And to think that all this started because there were a few black musicians who accelerated the tempo of the blues or soul, people like Fats Domino, Johnny Ace or Little Richard, or because four kid-faced Liverpool kids gave up on doing weird things with their instruments. Rock & roll and all its subtags have become so normalized, we have assimilated it culturally in such a natural way that we subconsciously take it for granted that it has existed forever and will last forever. Being able to contrast a band like Whip Mantra with the Beatles’ I wanna hold your hand scratches us, like a gear out of place. It has evolved so much that it doesn’t sound like it, but when you analyze the guts of the songs, you see certain structures in the marrow. Ozzy Osbourne is the biggest Beatles fan in the world, compare Paranoid with Drive my car. In short: hey guys, long live rock! One, two, three … Whip!
Willing to resign. The first chords are a bit ramonian. It looks like Joey is going to come out singing What a wonderful world. Once all the instruments come in, there is a mix: the Incubus-style drums, The Strokes-style bass, and Johnny Ramone’s guitar, the vocals are as if they were in another room, like those early Kortatu models. It shouldn’t catch on, but it works. The strum ends up becoming the axis of a projectile, but with a certain touch of psychedelia. A little crazy with power.
Self-combustion. That guitar seems to be the brand of the house. A somewhat atypical drum kit – I mean it is not limited to the kick drum, but rather changes the rhythm -, a powerful bass and a guitar that is pure energy, power psichodelic rock (I put the labels that I feel like). The voice however has a grunge touch, a la Sliver, of Nirvana.
In Fausto. This sounds like A Forest, long the best The Cure has given. However, when booting, it has a Deftones roll, but with an almost punky voice. It will be my thing, but it sounds at the same time to Iván Ferreiro in Vidas cruzadas and to Agua Bendita, an eighties punk group with a lot of influence from Ilegales. It is curious, in all the songs there is a bridge, a small lapse where that dark atmosphere becomes energy, force, madness …
Suppurates. The beginning has an air of Horizons, from Messura, although it derives from that Audioslave-Soundgarden sound. But I still see that sort of Deftones-like languor, which is like the song rolling down the hill, rather than leaping hard. Although they always end up haggling us half a song, at that time Foo Fighters in The best of you, when Grohl bellows. They always have that moment to break the table with a head butt, which ends up leading to a kind of stretch of ballad to return to their dark universe.
Nothing at all. When the drums come in, I’m thinking of Dr. Trotsky’s New Boy, but the guitar pulls a manic riff that sticks like whooping cough. They have a certain air, saving enormous distances, with The Smashing Pumpkins. That’s! The voice sounds to me like Billy Corgan. This one is more rabid, like Zero.
Chill. Sounds like Jesus Christ Pose of the Soungarden. Of those songs as it happened sometimes with Nirvana, tremendous force jet. It is true that the voice sounds more like Corgan than Chris Cornell, but the tone of voice with the insanity of the drums, the thrashing of the bass and the Tom Morello roll of the guitar, fit very well.
Angles and edges. It starts like a bluesman trying out before a jam. A badass like RL Burnside or John Lee Hooker about to start singing, but, when it really starts, it has a more grunge, post-rock aura … like Black hole sun, by Audioslave, but with a somewhat more accelerated tempo. At the end they are getting closer little by little to Mmm Mmm Mmm Mmm (write the lyrics right), from Crash Test Dummies.
Animadversion. I’m thinking of Saliva, the Fuck off you, Spectrum Wolf in his advance I said … they have a punk air, low to the Illegal, drums to the MCD, but derive to the Dover in dj. Canelita en rama, mix of many styles, and a lot of energy.
To the south. This one is more of a nu metal, Staind in Open your eyes, or Deftones in Be Quiet And Drive (Far Away), although with an aura to Amour, love, by Rammstein. Curious the resemblance to the Germans, because it is a mere mirage in the verses of this song, a specific coincidence, an eclipse.
Chance. It looks like Kurt Cobain was going to start screaming at the start of Territorial Pissings. It starts with a rock proposal. When I say rock it is an orthodox 90s rock. That bass doesn’t take prisoners. The insistence of the box on the drums reinforces the chorus, which sounds like a mantra (that expression was used before this band, it is not a joke) until it has a Nirvanesque ending.
The same band, the same album. They have a punk attitude, grunge strength, nu metal drums and half a dozen other ingredients. As they make such marked changes in pace, I am sure of their live performance. You have to get tired of jumping and doing the halter, but they have to have virtuous moments, to enjoy that you connect with your own sound.
For the convinced, links of the band.