22 replies to this topic

[Griff45]

Any chance ?

New album out next month, followed by a tour !

Spot at John Peel ?!

[plaskins]

One of my favourite bands, very under-rated IMO. I was just about to dig up and old BRMC thread to post this review of "Beat the Devil's Tattoo" for anyone who may be interested..

Quote

Black Rebel Motorcycle Club return with sixth studio album ‘Beat The Devil’s Tattoo’ a band transformed. Replacing the troubled Nick Jago on drums with former Raveonette Leah Shapiro, BRMC founders Peter Hayes and Robert Levon Been have a new focus, a new vision and a more relaxed attitude to recording. A decade down the road, the band have seemingly found their way. ‘Beat The Devil’s Tattoo’ promises a mixed up hot-pot of all the band’s previous work - an Americanised blend of blues-inspired garage and folk-driven rock ‘n’ roll and follows-up the instrumental download-only ‘The Effects of 333’, seeing the band back to their blues-scuzz snarling best. We give it the First Listen treatment…

‘Beat The Devil’s Tattoo’
The album’s title track and lead single, ‘Beat The Devil’s Tattoo’ is a round-the-camp-fire stomper built around a deep, growling guitar riff reminiscent of the kind found on Elbow’s ‘Grounds for Divorce’. Assorted backing vocals create a tender atmosphere behind the punchyness of the instruments, and the result is an edgy slice of Americana. The repetition of the line, “I thread the needle through, you beat the Devil’s tattoo’ is a war-cry-like chant that brings things to a tight close. Same ol’ BRMC, but that’s just fine.

‘Conscious Killer’
A lot of “Woah-oh-ohhh-oh”ing and more tribal stomps create an addictive rhythm to get things underway on ‘Conscious Killer’. To begin with, this sounds like BRMC’s take on an angry punk song, full of attitude and angst. A smart and snappy chorus sung by Hayes over the screaming, distorted music binds everything together, and rumbling build-ups shake with anticipation. ‘Conscious Killer’ ends with a heavy, thrash-like climax, complete with fuzzy guitars and new drummer Leah Shapiro seemingly attempting to pummel the bass drum foot pedal through the floor.

‘Bad Blood’
Robert Levon Been’s distinctive vocal is a highlight here, but other than that, ‘Bad Blood’ is a musical traffic jam, almost halting the momentum of a very strong start to ‘Beat The Devil’s Tattoo’. Shrill guitars jangle out behind the chorus, but the song never really ventures anywhere different, staying on the same path from the first second to the last. The shadowed, grey-soaked parts do, however, take off and soar into the light of the optimistic-sounding chorus – “I can see it in your eyes and now it’s gone” - all at a cosy, medium pace. Despite its hands-in-the-air nature, the end product is probably about a minute too long.

‘War Machine’
At first, ‘War Machine’ sounds like the highlight so far. The slow, bluesy build-up and echoed vocals, with the guitars running through the effects pedals and the war-march percussion, are like Secret Machines at their heavy, experimental best. The six strings of Hayes’ guitar sound as though they are being strangled, a threatening tone writhes throughout. There’s not much to differentiate between the verses and the choruses, however, and only an ear-pricking instrumental toward the end saves this from the same fate as ‘Bad Blood’ – no twists and turns or changes in direction. Swirling, mysterious and drenched in black.

‘Sweet Feeling’s Gone’
This is the first time on ‘Beat The Devil’s Tattoo’ that BRMC properly hark back to the bluesy folk of ‘Howl’. For some reason the vocal conjures up images of Sinead O’Connor singing ‘Nothing Compares 2 U’, which probably wasn’t the desired intention, despite creating an effective and heart-wrenching ambience. The lyrics are sincere and memorable – “So they say with a pause, ‘it’s just moving on’/but I can’t see, no I can’t see” - and with some haunting, choir-like backing and Dylan-esque harmonica layered over the vocal, the song takes a magical turn. A delicate, choking interlude that stirs the senses before a curiously sudden end.

‘Evol’
A lone drumbeat from Shapiro begins a slow-paced burner with a consistent high-to-low guitar riff that tees up a noisy, billowing and brutally honest chorus. Grizzly and emotive lyrics like, “As you’re walking out the door/my heart sits on the floor”, drone despondently, descending a gloomy aura over the track. ‘Evol’ is almost psychedelic, evidence, perhaps, that BRMC are trying something a bit different on this record, despite there being the presence of a trademark BRMC core to proceedings. Though it drifts loudly and meanders nicely, ‘Evol’ is another song that’s just that bit too drawn out, clocking-in at a beefy 5 minutes and 50 seconds.

