WONDERLUST Pavlov’s Dog (Ruf) ***+
Never heard of this band before but they’ve been around since the 70’s; in fact last year they released the career-spanning box set Essential Recordings 1974-2018¸even while already hard at work on Wonderlust. Their music is a unique blend of rock, classical and folk that fans call ‘musical melancholy’, and that’s just what this is.
The band was formed in St. Louis in the early 70’s and is still led by founding member/ lead singer/ guitarist and main songwriter David Surkamp, but the current lineup has far surpassed the original one in terms of longevity. Today the group includes singer Sara Surkamp, violinist Abbie Steiling, bassist Rick Steiling and keyboardist Mark Maher, and Wonderlust includes valuable assists from drummer Steve Bunck, guitarist Phil Ring and others. The press kit says this is ‘progressive rock’ but when I hear that term I think more of bands like Dream Theater or Tool, and this is not that- more orchestral flavored pop.. No, this feels more like a mélange of Supertramp, REM and Kansas with Abbie Steiling’s fiddle being the main lead instrument.
I didn’t see any production notes for Wonderlust but the sound is sharp, clear and well balanced, dominated by piano, fiddle and Surkamp’s singular vocals. If you put this on hoping for prog style musical flourishes you’ll want to pay attention to the second half of the disc, with Canadian Rain in particular being the best example of that adventurous 70’s musical vibe. Can’t Stop The Hurt is powered by a meaty riff, and the instrumental Calling Sigfried written by Abbie shows the band having all kinds of fun.
The first half of Wonderlust has a sort of ‘samey’ feel, but when you get to Solid Water Liquid Sky and beyond, that’s where things get interesting. It’s going to quite likely take some time for me to absorb this one.
HOT TRACKS: Can’t Stop The Hurt, Collingwood Hotel, Calling Sigrfried, Canadian Rain
AFTERMATH Black Satellite (independent) ****
If I were to describe Black Satellite’s sophomore album in 2 words it would be ‘dark’ and ‘heavy’. The band has been hailed by Alternative Press as one of their ’12 bands you need to know’, and there’s no doubt Aftermath will only add to an already solid reputation.
Aftermath’s thick, gritty, dense sound is thanks to Kane Churko (Papa Roach, In This Moment) who produced along with the band, plus mixer Ben Grosse (Marilyn Manson, Breaking Benjamin, Filter). Not a fan of the death metal growl- not unexpected for a guy in his mid-60’s- but I’m quite enjoying the powerful monolithic grind of the music itself. “This album explores a lot of darker themes” says singer Larissa Vale. “Each song is a snapshot into various personal experiences in my life and my mindset at the time. There’s definitely a good mix of sonic components on the record ranging from heavier songs to more melodic ones as well.” I’m always intrigued by a closer look at the darker aspects of life, and Aftermath is 110% pedal to the metal all the way through. BUT; again it might be an age thing but a disc that goes full out all the time makes for a fatiguing listen.
In praising the title track of Black Satellite’s debut record Billboard Magazine said “the sound (is) absolutely huge… syrupy vocal hooks abound, drizzled over whole mountain ranges of studio-shined guitar tapestries”, and the same can be said of Aftermath. It’s true you can judge a band by the company they keep and Black Satellite has toured with the likes of Marilyn Manson, john5, Nita Strauss, Drowning Pool, Cradle Of Filth and Devil Driver, and they’re out this month with Mushroomhead. So yeah; they can definitely play in the big kids’ sandbox.
When you’re in the mood for a gut punch of maximum heaviosity, Black Satellite’s Aftermath is a good choice.
HOT TRACKS: Kill For You, Far Away, Aftermath
IT’S ALL ABOUT LOVE Larin Michaels (Conch Town Records) *** ½
Here is a one man band Motown flavored blues/ rock adventure. On It’s All About Love Larin Michaels not only wrote and produced all the songs, he plays every instrument on the disc too. Sweet grooves and good vibes that tie into some old timey rock & roll… not too shabby.
Larin was born and raised in Detroit. He started on drums at age 7, and by the age of 15 he was playing guitar and piano in a rock band that enjoyed success through the Midwest. Some of his performing credits include backup guitar for Del Shannon and Freddy Cannon, a member of Frijid Pink, plus he’s shared stages with Bob Seger The Four Tops, Mitch Ryder, Aretha Franklin and many more… you gotta have the goods to hang with people like that.
As I listen to It’s All About Love, in the broadest sense it sounds and feels like 60’s rock; a little Fats Domino as well as some of the vocal groups of the day. That could be a problem if you’re looking for something with a more contemporary feel but Michaels writes, sings and plays this kind of stuff because it’s in his heart, and I can get behind that all day long. This disc has a positive, bouncy, uplifting feel all the way through, and that’s a fine thing to be around.
Larin Michaels is a solid player throughout; tight and melodic and not the showboat you might expect him to be… every note and beat is exactly where it needs to be to serve the song. It’s All About Love does sound a little dated musically, but there’s nothing wrong with a little nostalgia now and again, right?
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HOT TRACKS: Mardi Gras Louisiana, Look At You, Boogie With Da Feel
BLUES IN HAND Al Basile (Sweet Spot Records) *****
Blues In Hand is Al Basile’s 21st release since 1998… he’s a busy boy! Backed by veteran players from Duke Robillard & Roomful Of Blues, Basile has just released the best album of an already impressive career, combining classic recording techniques with a modern approach.
Any new Al Basile album- I have 12 of them- is intriguing musically, and Blues In Hand is certainly that. It’s not often we hear horn-driven blues but that is Al’s specialty. “On this record I’ve featured myself much more prominently on cornet” he says. “My sound and solos are unlike any other horn player, and they fully honor the link back to Louis Armstrong, showing us a hundred years ago how a cornet can be a powerful voice in playing blues.” Basile took time during Covid to work on both his playing and his vocals, and the effort shows here.
Al Basile’s voice and cornet are at the center of Blues In Hand but likely wouldn’t sound as impressive as they do here without a tight, shit-hot band swingin’ behind him. “They really know how to showcase me at my best” Al notes. “With no weaknesses from inception to realization, this record jumps out at you as a celebration of modern blues and classic Al Basile” and boy is he ever right about that. “The songs are more personal, and mostly in my own voice, instead of my playing a lot of characters I’ve often done in the past” Basile says. “They reflect some of the things I’ve gone through in the past few years that allowed me to write and sing with authority.”
Every Al Basile album that has ended up on my stereo has been a totally absorbing adventure, and I daresay Blues In Hand is even moreso. He’s a great storyteller who surrounds himself with top flight players, and that has just made for one of the best albums I’ve heard this tear.
HOT TRACKS: Leave It All Behind You, Blues Is My Roommate, How Is It?
