Dead Sons – Boom Booom
Smooth and classy music, swing progressions, like those that touch your body straight to the point where you feel like moving to the song. That is the initial feeling I get from Dead Sons’ EP Boom Booom (that kind of reminds me of Basil Brush. Nice!). This affair is made of four sexy, explosive and retrospective tracks that will catch your attention from the very first time you listen to them.
The varied topics managed in this delivery go from tracks that somehow manage to convey anxiety through iterative and strong riffs perfectly coordinated (keeping their natural clearance amongst them), which is a direct alteration of senses and feelings (if feeling quite receptive to experience the geography mapped by the song). This track is ‘Shotgun Woman’.
After a 4/4 stringed motif has filled your brain, there comes the classy part of this puzzle introduced by a sexy and concrete-made bass riff, which is in full brutal swing progression. This guitar bass work becomes a solid playground for guitars and voice, while drums follow a blues-styled riff, giving a neat rolling to explore all of their capacity and elements available. In ‘Shotgun Woman’, we get a nice guitar, which establishes a very provocative (even hot) conversation with vocals, as it brings those abovementioned old and loved statements of blues to enrich the landscape.
As the proposal goes on and we might feel a little bit too sexy for our mp3 player, there comes the explosion again with literal lyrics such as ‘Bang, bang, bang’; this is a persecution called ‘Bangonfullturn’. The metronome speeds up and the sounds heard become a cascade in the stave this band has created (we might need extra bar lines to complete the song). Deep tones, paroxytone lyrics and vocal duties that talk about a hard and visceral scene, like those found in the city. There’s a twist in this song that would definitely insinuate the end, but then explodes into a bridge with a scream leading all instruments to chaos, then ends up its message made of steel.
After the storm, there’s calm, and that seems something that is so deep inside in our minds that even the order brought to the songs of an EP or CD… or maybe it is just to calm down our moods after the big bang rendered us insane. ‘Better than being alone’ is an idea quietly started by a piano motif, to then give way to an acoustic guitar and reverberated, intense voice. This becomes the exact moment to get your breath back. “Nostalgia” is the most accurate word I find for this, as the song develops to then introduce bass and drums lines to empower that old-western-like guitar riff. I loved the progression in this one, a sequence that slowly (but surely) excels the lyrics and gives strength to the sentences pronounced, going from a dusty old roof that holds our past to the conclusion of the present (maybe guessing too much) through psychedelic swirls of guitar. I bet this song is breathtaking when played live.
Every start has an end, and this is the full stop to this event. I must say I really loved the mix of this album, so neat and pure, delivering a great and accurate palette to Dead Sons. Respect to Mr. Ross Orton!
We have genius eclectic sounds with the only constant being the paroxytone sensation with a genius mix, so all I can say is: Yeah!
Words : Tonan