‘Mama Taught Me Better’
Just when you think for the first minute or so of ‘Mama Taught Me Better’ that the second half of ‘Beat The Devil’s Tattoo’ is a bit samey, enter crashing cymbals, a mean chorus and some infectiously catchy “ah, ah, ah”s that get the toes a-tappin’. The pace cranks up a notch and the verses thrust with real purpose, the deep bass consistent with the murky themes of the LP so far. There’s a filthy demeanour that makes this song essential; a storming, no-nonsense mid-album highlight that is complete with an organ-driven breakdown, a stupendously heavy, climactic riff burst and triumphant ending.

‘River Styx’
Slide guitar and jingling tambourines dominate ‘River Styx’. Another brief, drum-only entrance to this track confirms that Shapiro plays a starring role on her debut with BRMC, and it’s only her forceful pounding that strips away the innocence from an otherwise bouncy first 30 seconds. The opening line of, “Will you lay me down?” along with the grimy, hip-jerking rhythm, is a nod to the raw sexuality of ‘Ha Ha High Babe’ from ‘Take Them On, On Your Own’. ‘River Styx’ ascends higher and higher before its end, the strained vocal matching up with the U.S of A connotations of the slide. This could have been plucked from either of BRMC’s first two albums.

‘The Toll’
The beginning of ‘The Toll’ sounds like it belongs in one of those disaster/zombie movies with someone surveying the nothingness of a world that has all-but ended. Before, that is, some gorgeously crafted acoustic guitars send the track in its true direction. This is a Peter Hayes classic to rival ‘Devil’s Waitin’’, complete with his favoured Old West-sounding harmonica and the addition of a female on vocals which lends a real, delicate beauty to the song. Lyrically, “Everything’s taking its toll” is a poignant line indeed, and shimmers as part of the softest moment on ‘Beat The Devil’s Tattoo’ so far. BRMC’s moody soul is laid bare here.

‘Aya’
Is that the Devil’s disturbing, growl-like laughter nine seconds into this track? If so, consider me scared-shitless. With the line, “She’s a reckless lover/with blood-stained hands ‘round the neck of her helpless man”, this is sinister stuff. Snarling and slow-paced, the song cries out for something different to happen, though - a recurring criticism of this album. And then it does! Hurrah! ‘Aya’s chorus positively soars with stunning abandon and proves to be the highlight of the entire record, before the screamed exclamation of ‘Aya!’ catches the attention as much as anything else on offer. The deep tremor of the verses against the elevated key of the hook works wonderfully.

‘Shadow’s Keeper’
Back to BRMC basics here: a big, riff-driven chorus, buzzing bass and wailing vocals, albeit with some interesting, stab-like plucking of the high strings to make the song stand out. Follows the blueprint to countless other BRMC ditties, but the brutal last couple of minutes-or-so of ‘Shadow’s Keeper’ ensure you won’t be left yawning; rock‘n’roll at its grubbiest. An effect that sounds like the storm to end all storms rolling in without mercy brings ‘Shadow’s Keeper’ to a close with masterful power. Unfortunately, though, the repeated theme of songs being too lengthy rears its ugly head once more.

‘Long Way Down’
This expected piano-led ballad doesn’t quite match up to the examples found on ‘Baby 81’, but does provide a timely break from the distorted, fuzzy axe-moments that come before it - however welcome they are. The hook is simple and memorable, the keys soft and meaningful. Been’s sombre vocal provides just the right amount of cool to stop this from sounding sappy, with each successive chorus the recipient of more layers of background din, flickering and dream-like.

‘Half-State’
The album should probably have drawn to a close by now, in truth, so it’s fairly disappointing that ‘Beat The Devil’s Tattoo’ doesn’t sign off with some kind of attention-grabbing wake-up call. The title of the track should probably provide some clues in terms of the pace of this one. A fireworks finale ‘Half-State’ isn’t. It does, however, feature a guitar part that wouldn’t sound out of place on a Pearl Jam classic, having the effect of a slosh of cold water to the face. Other than that, it’s a fairly dreary and uninspiring ending that manages to build and build, sounding like something off their ‘American X EP’. The final third is a suitably driven conclusion, declaring: “I’m gonna catch ‘em/never let go”. But, at just over ten minutes, it’s… Well, you get the picture.

