Get Gone is the soulful debut from Louisiana’s own, Seratones. The group is adapt at “rocking your socks off, bringing the house down, and blowing your mind.” Together Seratones have this great amount of Southern Charm that protrudes and shines through their music.
Get Gone kicks off with “Choking on Your Spit,” a breakneck dash with explosive percussion and blazing guitar grooves. Seratones’ lead vocalist AJ Haynes, has this powerful voice that booms and nearly takes over the entire track. Conner Davis on guitar, Adam Davis on bass, and Jesse Gabriel on the drums, create this immense amount of chemistry that sounds something like The Black Keys, Alabama Shakes, and even Creedence Clearwater Revival in one package.
“Headtrip” then follows and the percussion is outstanding in this track. The way Gabriel moves fills up and down the toms, and the way he also alternates from the march like style in the track’s opening, to the volatile, literal head rush of runs from every single drum. The other third of Seratones moves along in a march style, almost letting the drums light the way for the rest of the band.
The following track, “Tide,” slows down the action and allows the listener to take a step back and experience the blissful voice of Haynes. The track then eventually builds up into this use of background vocals from the rest of Seratones that nearly sounds like a church choir. “Tide” is a beautiful track that provides some calmer breakdowns, but still has this edge that sets it apart from other tracks. I kept coming back to this track over and over again just to hear the different layers and all the diverse sounds that Seratones used at their disposal.
“Chandelier” and “Sun” speed the action back up using some excellent complimentary sounds that draw out each instrument into its own entity. Every piece of instrumentation on Get Gone leads in some way, whether the percussion leads the guitars or vice-versa. Every single track has such a great amount of layers that overall create such an extraordinary sound that while feels inspired by others, follows no one else.
The self-titled track, “Get Gone” feels like a trudge through the summer heat. It has almost this western twang to it, but it actually works. “Get Gone” is another track that forces Seratones to switch up their style, always changing and evolving to every track. To say that any song feels similar, would be a disservice to Seratones. The band not only breaks barriers through genre, but breaks barriers of sound as well.
Then Get Gone comes to the track “Kingdom Come” which is again, another sprint of a track. This was easily my favorite song off of Get Gone, everything about “Kingdom Come” feels so incredibly drawn out. Haynes voice, Gabriel’s flashy cymbal work, the way Davis uses different pedals to add weight onto his guitar, and the way Davis hurries the song along with a slick bass groove just creates this masterpiece of a track.
Seratones’ Get Gone has a hit-track at every turn. The way Haynes carries the vocals, both Davis’s carried the rhythm section, and Gabriel’s work on the percussion makes quick work of what sounds like a timeless album. Get Gone not only rocks your socks off, but it restores “your faith in the power of Rock & Roll.”