For a band to find a sound that is truly unique seems almost
impossible in our wireless world, though every artist continually strives to
create something that no one has ever experienced before. Too often in music, terms
like “genre” and “style” become adhesive, sticking to artists and forever
defining their journey through their own music. Occasionally, however, a band
is able to step away from the genre barrier, allowing them to try their sound
in new and exciting ways, and for Black Rebel Motorcycle Club, their third LP Howl gives them just such an
opportunity.
The sound of Howl
is extremely varied, extending its reach all over the genre spectrum, touching
blues, folk, alternative rock, and even country. However, the signature feel of
Black Rebel Motorcycle Club is present and prevalent no matter where their
sound may roam. There is an obvious theme that BRMC brings to this record,
unifying every song no matter how far the tone moves from the standard; in an
interview with Morphism, Peter Hayes
described it as “the battle of
trying to find counterculture and trying to revise it, if for nothing more than
myself.”[1]
The band is obviously a tight unit, opting for simple instrumentation more
often than flourish. Robert Levon Been is a true rhythm-section man, holding
down the low end with a bass tone that is simultaneously a thump and a
growl—however, he is never afraid to let his fingers run, providing interesting
fills that are fun without being flashy. The guitar playing of Peter Hayes is
just as solid; his alternation of finger-picking and thrashy strumming determine
the energy of each song, while his extremely varied guitar tone (he seems to
have a different sound for every tune) defines the feel. There is unfortunately
a distinct lack of inventive drumming on the record, but Hayes fills that void
easily with his intricate and heartfelt vocals that sometimes reach into the
very corners of his range. While a big focus on the record seems to be on Peter
Hayes’ contribution, the music never loses the impression that this is “a band
effort” rather than “a man effort,” as each tune is full of both soul and
surprise form this trio.
Perhaps the biggest surprise on Howl is the heavy influence of gospel, present in both the sound
and writing on the record. Besides the overt “Gospel Song,” the album is
dripping with gentle keys and choral vocals, from the hidden track “Open
Invitation” to the drawling ballad “Promise” (allegedly the only tune to
feature Nick Jago, the band’s official drummer).[2]
The band further emulates this genre in songs like “Restless Sinner” and
“Devil’s Waitin’,” which consistently reference religious images and ideas,
further tying the tunes in the church-like atmosphere the music provides. The
composition of the songs is also a callback to gospel, as the instrumentation
takes the backseat, allowing the focus to fall on the vocal melody, an idea
praised by Tim Sendra of AllMusic: “On these songs and elsewhere the vocals
are much more a part of the sound now as they are more upfront and impassioned.”[3] The subtle
influence of gospel on Black Rebel Motorcycle Club allows this band to take a
unique approach to the weathered styles of blues and folk, providing us with a
refreshing and original sound.
One tune that really caught my attention on this record is “Ain’t
No Easy Way.” While this song is at its core a rocking tune, that rock has been
ground up and effortlessly blended with a healthy helping of country which allows
it to really stand out. Besides the obvious steel guitars and growling
harmonicas, the overall approach to the tune reminisces of country, with a
simple pop-soaked melody and a radiating chorus that really drive the tune. The
energy of the song, however, is pulled straight from the heart of rock ‘n’
roll, with pounding drums alternating dynamics that build the perfect amount of
tension, leading Amanda Petrusich of Pitchfork
to name it a “perfectly convincing
throwdown, oddly free of awkward contrivances.”[4]
Although this song’s apparent pull towards pop and country originally pushed me
away from connecting with it, the fact that “Ain’t No Easy Way” is both
ridiculously catchy and well assembled has me looking forward to it every time
I spin this record.
Similar to their musical approach to this record, the
lyrical stylings of Peter Hayes and Black Rebel Motorcycle Club are varied and
dynamic, helping to add real depth to their songs where their music might lack
it. Like the instrumentation, often Hayes’ lyrics are simple, but they rarely
if ever rely on gimmicks or clichés. Similar to Allen Ginsberg, whose famous
poem lends both the record and the second track a title,[5]
Hayes explores phrasing and diction are unique, as he digs deep to find
original ways to express himself. In “Howl,” the speaker comes to understand
his ultimate fate with the line “Now I know that my eyes must close here;”[6]
in “The Line,” the speaker is so certain and observant, as he states that “There
is no burden left to bear…I have no conscience to keep clear.”[7]
Hayes’ writing is also very image-centric, as he focuses on themes such as religion
or light vs. darkness, especially in tunes like “Fault Line” and “Restless
Sinner,” where the vocal melodies, and therefore the lyrics, are placed in the
spotlight.
One example in which Peter Hayes’ word choices and phrasing
really come together powerfully is “Sympathetic Noose.” Powered by a heady groove
that’s almost certainly the strongest on the album, this song is a lyrical
playground for Hayes. His phrasing is original and interesting; his speaker’s
assertion “I’ve got a feeling in my boots” is one of many unique metaphors
lining this song’s lyrics. Hayes also consistently repeats sounds and phrases
while morphing the meaning of each line by changing only a word or two, adding
a flow to the song that other tunes can’t see to approach. For instance, throughout
the song the speaker lists off things that he doesn’t know how to be: “I don’t
know how to be careful / I don’t know how to be there for.”[8]
With this idea, he changes only a syllable or two with each line, maintaining
both rhyme and sound while subtly altering the meaning of each line. With its heavy
writing and light-hearted musicianship, “Sympathetic Noose” is the culmination
of Black Rebel Motorcycle Club’s simple forays into the complexity of sound and
writing.
While this record certainly has a lot going for it, it is
ultimately a simple record—not a bad thing, but in the case of Howl, not quite a good thing either. Frankly,
the band’s simplistic approach to composition leaves me desiring more. The
tunes on this album feel underdeveloped, as if Black Rebel Motorcycle Club has
only explored the topmost layer of their music. The straightforward
instrumentation is endearing, yet, with the exception of Robert Levon Been’s
excursions on the bass, the record is devoid of improvisation or melodic
playing. What is present on Howl
shows the potential of this group of musicians, yet the finished product falls
short of that potential, not quite quenching my sonic thirst as thoroughly as I
think it could.
Howl
provides the listener with a buffet of sounds, proving that varying approaches
to both composition and presentation in music can allow an artist to reach new
depths in creation. However, the end product seems undershot for such a musical
endeavor, as the band’s simplistic approach leaves a few holes to be filled. However,
to even consider such an undertaking proves that Black Rebel Motorcycle Club is
a band with gall, who isn’t afraid to approach the barriers placed about them
by fans and critics and break them down on their own.
Tunes to Check Out:
1) Sympathetic Noose
2) Weight of the World
3) Shuffle Your Feet
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