|Dead Sons - 'The Hollers and the Hymns' (Crystal Ship Records)|
|Written by Jamie Richards|
|Monday, 18 February 2013 03:00|
You know it’s not every day you hear a new band that actually, properly excites you. I mean, yeah, you hear good bands all the time, but I’m talking about that time when you hear something for the first time and a switch goes on in you, that switch that makes you think “wow, I think I know these already” except you don’t know it because you’ve never actually heard of them, but they sound so damn cool and fresh and confident that the thought of them being un-known just seems un-likely.
Truth is, on delving deeper, that the band who have struck such a chord with me here, Dead Sons, have actually been performing together since 2009, so have built up quite a repertoire, not to mention a reputation. Formed in Sheffield in 2010 officially, when two members of the band Milburn joined the existing members to make the line-up complete, they took the name they currently operate under, and kicked things off in big style playing a packed out gig to a home town crowd in Sheffield, and have spent the last two years or so honing their sound, releasing the occasional single and gigging like hell, with the helpful addition of some high profile supports with the Arctic Monkeys proving to be priceless in the band's osmosis.
So, to the debut long player then, 'Hymns and Hollers', it’s a captivating listen that combines the punchy, attitude filled pop of the aforementioned Arctic Monkeys with the catchy, tin-can-clatter of the Black Keys, and the occasional spaced out, stoner rock perfection of QOTSA. Right from the rolling thunder of opener 'Ghost Train' the sound and intent is clear, it’s a cool blast of in your face indie-stoner rock (if such a genre even exists), and 'Shotgun Woman' follows in the same vein but with added widescreen soundscape to make it sound like an instant two and a half minute epic.
'A Love as Good as Ours' brings in a ‘70s inspired classic rock riff, pilfered straight out of the back pocket of UFO’s faded Farah’s (Natural Thing) all spray painted and sounding fresh in its new home, and the re-cycling continues with the excellent 'Hangman', built around a monstrous riff I’m sure I heard on a Soundgarden album years ago (My Wave?) but as with its predecessor it’s absolutely, perfectly at home with its new, hip young owners.
'Temptation Pool' offers up a breather, full of Scott Walker-like casual swagger, before the gears change up again for 'Room 54', which again pops along on one of those ‘oh-so-Josh Homme’ riffs. Honestly there is not one weak track contained within The Hymns and the Hollars, its fourteen songs are all around the perfect three minute mark, and all have the potential to appeal to anyone with a genuine love of proper, cool sounding rock ‘n’ roll. They may be slightly ‘too indie’ for the metal-head crowd of Download, but I wouldn’t mind betting this lot will be making appearances at the Reading festival, and later rather than earlier in the day pretty soon, and for many years to come.
It is, in short, an album that could quite easily catch fire on all fronts and see this band become a mainstream phenomenon, for now though you should just revel in the fact that Uber Rock has allowed you the chance to join the Dead Sons ride before the first lap is even half way around. Get on board with the coolest band of the year and see where the ride takes us all…..quickly now, before the secret gets out.