However, they sound rather diminished and half hearted here whenĬompared with previous albums. Tropes are present: sleazy fuzzy riffs, louche vocals and growledĮxhortations of mildly clichéd lyrics like “I wanna ride with you!” Throughout the rockier tracks, you get the sense that these areĭiluted facsimile versions of previous successes. Nor the other, and BRMC’s great skill of cohesion and atmosphere suffers Specter At The Feast is neither one thing Languid and atmospheric blues jams of tracks, like six-minute openerįire Walker and the fuzzed up grunge rock blasts of typical BRMC rockers There is an awkward relationship between the This is an example of the kind of rock classicism that the band seems to be aiming for.ĭespite this back to basics approach, the album sounds strangely The album was primarily recorded at Dave Grohl’s studio in LA on the same console featured in his upcoming Sound City movie. Into its key component parts and influences while attempting to perfect Indeed, the band have honored Been on the album byĬovering his band The Call’s US AOR 1989 rock hit Let The Day Begin.īeen’s death seems to have been the inspiration to prompt BRMC toĮschew any sort of sonic progression in favour of distilling their sound The record with many of the slower songs taking on a redemptive and The late Been’s presence hangs heavy over This album is the band’s first since the death of bassist Robertīeen’s father Michael Been. Sound in perfect cohesion under difficult circumstances. Now onto their seventh album, SpecterĪt The Feast finds BRMC attempting to harness both facets of their Theīand’s visual image as black clad rock ‘n’ roll evangelists has stayed Melancholy best exemplified on their career highlight, 2005’s Howl. Self-titled debut, their albums have intermittently alternated betweenĪdrenalized punk rock and a more spiritually tinged kind of blues rock Rebel Motorcycle Club have always been a band who have stuck to aĬlearly defined aesthetic.
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