dead brothers - The I-94 Bar
I have actually lost count of the number of times I’ve played this. I keep doing it. In the car, on the computer and around the house. Bloody hell it’s good.
Ever find yourself in the situation where you’re presented with a band with an unpromising name, an enigmatic if not daft cd title which, upon listening, you are so transported and delighted with that you play the item over and over in amazed disbelief, discovering as you go, humming and singing around the room, that the band have been in existence for quite some time and have five more LPs to their name and you paw miserably at your spartan wallet, realising that the next pay packet will have to do..?
Yes, Black Moose is one of those albums. Like listening to a smart blend of Lovecraft, R.E. Howard and the darkest American blues and country while reading Grimm to a terrified child. It’s as real as reality, and as tangible as imagination.
After 30 albums or so under a variety of monikers, Beat-Man could take the easy way out and keep churning out records of garage skronk. You know, music to kill any party, as the label slogan goes. Instead, he’s continuing to take chances.
The Swiss madman's brief with this project was simple: Pick a collaborator and play them a song once. Set the tape running. Use the first or second take. No overdubs. No arguments.
The Reverend describes the album as “a mix of blues trash, new wave folk and dark no wave garage punk and rock'n'roll”. No arguments. Stylistically speaking, “Blues Trash” IS all over the shop. The bands behind him and his friends range from minimal duos to full-blown folk groups.
Future Folklore is very much a new label; "Leftovers and Rarities" bears the product number FFR001. It’s a vinyl record first; and limited at that, which means because the band are damned popular in Europe, if you’ve heard the Dead Brothers, you want it and you’re going to regret forking out for Prince last week or whenever it was.
The odds ’n’ sods of most bands don’t usually make for decent records, though, let’s face it. For every great KISS LP, there’s a wagon-load of stinkers. “Black Moose”was the last time I reviewed The Dead Brothers; so rather than be fair about this, I’m going to ignore all the trainspotterish notes other journos will jump on, and treat “Leftovers and Rarities” as a new, possibly “lost” album.