Thoughts after the first listen? Fans of BRMC’s sound will not be disappointed, as there is little or no departure or inventiveness to move in a fresh direction or even tweak the formula in the slightest. Whether that’s a good or bad thing is for you to decide. The band reportedly recorded over 23 songs for the album, but even more quality control was needed when choosing the final tracklisting for ‘Beat The Devil’s Tattoo’. There’s a fair bit of filler that can distract from an otherwise high calibre - if a little familiar - offering from the Californians.

Seeing them again in Manchester this April & crossing my fingers for a Glastonbury slot too

[zeppelin]

Seeing them in leeds in march - excellent band
saw them at UEA a couple of years ago and they're one of the best bands i saw there

so thats a big YES from me  

[Pulpfan]

No word on them doing any Irish dates yet so hopefully they'll play Glastonbury. Great band.

[ilovelanegan]

Cracking band. Would def be down the front for them!

[Tugger2k]

id definitely go see them

seeing them at the Forum in april and cant wait
last time i saw em Nick wasnt very well at all and they played half the set in acoustic mode while he recuperated

bloody brilliant

[ilovelanegan]

Tugger2k, on Feb 15 2010, 02:10 PM, said:

id definitely go see them

seeing them at the Forum in april and cant wait
last time i saw em Nick wasnt very well at all and they played half the set in acoustic mode while he recuperated

bloody brilliant

They're at the Forum??? Are there still ticket? My boyf would spaz out (in a good way) if he knew this!!

[Griff45]

ilovelanegan, on Feb 15 2010, 03:16 PM, said:

They're at the Forum??? Are there still ticket? My boyf would spaz out (in a good way) if he knew this!!

forum and a date before that at electric ballroom as well

both sold out though unfortuantley.

[ilovelanegan]

Argh bumflaps. Will have to keep an eye out on gumtree etc and cross fingers someone drops out I guess.

[Griff45]

ilovelanegan, on Feb 15 2010, 03:49 PM, said:

Argh bumflaps. Will have to keep an eye out on gumtree etc and cross fingers someone drops out I guess.

possibly some for the ballroom.

seetickets stating "contact venue for tickets"

http://www.seeticket...derby=date,time

[ilovelanegan]

Good spot thanks, I'll give them a call

[disasterplan]

Doubtful for Glast, IMHO. Brilliant band but a look at their upcoming tour dates indicates they're not even aware that the UK has a southwest. Fail.

[Sparky]

Anyone know if they still play 'Awake' live?

It's one of my favourite songs ever.

Edited by Sparky, 15 February 2010 - 08:58 PM.

[When Jokers Attack]

Hope so, Incredible band.

[Red_Eye_Jedi]

When Jokers Attack, on Feb 15 2010, 08:56 PM, said:

Hope so, Incredible band.

+1.

[rexclark]

I'd definately go see them.

[godders1966]

Red_Eye_Jedi, on Feb 15 2010, 09:02 PM, said:

+1.

me too!

[Mardy]

Are they still going? Man, I loved that first album.

What are the best things to get hold of since then, anything you'd really recommned? Anything to avoid?

[Tugger2k]

Mardy, on Feb 16 2010, 07:14 AM, said:

Are they still going? Man, I loved that first album.

What are the best things to get hold of since then, anything you'd really recommned? Anything to avoid?

yep, and still doing it live the last couple of times ive seen em.

obviously the following comes with a hearty IMO with it......

2nd Album - Take them on, on your own - Their weakest 'proper' album (more on that later). Its not a patch on the 1st album and does hardly anything different. It lacks any of the bombs that made the 1st album so brilliant
3rd Album - Howl - Weather by circumstance (Nick Jago hardly worked on it) or by choice, the albums inspired. Its a mostly acoustic album but loses nothing of the foot stomping rhythms so abundant on the 1st record. Personal faves include 'Aint no easy way'. 'shuffle your feet', 'promise', 'sympathetic noose' & 'weight of the world'. a cracking album and a return to form
4th Album - Baby 81 - with Jago back fit and drumming for his life, its a return to the style of the 1st 2 albums, but a little smoother song-writing, a little more political in nature lyrically. A fine effort with some brilliant individual tunes.
5th Album - The effects of 333 - Avoid like the plague. Its a total mess. An attempt at an ambient album by a band with no experience or skill at it. there are 2 'tracks' on the album with 8 pieces of noise. A stinker

the new album is apparent return to their favourite style, with a couple of the tracks that have been kicking around for quite some time. you can find a couple of the tracks on you tube at the moment and i like what im hearing so far, its like 333 never existed.

in summary, the debuts the best, but howl and baby 81 are cracking little albums well worth giving a spin.

hope this helps

[Paadzer]

I hope so, they did a great show at Glasto in 2004