(BEAT) IN A WORLD...(BEAT)...WHERE ZOMBIES RUN FREE...(BEAT)...ONE BAND...(BEAT)...HAS DECIDED. TO TAKE. A STAND.
It is worth mentioning that most songs concerning Zombies seem to take the side of the zombies themselves, with the marked exception of every release from the 60's band The Zombies, who never actually came out and sang about eating brains and whatnot. The previously unsung survival-horror musical genre is in full swing in the I.Z.A.'s apocalyptic PSA of "Aim For the Head."
You can tell this is going to be something special almost as soon as the track begins. The guitar introduces the song's strong four-chord progression in an honest-to-goodness overture, something that is not usually heard in local bands' releases. This song is so bloody on-point in terms of surviving the (let's face it) inevitable zombie attack, it's almost as if the band has lived through this already and decided to provide an inspirational piece of music for the remainder of the human race, struggling to survive.
"Aim For The Head" has a formidable melody, one which is sure to somehow set its hooks in you, whether it be the easy flow of the vocals in the verse, the fist-pumping finale that assures us we'll walk again, or the strong musical foundation; you will want to hear this song again, if for the hooks or the helpful instructions on zombie-killing. Maybe both, if you are wise.
Billy Joel once sang that honesty is such a lonely word, especially when everyone was so untrue. Billy has apparently never met Steve Gintz of Night Driving. Now for all intents and purposes, Steve Gintz is Night Driving. "Uh oh," says we, "Solo artist with a band name = danger, Will Robinson!" and we immediately prepare ourselves for something strange and unusual and probably bad.
"The View From Up Here" is clearly the work and product of one man, operating alone - the twist is that Gintz makes this work with an astoundingly honest and intimate effort. Gintz's earnest performance finds its expression not just the vocal performance but also the entire body of instrumentation and arrangement. Each performance shows not just talent and maturity; but the know-how of how to express both of these strengths in appropriate ratio to each other.
Believe it or not, "The View From Up Here" could benefit from being longer. The softly ambiguous coda sounds strong enough on its own to create a "Layla"-style second movement. It's tough to throw out "woulda-coulda-shoulda" on such a strong recording, but it might be pleasant to see Night Driving veer off newly paved roadway, switch into four-wheel artistic drive and explore some previously unknown territory, now that he has shown himself responsible behind the wheel.
This song starts with bona fide authority - once the old 4/4 bass drum kicks in, we realize that Lovewhip's goal is to seize control of your core (and all associated body parts) and work it until they're certain that you are able to work it on your own. How does Lovewhip work it? It's an entire concoction of a highly mobile bassline, a drumbeat that sounds like a lust-heightened pulserate and an electrifying vocal performance from Erin Harpe.
Harpe's vocal performance personifies many things in "Love Electric." She helps the verses slink slyly along and causes the choruses to downright writhe in rhythmic ectsasy. The random addition of the vocoder brings the desired robotic sound - but it's more like one of those super-sexy robots from the Terminator television series. It's unclear who (or what) the lyrics are directed at. Listen to it a few times and let us know what you think. Not that it matters by the time the phrase "state of shock" begins reverbrating over itself, because let's face it, they've got us firmly in their grasp.
The hovercraft that propels Harpe's vocals around is made of the buzzy bottom end of Lovewhips's sound - a fatter than phat bassline balanced out by shiny stabs of guitar. The guitar is the standard mid-range minor chords you'd expect, but in this case they are performed to the hilt. This is the kind of song you turn down when you don't want people to know that you are listening to dance music but then turn immediately up anyway.
Want to submit your band's song to C.D. On Songs?
To be reviewed in a C.D. On Songs column:
- Be a Boston-based band/artist.
- Email a single mp3/m4a/etc. (or a download link to one) to cdonsongs (at) gmail (dot) com, with the subject line "C.D. on Songs" (DO NOT send us a bunch of songs and make us pick, we will ignore you). We require a file – not a streaming link.
- Include album cover art if you have any. If you don't, a band photo or logo is acceptable.
- We will assume that we have your permission to make the song downloadable on Boston Band Crush (readers will want to hear it, after all).
- If that's not ok with you, say so and provide us with a link to the song on an embeddable player like ReverbNation – something we can include in the post (and not just link to).
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