Tuesday, October 15, 2013
Sasquatch - IV
The Grime checking in again. Today, I have some wonderful news for you. There is a KICK ASS record to talk about. Up for review today is Sasquatch’s brand spanking new record “IV” released by ever so reliable Small Stone Records. I say this because I haven’t been super excited by all of the releases that came out during 2011-12. Small Stone always puts out good records. Sometimes they are great. Well, good things come for those who wait.
I caught Sasquatch live at Small Stone’s Chicago showcase at The Double Door a few years ago. I wasn’t blown away. Maybe because the show also featured some of my personal favorites like Lo-Pan and Freedom Hawk (who I hope to see a new record from soon) and maybe I was already blown away by the 4 hours of kick ass rock and serious partying that came before Sasquatch’s set. Well, I’m glad I gave them a second chance (seems to be a theme around my parts these days).
I saw that the digital release was available and I generally listen to anything that Small Stone puts out. It’s safe to say that I’m a fan of the label. Oh man, I am happy that I listened to this record! For all of my rambling, this is short and sweet... front to back, upside down, right side up, this record fucking RULES. Let me reiterate...FUCKING RULES.
Fellow scribe and patron saint of stoner rock Bill Goodman sent me back to II (Hey Luder, take note...easy album titles) to brush up on my Sasquatch after to talking to him about the release. I wasn’t sold on III. After a quick chat with Small Stone president Scott Hamilton, he informed me that III was a period of rebuilding for the band. That makes a lot of sense to me now. Maybe another reason I wasn’t real sold on them after seeing them live.
This record finds Keith Gibbs on fire. The guitar tone is dense and full in every aspect that you would want it to be. The vocals are pure rock and roll awesome...particularly if you like the “stoner” variety; never overboard and always right in the pocket. As someone who tries really hard to sing and sucks at it, let me tell you, a voice like Keith’s is rare and impossible to duplicate no matter how “classic” it may sound. Jason Casanova (bass) and Rick Ferrante (drums) equally share in the supreme density of the records sound. Let me diverge into saying that it isn’t that the record doesn’t have great space-ial qualities (yes, I made that up), it’s just that it uses it to crush your ears in the most enjoyable ways. Like I said, front to back, upside down, right side up, this record is a brilliant power trio rock and roll offering.
If I had to pick out a few “standout” tracks I would suggest all of them, but especially the funky, heavy blues riffing (similar to The Black Keys heavy blues jam “I Got Mine”) of Sweet Lady, a great choice in an opening track with The Message, and my personal favorite and album closing track Drawing Flies (which I estimate to have listened to 100 times since I got the record, no joke).
Definitely a candidate for album of the year on my list, no doubt. 2013 is starting to stack up the great records. I told you I had wonderful news. Cheers.