Heavy Rotation: Week Ending April 16, 2010

01. Blue Sky Blackout – Clear From A Mile Away, (Susstones.2010)
02. Deleted Waveform Gatherings – Ghost, She Said, (Rainbow Quartz.2009)
03. “Lilt” by Elusive Parallelograms, (Rainbow Quartz.2009)
04. The Aggravation – The Aggravation, (P.Trash.2007)
05. The Apples in stereo – Travellers In Space And Time, (Yep Roc.2010)
06. The Vicious – Alienated, (Feral Ward.2007)
07. Unrest – Perfect Teeth, (Warner Brothers.1993)
08. Strange Boys – And Girls Club, (In The Red.2009)
09. Daniel Johnston – Is And Always Was, (High Wire Music.2009)
10. Emma Pollock – The Law of Large Numbers, (Chemikal Underground.2010)

Here I am again, focusing my Heavy Rotation attention span on another Susstones Records release ? a 3Side single from Minneapolis six-piece, Blue Sky Blackout. The band is comprised of Minneapolis scene veterans: guitarist/vocalist Jon Hunt (Lunar 9/Medication/Shatterproof), guitarist Mykl Westbrooks (Landing Gear), guitarist Brandon Dalida (Mercurial Rage, Medication) bassist Tim Ritter (Astronaut Wife, Bella Koshka), drummer Marc Iwanin (Medication, the Meg, Basement Apartment), and lead singer Christian Erickson (Astronaut Wife).

They bring pure rock-n-roll domination with a three-guitar attack, solid-steady rhythm, and tons of hooks. About these three guitars: from what I gather, Hunt is primarily rhythm guitar, while Westbrooks and Dalida have their own styles – the former more shoegaze/atmospheric, the latter 80s-alternative-power-rock. The secret weapon is the rhythm section. Iwanin's drumming is extremely steady, perfectly placed cymbal crashes, economical rolls. Ritter's bass lines are punchy with a down the street swagger, even groovy at times. It's an extremely solid foundation for the layers of guitars. The modus operandi is to fucking rock out without diminishing the melody and hooks.

“Somebody Said That You Love Me” - the tune reaches back into classic rock roots via prominent Keith Richards-esque riffs and Brit Pop – think Oasis – but twists it around with a serious groove. For comparison hounds, this approach reminds me of Swedish classic rock revivalists The Soundtrack of Our Lives. Erickson's vocals deliver an uber-catchy melody and he kindly spews hook after hook. The change from verse-to-chorus is nerve-y, severe tension-and-release into the gigantic chorus. Amazing tune.

“Libertine” - here BSB puts serious crunch, herky-jerky into the rockier side of power pop (think Velvet Crush). If you've read TINE for any period of time, you know I love it when a song moves and revolves over and onto itself; revisiting themes like a mini-symphonic suite. BSB captures this completely here. From the duel lead guitars to the duh-duh-duh-duh guitar crunch on the verses to the soaring, exuberant chorus, movement is constant. The bridge takes the track to heavier territory with ringing riffs and Erickson's soaring vocals.

“The Drugs Don't Work” - this song is all about a fucking filthy chorus. The band launches into an absolutely huge sound as the guitars unify and erupt into a wall of sound. Erickson sounds pissed, frustrated and exasperated without being melodramatic. It also highlights a serious strength of the band – they don't get bogged down in jamming. The guitar solos/jams are fairly brief, thus preventing bloated wankery and allowing the melody and hooks to shine.

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