Everything's Dead

There is always reason to celebrate a release from the Dead Brothers. Funeral music for civilization and then some. 

Angst came out four years ago this month and it has never been more timely. Voodoo Rhythm Records, again, put it out. The band is one of the label's mainstays. This time around, Marcus Aurelius Littler, whom I interviewed years ago for Z Magazine, has lent his hand to the proceedings. What follows is a soulful, sinful album that is the perfect thing for lonely, rainy nights were nothing is going right and nothing is looking to change. The world spins on the edge of fascism and in the arms of a pandemic.

You could guess there are 13 songs here. Not a single loser in the bunch, either. I know. How can that be? It's impossible, you say. It's not. Not if you heard this band before. Not if you are paying attention. Paying attention while the world burns.

The press release from years ago states that "we are standing at the edge of the end times." Catastrophe is so near you can smell it. It was with this in mind that the Dead Brothers hid in the Vosges Mountains to "take the pulse of our time." It seems the band read it right. This is the perfect accompaniment to the end times. The end of all things. They just knew it was coming four years ago. 

Do not think it is all doom and gloom, though. Hardly. This is a celebration of the end. A party that is a wake. This is what should be playing as the planet stops spinning and the sun flares outward to consume us. This lets us expire with smiles on our faces. 

Song eight. "Did We Fail?" Probably one of the best songs the band has written, and it has written some amazing tunes. This one haunts in all the right ways, though. It asks a question that is the ultimate question of humanity. Did we fail, or did we even try? Littler wrote it. It's appropriate of him and of this band. It is the zenith of both their existences. It is everything both stand for. This song, more than any other Dead Brothers song, examines everything that ever existed and that which has yet to be born. It is as painful to hear as it is to think about, and that song is sublime.

We did fail. We didn't even try. 

But not the Dead Brothers. Failure is not something the band knows. And it doesn't even have to try.

Bad Luck Rising

In what world did this come out in 2011? That’s what you’ll ask yourself when you first hear Delaney Davidson’s Bad Luck Man. It’s an honest question because this music at first sounds … old. Then after you settle into the groove of this one-man band, you understand it isn’t really old, it’s timeless.

Davidson is fromdson is a New Zealander New Zealand, but you wouldn’t know it listening to these fourteen tunes of hard luck, depression, and relationships gone belly-up. He sounds fully American, like he was born and bred in the land of the blues, parishes, and voodoo. You can picture him wandering the swamps, playing dive bars, and keeping it honest. It’s no wonder he used to be part of The Dead Brothers.

Voodoo Rhythm Records put this out. It was the label’s second release of his. It was a good choice. Years from now when civilization is fighting over scraps of irradiated food and looking for shelter from the perpetual inferno/polar vortex cycle the planet has been plunged into, this music will still touch souls. Whether it’s the title track, “I’ve Got the Devil Inside” or “Windy City,” this music will be understood by people everywhere at any time. They will recognize and respect its purity just as easily as they know its shame.

As I write the first draft of this, Naked Massacre is playing on my television. It’s a sleazy little movie, inspired by a real crime. It’s a subject Davidson could sing about and make it relatable if he so desired. He has this ability to turn even the most transgressive of men into a tortured being you yearn to understand. He’s not a bad luck man, or even a bad man. He’s just a man with the ability to perform songs that move souls.

And that will never get old.

No One Can Save You

Destination Lonely. If that band name doesn’t scream emo I don’t know what does. Then have a title like No One Can Save Me, and you know what the songs will sound like.

You would be wrong.

Three young men from South France have armed themselves with instruments and have created pure, crisp garage rock with roots firmly in the punk scene and a sound that sometimes evokes the guitar playing of Poison Ivy. Yeah, who would have thought such a thing could exist and sound so raw yet refined?

Not I. Not when I first heard the release three or so years ago. Knowing it was on Voodoo Rhythm Records told me it probably wouldn’t be some emo band, but the label has surprised me before. Not with garbage, mind you, but with something I was something unexpected. The Dead Brothers comes to mind. This was no exception. I was expecting one thing and got something else entirely different, and I was blown the hell away.

A quick read of the lyrics finds plenty of doom and gloom. Suicide, murder, loneliness, and hatred are the common themes. They are not happy ditties that one can sing in the shower. These are songs that play over and over in your head in the dark … after your loved one has walked out the door … or you shot him.

Still, it’s not emo. No, Sir. It’s a grabbing, multi-limbed monster, much like the one that can be found on the cover of issue eight of Marvel Comic’s Fear. It’s reaching through an open window, grabbing you by your shirt sleeve as your wife screams in terror from the stairs. That’s what this is.

