Coming from Damaged Goods label out in the United Kingdom, Fabienne DelSol quickly captures hearts through the sweet-talking vocal range accompanied with this garage rock coat of paint. Incredibly loose in the stance on stage, her 2004 release No Time For Sorrows is a short, but well-adjusted record that nestles perfectly under the arm of the listener.
“I’m Gonna Haunt You” is the opening piece where DelSol can slither through the cobwebbed environment where the desert vampires roam. She is quick to approach the microphone as a vengeful, but striking cobra where she describes, “I’m gonna haunt you, haunt you till your dying day… I’m gonna haunt you, no matter where you try and hide.” As the band behind her highlights her low, almost grumbling voice with this lightning crash of strings for the opening track, everything soon changes.
The next track “When My Mind Is Not Live” focuses more on creating a drum pattern that is uplifting and full of motion. With the use of crash cymbals that resonate over her more inviting work as the bass resembles something more out of the 1960s. Everything that accompanies DelSol relates back to this flower power posture that is just a deadly façade to the underlying mischievous sound. DelSol’s French roots eventually show their face on the track “Laisse Tomber les Filles” roughly translated to “Drop The Girls” which is a cover of France Gall’s 1964 track of the same name.
As death-proof saxophone wails act a grindhouse heaven where 60’s culture strikes the listener in the face with imagery of fast cars and even fast switchblade sisters. The truth of sliding in the French lyrics over a primarily English record incorporates some sense of bilingual beauty where DelSol commands over her presence as a muse of the microphone.
Gorgeous in both design and gloss, No Time For Sorrows brings a revival of 60’s sound in a matter of seconds as the tracks transition quickly over 13-total cuts. After one listen, DelSol feels as if it was a nostalgic record found in your grandparent’s attic surrounded by dust, but the 2004 release date makes the record barely a bitter, modern reflection of love through sound.
Listen/Watch Here – Youtube
Featuring: MAHD
Starring: Crystal Robinson, Darius Beasley, Ashley Henry, Marlon Shenault
Written By: Black Milk and Rosalinda Ruiz
Directed and Produced By: Alexander Gao
Co-Directed By: Devin Williams
Director of Photography: Cy Abdelnour
1st Assistant Camera: Kevin Waltz
Gaffer: Kyle Morgan
Production Designer: Erik Steele
Graphic Designer: Keith Garrett
Editor: Alexander Gao
Production Assistant: Lindzy Galán
Listen Here – Soundcloud/Spotify/Amazon/iTunes
Producers: Jaguarclaw, rubbish!, Jakesand, Fatherblaze, dullstar, taylor morgan, jetskii, spirit, doc, Skwab
Featuring: Grandma
Listen/Watch Here – Youtube
Song Produced By: Leken Taylor
Directed By: Calmatic
Written By: Vince Staples + Calmatic
Starring: Duane Finley + The Blood Homies
Metallic, pulverizing, but hometown, all accurate descriptions of Pittsburgh’s bruisers turned hardcore idols from the metal mills of Braddock to the center stage internationally. As Code Orange still erupts with fury from deep inside the hardcore outfit, 2014’s I Am King was a precursor into one of the greatest sagas of sound from the Steel City.
Those ominous atmospheric grinds from the opening self-titled track, “I Am King” where the plants of industry seem to sprawl out over a desolate landscape. Even within the first seconds, Code Orange seems to be within full control over the listener, forcing them to focus intently on the musician craftsmanship through blitzing percussion and unrefined strings. Absolute to the point of pure intensity, I Am King never shows a sign of mercy until the listener is already crushed under the weight of a thousand iron bars.
The Thinners of the Herd are at this point, no longer newcomers to metal but still show youth within their sound. The vocals from Jami Morgan will show a confliction when Code Orange touches upon the track “Dreams in Inertia,” where Eric Balderose and Reba Meyers are able to provide a cleaner, more approachable form of vocalization. In this adventurous turn for I Am King, “Dreams in Inertia” takes a step back from the consistent crushing and instead opts for a more drawn-out depiction of deception. As the faded consciousness of the track allows for the heavy, but almost indie-rock sound to flourish.
Then immediately after, the listener is thrown back into the pits of fire where “Unclean Spirit,” “Alone In A Room,” and “My World” can take the unprepared onlooker back through audio torture. “My World” is essential to highlight for its invoking ability within a crowd. To see bodies stacked on top of bodies that dive toward a concrete demise is striking, but also exhilarating every single time. The lyrics of “Stepped too far, now you’ve crossed the line. Now you are finally inside” as the crowd begins to shout from behind in this cult-esque chant, “My world, My World, My World…” which continues to grow louder and louder. The burst of energy that forms through Code Orange’s 32-minute onslaught is a reawakening through hardcore sound.
Till the brackets break and there is a king crowed, Code Orange fights through each mosh pit, ducking and diving to become a panther in the hardcore jungle. Watching the enemies fall as caskets pile up, I Am King turns the audience green with envy as a driving force behind the potential power.
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Listen Here – BandCamp
Producers: Hi-C, evilgiane, cashcache, loko los, Krxxk
Featuring: Diamondsonmydick, marcymane, 5g, ladybug