Thee Nosebleeds - Thee Nosebleeds
Despite only being an active trio for a little over a year now, Philadephia's Thee Nosebleeds have taken little time in developing a sound and putting it to record, on their self-titled debut. That sound is a diverse mix of the history of rock'n'roll condensed into an alcohol-soaked, drug-fueled attitude, driven straightforward like a kick to the sack. The truly dazzling thing about the album is, despite the bare-boned nature of most of the songs, there is an underlying level of technical flair and apt songwriting that allows the tracks to not only hit you with force, but leave a lasting mark.
As an introduction, "Whiskey and Cocaine" lacks all subtlety and immediately brings to mind the glory days of Motorhead. One of the key aspects of this speed rock sound is the drumming (which may be the most important part, as the tempo revolves around the back end) and Zach the Knife is more than adequate at bringing the noise at high speeds, and mellows out and fills space nicely when things slow down around him. "As Fast As You Can" seems to be a centerpiece for the band, a song with major single potential with a catchy bridge and central riff that brings to mind early Rush to this reviewer. A surprising little acoustic break is a nice addition. Vocalist/Guitarist Kermit Hell Lyman is as charasmatic and competant frontman you could find for this brand of rock, and he diversifies his sound appropriately without ever losing his alpha-male status at the forefront of the sound. Now, we're all aware that rock was originally a branch-off of jazz and blues, and the band certainly captures that on the barnburning "Pigfoot's Revenge", a real highlight."Flight of the Bucket" is centered around the groovy vibes of bassist Rev. Kevin J. Cooper, whose presense is undoubtably felt all across the record. The band delves into some catchy hardcore punk material on "Thirteen Days", another nod to their myriad of influences and another demonstration of their ability to transcend genre. The one track that really satisfied me above all others is the out-of-left-field 10-minute closer, "Goner", a twisting, edgy track dedicated to paranoia. It shifts tempos and moods brillianty, and around 5:30 in slows down into a jam that mixes Zeppelin and Floyd in a way that made me smile ear-to-ear. Sublime, truly.
Front to back, there's nothing but good things to say for Thee Nosebleeds and their masterful debut. These three musicians have quite honestly found a chemistry amongst themselves that in my opinion is the rare ingredient missing from most rock bands. Almost totally devoid of studio flair, a stripped-bare exhibit of the true nature of rock'n'roll, and done in a manner that simultaneously pays tribute to the innovators while adding their own stamp on things; the only negative I can find is that, not including the last track, the album is less than 30 minutes long. I am left wanting more, more, more...
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on 2010-06-15 hstisgod Said:
It's funny, was just randomly contemplating who Bear Vs. Shark could've been to an indie Post Hardcore genre. After a bit of a search,
Paffi and Moss (BVS) had created a more mellow project named Bars of Gold. But what's most amusing is the recent replacement for Bear vs. Shark, Thee Nosebleeds. Five years after BVS's demise, better late than never.
Sometimes, blistering and feverent tempo done in a range of metal and rock from over 30 years. All while lead the vocals add nachalant Punk storytelling. Though It's not exactly terrific pitch, see "As fast as you can" for evidence.
Just when you're about to label these guys as ballsy with no direction, you'll come around to track six, "Pigfoot's Revenge". Truly a song that will be hard to forget, even if just randomly. It's like meshing Amplified Heat (Austin, TX), Danzig and Bear Vs. Shark.
So obnoxiously upbeat and coarse. "Fire" has a mind blistering solo and valleys of terrifically raw songwriting. A bit of a goof on track fourteen which is nothing more than five mins of silence, 15 seconds of tuning up and two minutes of them rocking out, singing a familiar
four word phrase heard from many artists in concert over the years.
Perhaps one day that track will be a rarity or b-side of value. For right now, don't be surprised if these guys pop up on a local college radio or podcast near you.