The Shrieks – ‘Ode To Joe’ (Self Release)

The Shrieks – ‘Ode To Joe’ (Self Release)

New York rock ‘n’ rollers The Shrieks are led by Italian/Venezuelan shrieker Luis Accorsi. After treading the beer & sweat drenched boards of CBGB’S fronting he likes of Manslaughter and Cracked Latin, Luis teamed up with producer Raphael Sepulveda to channel big guitars and even bigger choruses in The Flux Machine. Their masterful ‘Louder’ album came out in 2016 and is well worth checking out if you dig arena rock from the likes of Velvet Revolver and My Chemical Romance.

Fast forward a few years and The Flux Machine have evolved into The Shrieks, and following last year’s ‘Toxygen’ album, Accorsi returns with a new bunch of cool cats and some even cooler tunes to digest.

 

Opener ‘ T.Rex’ carries a ramshackle sound straight from the heart of Johnny Thunders. From the retro guitar riff that sounds like a car horn, to the junkie-like vocal drawl, it exudes the sounds of the streets (or should I say the gutters) of 70’s New York City.

Yeah, you could say The Shrieks shake it loose with the best of ‘em! It’s Lo-fi garage rock to the max on the likes of ‘Love Or Lust’ and the ultra cool and funky ‘Give Love’, where Luis channels Iggy to a soundtrack of soulful backing vocals and Hammond organ runs. Yeah, this is quality stuff.

The edgy title track is ‘Ballad Of Dwight Fry’s funky, punky older brother. A full on Alice meets Iggy run through that lyrically deals with mental health issues. A posthumous tribute to his friend Joe, who worked as a caregiver in a hospital. The singer takes on the roll of doctor, reeling off a list of drug dosing instructions for some hapless patient, over Strokes-like guitar stabs before breaking into a wah-wah infused jam out. Its dark, its quirky and its damn fine too.

‘Notre Dame Is Burning’ takes things down with acoustic countrified vibes and spoken word, poetic vocalisin’. Just lay back and chillax, as the singer takes us on a heady, tripped-out ride to question life, death and everything. As it builds, the vocal harmonies transport us into Pink Floyd territories. Spoken word seems to be a bit of a thang for our man Luis, as it pops up at various places to great effect.

The Shrieks mix it up nicely veering between retro, garage rock, bluesy jams and laid back, countrified sentiment. At all times sounding like the soundtrack to a Starsky & Hutch episode.

The funky ‘Collision’ with its scratchy, wah-wah guitars and pumping NY groove, is a cool tune for sure. Elsewhere, the mournful guitars and tinkling of the ivories add depth to the almost jammed out, countrified ballad that is ‘Let Me Go’. Country style slide guitar and soul sister backing vocals take the more upbeat rock ‘n’ roller ‘Lie To Me’ further into Rolling Stones territory.

Closer ‘Legs’ is a classic rock blues jam of the highest order. Coming on like a young Steven Tyler shrieking over a bad ass Sabbath riff, Luis delivers his most schizophrenic vocal performance as he descends, seemingly into madness for the duration of the song.

 

The Shrieks deliver a solid rock ‘n’ roll record that harks back to a different time. Eclectic and diverse in its own way ‘Ode To Joe’ soaks up 70’s rock nostalgia to great effect. A heady melting pot of what made The New York Dolls, Lou Reed, The Stones and Iggy so damn exciting, and why they still remain a great influence on great rock ‘n’ roll bands today.

 

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Author: Ben Hughes

 

 

 

 

 

 

 

David Ryder Prangley, ‘Black Magic And True Love’ (Serena Records)

David Ryder Prangley, ‘Black Magic And True Love’ (Serena Records)

The world needs stars. Real stars, self-made weirdos, who are forced to make their art because it’s a part of them. The downside is that the world at large ignores them nowadays. The gems glitter in the dark corners, hidden from view. David Ryder Prangley has always known this. Regardless, he helmed Rachel Stamp, and now Sister Witch. With this, his debut solo album, he is spoiling us.

 

While there are only seven songs, the quality demands your attention and cash. Yes, you can listen for free on Bandcamp, but if you love what you hear, grab a cd. Give me seven great songs over 30 minutes rather than another dull, drawn out album any time.

