Helms Alee
These Motherfuckers are some bad motherfuckers!!!
Had it not been for the fact that this Seattle crew came to
town with TORCHE and BIG BUSINESS (around June of last year if I remember it
right), I would never have been exposed to them otherwise and that would have
been highly regrettable. This little 3 piece from the land of StarSucks, Jimi
Hendrix, and Flannel-as-couture rocked out so fucking hard at my beloved
Churchill’s Pub that immediately upon returning to the Pig Cave I got online
and ordered both of their releases on Hydra Head Records.
Yea, Yea, I know
they’re a touring band and needed the cash! I should have copped their two
joints at the gig! What the fuck do you want from me? I was broke, you douche!
I was only able to get into the show thanks to my show business friends. My show biz insider and one of my favorite people on Earth- Rick, threw my wife
and I on the guest list otherwise I would not have been able to make it out to
Churchill’s for the gig that night. They blew Big Business right off of the
fucking stage, which was ironic since ‘Business’ was partially responsible for
the decent Tuesday night turnout, probably thanks to being billed as ex-members
of The MELVINS.
Anyways, this little 3-piece crew tore it the fuck up while captivating the shortened attention spans of a fickle Miami crowd. The
star of the band that night would have to be the drummer. This chick can play
like a motherfucker. You had to see her pounding away on the skins; she was
fucking hammering them so hard that the drum kit kept sliding forward. Some of
the people near to the front of the stage kept coming up to adjust the
drums back towards her. The drummer also sings on lots of the jams, and that in
itself is a quite a display because she does so during parts with these sick off-beat
time signatures. This blew my mind to no end. You wouldn’t believe the fucking coordination
on this broad! The bassist also sings on parts, at times on her
own and other times in unison with the drummer, and this produces some of the
most interesting bits of the songs, where they take on this weird kind of
‘children schoolyard chant’ type of vibe. The bassist walked into Churchill’s “Green
Room” amidst full-on, Miami Weed and Beer debauchery and I instinctively passed
the Dutchie upon the left hand side. She seemed a little shy to take a toke off
of my mammoth joint, but I said “Oye, this is Miami, so Dale!” and she politely
took her dainty two tokes and passed back.
Wait, I'm still bugging out on the fact that a real shit-hole like Churchill's has the audacity to call one of their catacombs a "Green Room".
Wait, I'm still bugging out on the fact that a real shit-hole like Churchill's has the audacity to call one of their catacombs a "Green Room".
The guitarist dude
has a brutal voice as well. His guitar work brings the songs in and
out of rumbling distorted quakes, with some really (dare I say) beautiful melodic interludes woven in. The studio work on both of their joints has a very warm feel
to it, often sounding like a grungy, heavy cup of Hot Rock n’ Roll Cocoa on a
rainy Seattle day. Perfect listening for when you are flipping through all your
old Sub Pop vinyl in your Log Cabin. Check out the WEATHERHEAD record.
I think it’s just a little better than
their debut NIGHT TERROR.
(I'm just being the fastidious little fuck you've come to loathe!)
Fuck it, I would pick up both if I were you. A must-bring record for my next road trip. If you can get the joints on vinyl, I would suggest that, they probably sound phenomenal on that format with those production values!
(I'm just being the fastidious little fuck you've come to loathe!)
Fuck it, I would pick up both if I were you. A must-bring record for my next road trip. If you can get the joints on vinyl, I would suggest that, they probably sound phenomenal on that format with those production values!
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