The opening number, “Freeze Beat,” is an instrumental piece. If a film of my short story Night Fishing ever happened to be made, I would want this music playing during the opening scene. It sets the mood, but doesn’t really give you a clue as to what is coming, much like my short story’s opening scene. The song lets you know you are in for a ride, but at this point you are not sure if it’s a rollercoaster or a ride through a haunted house. Truth is, it’s a little of both.

Between “Gonna Break” and the title song there are moments of clarity and greatness that aren’t evident at first. In fact, those moments are mostly lyrical, but the music is so appealing that you will overlook the lyrics the first couple of listens. The sound is a sonic whirlwind of broken glass, and it is overwhelming in all the best ways. When you finally decided to take in what Marco Fatal is singing (you may remember him from The Fatals), you will experience this moment of enlightenment where the entire picture becomes clear. It is beautifully terrifying.

No One Can Save Me will probably never be heralded as the must-have, top release of all time, but it doesn’t need to be. It is far too personal for that … and far too fun from a listening level. Yeah, it’s a dark, angry release, but it’s also a work of art. And because of that, far too many people will never quite understand it. For those who do … it’s near perfection.

The Power a Secret Holds ...

The title to this blog posting is a play on The Dead Brothers' song "The Power a Secrt Holds," which can be found on the incredible Voodoo Rhythm Records Records to Ruin Any Party Vol. 3. I have had nothing but praise for the label and these compilations, and this one, complete with Juke Joint Pimps, Pussywarmers, Urban Junior, Reverend Beat Man, Possessed by Paul James, Bob Log III, Andy Dale Petty, Roy and the Devil's MC, and many more doesn't disappoint.

But I, like Peter David, digress ...

It's been about two years since I've last had a post here. Why? I've been busy. Very. Busy. Black Devil Spine came out, which meant I was listening to classic rock for months of editing. (Classic rock is a huge part of that story.) I also started the Sinful Cinema series, which is proving to be popular with film fans. So, yeah, blog posts took a backseat to other ventures.

As I was cleaning the house and tossing out stuff, I was listening to this compilation, and when Reverend Beat Man's "Jesus Christ Twist" came on I thought, "I haven't written a blog post in a while!" What better music to inspire a new posting? Voodoo reinvigorated my love of music, and now it's served as a catalyst to getting the blog going again. I can't promise this will be a regular thing, but I'm sure going to try and make it so.

As to be expected, I believe that anyone who appreciates excellent music should march out and find this CD. Sure, it's six years old, but the music is as timeless as sunsets and funeral rites. There's blues trash, swamp rock, psychedelic, and just about everything else to stir the heart. I'm not saying this because I received it free to review, either. This is stuff I'd be recommending regardless of how much I had to pay for it. Trust me, this is worth it, as are the other two volumes in the set.

Maybe next time I'll delve into how music fit into the writing of Black Devil Spine. Maybe not. In the meantime, you've got some trash blues to enjoy ...

In The Fields They Hollered in Pain

Most people know I'm a huge fan of anything and everything on Voodoo Rhythm Records.  I've only said it about 5,368 times.  The Dead Brothers, a funeral band like no other, have always been a favorite.  5th Sin-Phonie is no exception. Thirteen (yes, I know) songs of pure "delinquent jazz" and and horn-heavy musings on death, love and life.  Standards in many a band's set list, but no band does it like this.  No band ever will, either.  The Dead Brothers is one of a kind, and this release holds quite a few surprises for die-hard fans.  Surprises and secrets.  All are delightful, of course.  All are worthy of your time.  Enough hyperbole, though.  Let's dig into the meat.

First things first, there are plenty of original songs on here, but there are also two covers: the obvious "Bela Lugosi's Dead" and the less-so "Teenage Kicks."  Both are done in the Dead Brothers' own unique way.  Fans of Bauhaus' original song should like this one quite a bit, too. 

The next thing, which I find fascinating, is who is helping out with the song writing.  None other than M.A. Littler, filmmaker, pirate and general thorn in the side of mainstream thinking.  Littler has always been linked with Voodoo and the acts on it, but seeing his name pop on here was quite the pleasant surprise.  He is as every bit as good as I would expect, but then again, I'm a big fan and have been for years.

Focusing on a single Dead Brothers song is a lot like not being able to see the forest for the trees. Each release is a complete circle in and of itself. And while each and every song can stand on its own, when taken as a whole (something rare in this age of iPod shuffle dead dance) they create a decadent, perverse Disneyland of despair and delight. You will not possible understand that, however, until you actually sit down and listen to an entire release. This is a good place to start ...


Mandatory FTC Disclaimer: I got this sent to me to review. That in no way influences what I think of it. Clicking on a link may earn me some cashola.