 

Yes, there is the anticipated, crunching glam sound, but also a broad palette of tunes. ‘They Came From The Stars To Capture Our Hearts’ opens the album, ethereal piano and vocals. I’m reminded of the stupendous Jonny Cola And The A-Grades, who, no doubt, owe a debt to Mr R.P. It’s beautiful.

 

‘Space Station Number Nine’ cranks up the riffs and drums, with some slinky, dual guitars. Music to pout to. ‘Trouble Every Day’, quite reasonably, sounds like Rachel Stamp. The production is great, proving that you don’t need a big budget if you know what you’re doing. ‘Forever In Starlight’ was the first track released with an accompanying video, plaintive and simple. I like to think that  Bolan would be making music like this. Love the guitar tone.

‘The Apple’ is an instrumental interlude, which brings us to the hip-shaking title track. Unashamedly glam, guitar and sax vying for attention. Prepare to strut your stuff. ‘Captain Sugar’ reminds me of Roxy Music and Prince, which takes some doing. It starts like something from ‘For Your Pleasure’, before the vocals get all fruity and the solo kicks off.

 

11th March, you can witness this for yourself at Nambucca, London. Sadly, I’m the wrong side of the channel now, but what’s your excuse? You won’t regret it.

 

Buy Black Magic And True Love Here

 

Author: Martin Chamarette

 

Hammered Satin – Velvet Vortex (Dead Beat Records)

Hammered Satin – Velvet Vortex (Dead Beat Records)

Los Angeles California so much to answer for but thankfully one of them isn’t Hammered Satin.  Taking Smash Fashion and Giuda to the next level and channeling the Gypsy Rollers. The next level is to time warp – time machine these four lifers in all their glam-tastic -high heeled stomping glittery rock n roll finery  ala sweet meets Bolan meets the glitter band with extra plumes of feather boa and I might add stints in some pretty cool bands form their CV’s such as  the Zeros, Flamin’ Groovies, Flytraps, S’cool Girls and Teachers Pet. this is going to be one hell of a ride!

Sure as shit stinks they have a track called ‘Dynamite’ that does indeed have sound effects of explosions with one with extra glitter for the finale and hand claps and added slap on that snare drum.  Man, this is unashamed retro Rock and Roll.  Fuck me song titles that include words like ‘Candy’ ‘Sugar’ ‘Velvet’ ‘Starchild’ ‘Silver’ Satin’ Stomp’ they just about tick every box that has been left unopened properly since the ’70s.  ITs like every Top Of The Pops album got warped in the sun and melted into one (not so) original album. Did he just say lollipop and bubblegum in the same sentence? Of course he did the songs entitled ‘Cand Sugar Baby’ for fuck’s sake!

 

Sure there’s nothing remotely original here its simply glam stomping fun.  a lot of that glam hasn’t been used this brazenly for decades and why not?  Damn, they take huge lumps of Bolan and Glitter and make it their own in 2019 and I’m good with that the title track is pure Bolan and why not they’ve even borrowed his lyric book and backing vocal tapes. Giuda went there but with double denim and tried to tough it out with a bit of street thrown in but Hammered Satin go the full hog mog and set fire to the double denim and go straight for the thrift store bellbottoms and silver platforms.

‘Silver Streak’ is about a bike (of course it is) and what a bottleneck guitar bruiser it is too.this one is the start of the albums purple patch because ‘Baby Vampire’ has the records best backing vocals and ‘Honey Squiss’ is Hanoi Rocks cool in the melody stakes and the albums golden nugget. I would say its a hidden gem but there’s nothing hidden or under the radar on this record no Sir not for a second.  By the time ‘Starchild’ has begun you realise that that’s it and the record is on its last legs and this slower acoustic led ode to Starchild is the curtain call and that a shocker because it went by so quickly.  So re-apply that eye shadow pull up those satin bellbottoms are flip this bad boy over and go straight back in for another round.  It’s a lot of fun and whilst its dredged the underbelly of the 70’s glam scene it’s a hoot a proper blast of glitter oh, and the last quarter of this record is excellent.  Get on it and ride that white swan til the end ‘Velvet Vortex’ is addictive as hubba bubba and space dust and about as much rock and roll fun as is legally permitted.

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Author: Dom Daley