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Pearl reverse
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Approximate translation of the review
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MOTHER OF PEARLis the result of a pact signed in 2006 by four Bordeaux, all having taken an oath of allegiance to various forms of Rock high-grade electricity. That group has more or less chosen the banner of Stonerto make themselves known, but rather see a default choice, because we must resolve to a label and that it is not infamous, though trivialized. And especially as reductive group influences are clearly more varied than riffs anthrax and low in saturated fatty acids are the basic ingredients ofStoner.
A small detour to page Myspace of the group and we realize that our Daltonshow shamelessly tastes can no longer estimable. Judge for yourself (the dog Mickey): LED ZEPPELIN, BLACK SABBATH, THIN LIZZY , AC/DCfor the quarter of a head. Pell-mell, MOTHER OF PEARL claims as his love for the upscaleHard Rock ( BLUE ÖYSTER CULT), theStoner of its progenitors ( KYUSS and QUEENS OF THE STONE AGE), the Blues andBlues rock ( John Lee HOOKER, ANIMALS, Rory GALLAGHER,ZZ TOP), Doom ( PENTAGRAM), the Grunge trendMetal ( SOUNDGARDEN andALICE IN CHAINS), I stop there.
could rightly argue just displaying influences do not automatically confer the ability of the latter. Certainly. Fortunately, listening to five titles this reassures démoand MOTHER OF PEARL shows have blended these influences in his own little niche for an outcome - a Rockelectric drive, a Hard Rock short in the sense that they heard circa 1969 -- 1975 - which can be summarized in the large and beautiful names cited above. Moreover, the opening track, Makin’ a Livin’ , puts forward a riff dry as a rake, nervous as a rattlesnake, unfriendly in any circumstance, put on a hypnotic rhythm section, vicious in its own way of repeating his reasons heady . This way of coupling a villainous riff and haunting rhythm to help them blow up on a solo charge to the muzzle of a gallultra fuzzy ( Olivier BLANCService) reminds me of the delicious ways of STOOGES on their second album orgasmic Funhouse (1970), with titles like TV Eye or Down on the Street in the crosshairs. Except that the song of Fabrice DERCOURT is not playing the card module aggression but its linesfeeling and provides a bit ghostly. After four minutes, we already feel a dull oppression weighing on the neck: a good sign.
Little Eagle is a bit more air in the manner, withriff still dry but also more balanced. The solos were soaked for their very long in a bath of Acid Rock which in turn makes crackling and roaring, halfway Hendrixienslip and ultimate brilliance ofJohn CIPOLLINA. And yet the clean vocals, almost shamanic hovering above the magma.
Bloodsuckers displays clearly a bold riffas BLACK SABBATH served on its first four masterpieces, with a break at 1'30 healthy rhythm and a rise of sap on the chorus. As for the solo, how to take it otherwise than as a tribute to Master IOMMI in person? The more advance piece and the song is hallucinating, hooting, possessed, half-way through a youthful Iggy POP, a Glenn DANZIG and a subtle spectralJim MORRISSON . The
strong poetic Mud Cum Fire & Blood (MANOWAR did not even dare!) Alternates verses slow, melodic and positively psychedelic and heavier choruses and full lyrics. Over 7'30 a real journey, we appreciate the work winding and pervert, very well balanced as the rhythm section ( Rolando OLIVEIRAS in the four cables from EDFtoGuilain PEDEZERT and the distribution of donuts).
If it looks great, the title closing,So Tired, seems a chouia less striking, less successful, although rich in rhythmic breaks and vocal harmonies.
Finally, MOTHER OF PEARL should be thanked for bringing us the complex and diverse origins of our dear Hard Rock. We hope soon to hear new things from this group, with a wish: that his remains raw and clear, like thisdémo, without being too polite. Keep the electricity almost palpable!
Good job, guys.
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