So Long Virginia, I'm too Old for You

The Gaslight Anthem
American Slang
SideOneDummy Records, released June 15, 2010

On their third full length, New Jersey's Gaslight Anthem have managed to distill the sound they started several years ago. On this record, they took everything that they were going for on Sink or Swim and '59 Sound, the jangling guitars, gruff vocals, lyrical references to small town life, and put together what may be a more composed album, but one that has lost its sense of urgency and replaced it with over confidence. Gaslight have always said that they don't want to be pigeon holed as an Americana punk band, and they successfully move away from the elements of punk on their previous albums. This time around, their songs pay musical homage not only to Bruce and Tom Petty, but also Paul Simon and Van Morrison (and maybe even a little U2?). Best examples, "the Diamond Church Street Choir" and "the Queen of Lower Chelsea," the bridge of which sounds like their take of Simon and Garfunkel's "the Boxer." (Not to be confused with "Boxer," track seven on American Slang.) Guitarist Alex Rosamilia really steps it up a notch on this record, more experimental and more balanced with Ben Horowitz's drums, which are not so thunderous this time around. But there are still tunes that are classic Gaslight: the title track, "Orphans" and "Old Haunts." Anyone who enjoyed the first few releases from this band is sure to find a connection to the new album.

To their detriment, vocalist/lyricist Brian Fallon has taken his "old soul" personality a little bit too far. The record is laden with references to "when we were young" and "the days of our youth." Fallon is about 30 years old (maybe not even). I know, both from personal experience and from watching my friends, that it is common at that age to really reflect on your experiences and feel like life is quickly catching up with you. It is also true that Gaslight have gotten famous by singing songs that are intentionally throwbacks, but there is a distinct difference between embracing a retro sound and actually sounding old, especially when you are not.

However, Gaslight has never had a problem with slightly repetitive lyrics (how many songs on the first two full lengths and the e.p. talk about Maria and/or Virginia?) and, in fact, that consistency has actually worked to their advantage so far, establishing a specific "sound" for the Anthem despite their relatively short existence. American Slang is certainly the right balance of building upon their reputation and moving it in a new direction. They neither deviate too far from what is expected nor do they simply rehash what they have already accomplished. It will be interesting to see what is in store for these Jersey boys. Zoltan predicts an official Brian Fallon solo, acoustic record, and a more high profile guest appearance on the band's next album.

Shake my Tomb

Deftones
Diamond Eyes
Reprise Records, released May 25, 2010

Sacramento's Deftones have absolutely crushed it once again with another solid, solid release. Let's face it, the Deftones just do not write bad music, ever. Deftones probably hold court as the only band who, when their new album is released and the inevitable tour ensures, I say, "They could play nothing but this newest album at the show and I would be satisfied."

Good gravy, this shit is heavy as hell, with those numbingly down tuned guitars that dominate the Deftones' sound, and vocalist Chino Moreno's sexually soothing taunts alternated with his impossibly inhuman screams and yelps. Keyboardist/turntableist/sampler Frank Delgado gives a really standout effort on this record. Tracks like "You've Seen the Butcher" just slink along your inner thigh, Delgado's steady and evenhanded influence keeping the chugging, repetitive guitar line moving up your leg. In a lesser band's hands, "Prince" would be a boring hardcore song, but the Deftones opt for a weird guitar harmonic and balance it against a heavy riff, turning it into a nice psych metal tune.

Anyone who has been hanging in there with the Deftones' experimenting over the last few albums is going to be pleased, as there is decidedly more focus and ambition on Diamond Eyes. For those that saw White Pony as their Sgt. Pepper or Dark Side, well, you might want to reconsider rejoining the ranks of devotees because the Deftones have once again taken their warped view out on 11 songs. With more purpose and cohesion than they have been able to harness since Around the Fur, Chino and the other delinquents in the Deftones have distilled their love of contorted melancholy into forty minutes of piercing contradictions.

As alluded to earlier, Deftones are back out on the road to promote the new songs. However, whoever booked them on the posthumous Alice in Chains tour ought to have his brains bashed in immediately. I don't know what would possibly possess a manager to recommend this as a good move the band, but he or she obviously suffers from some perverted world view and should be locked away as a danger to society. It does put the Deftones into some venues that they probably couldn't swing alone, but who the fuck wants to see they play at dusk in some arena or amphitheater? I mean, the first song on Around the Fur is about how much they hate the sun, for christ's sake. Deftones shows show be strictly limited to dark, indoor places, so that the atmosphere can match the hopeless, desolate landscape that is Deftones' music. With that said, the stupid Alice in Chains/Deftones tour stop is at the Camden indoor/outdoor place in late September. If you do choose to go to this, definitely show up early to catch Mastodon's set as the early openers. Couldn't this show be just Deftones and Mastodon and be at the E-Factory so that it won't cost $75??!!