ve all heard of these special places in the States that heroes like the Drive-By Truckers, Bottle Rockets, Son Volt, Whiskeytown, Blue Mountain & co. come from: Athens, St.Louis, Raleigh, Oxford or simply Austin, Nashville and Memphis are towns with a certain guitar flavor to them. The Whipsaws have no ties to these places, they have developed their sound independently and grown into an original, distinguished band in their remote corner of the USA. 2008 was the first time they left their home, working as backing band for Tim Easton, touring all across the USA and leaving quite a mark, particularly at SXSW in Austin. None other than Lucinda Williams was full of praise for the band after they shared a gig at Antone’s. Blue Rose Records were equally blown away and took the opportunity to sign the Whipsaws practically right from the stage.
Tracks: 01. The Lady Of Shalott (ft. Nick Magnus) 02. Clare’s Song 03. Scotland The Place (ft. Dave Lawson) 04. Sonnet 116 (ft. Serena Bossi) 05. Stanzas For Music (ft. Rick Wakeman & David Paton) 06. Prelude To The Highlands 07. My Hearth’s In The Highlands (ft. Amanda Lehmann) 08. Remember (ft. Richard Sinclair) 09. […]
After two records and several years of making CCM music, Audrey Assad is throwing in the towel. She is, as Jon Acuff would say, a Quitter. Leaving Christian pop music behind, Audrey is now passionately pouring into a long- lost love of hers: Church music. Fortunate Fall features eleven songs in three movements—one movement each […]
Their award-winning legacy is forever sealed in the history of American music. Now, The Oak Ridge Boys have created the quintessential collection of their most beloved hits spanning the past four decades. This heart-warming anniversary recording highlights the country and gospel songs that best represent The Oak Ridge Boys’ musical journey during the past four […]