Black Rebel Motorcycle Club Specter At The Feast Rar
Black Rebel Motorcycle Club - Specter at the Feast. Black Rebel Motorcycle Club - Specter At The Feast. The Black Angels. Specter at the Feast is the seventh studio album by American rock band Black Rebel Motorcycle Club, released on March 18, 2013 in Europe and March 19, 2013 in the US.
With 2010's superb, found a balance between their muscular, fuzzed-out noise rock and rootsy if no less punk-inspired take on American blues and country. The trio, now featuring singer/bassist, singer/guitarist, and drummer (who joined for ), seemed to have matured into a fully realized version of its younger self. 's seventh studio album, 2013's, takes this musical maturation even further, as the band delves into a moody, sustained, and long-form dream pop aesthetic. Much of this introspection is most likely inspired by the loss of 's father, frontman, who suffered a heart attack and died backstage at the 2010 Pukkelpop Festival in Belgium.
Black Rebel Motorcycle Club Specter At The Feast
As 's touring soundman, was an invaluable source for both creative and professional advice, as well as an inspiring, loving force in the group's life. The loss, understandably, hit hard and, purportedly, they wondered if they could continue to make music without him.
Thankfully, they ultimately decided that they could, and if the music on is any indication, they became a stronger, deeper, more commanding band for the experience. 's presence permeates all of the songs on, with lyrics that clearly find the band toiling with the loss. On 'Returning,' sings, 'A part of you is ending, a part of you holds on,' and later, 'But you must leave and not turn back, knowing what you hold/How much time have we got left, it's killing us, but carries us on.carries us all.' However, the album isn't solely an introspective one. On the contrary, cuts like the bluesy 'Hate the Taste' and the defiant 'Teenage Disease' prove that have lost none of their rock & roll snarl. That said, the album, which is dedicated to 's memory, will most likely stand as the band's most bittersweet.
Perhaps the best example of this is 's cover of 's 1989 hit, 'Let the Day Begin.' Poignant yet triumphant and joyful in tone, the cover, as with all of, stands as both a heartfelt tribute to their bandmate and a rallying cry for moving forward.
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. Specter At the Feast could have been a complete downer, and part of me wishes it was. For it’s the weepers here that resonate.
This makes total sense, given s 2010 loss of Michael Been, the former frontman of The Call who also produced, mentored, and sound engineered the band. More importantly, he was Robert Levon Been’s father. Always more introspective than BRMC second banana and faux hell-raiser Peter Hayes, Been sounds particularly lost here — and that’s a compliment. It’s not that his lyrics are gut-wrenching. It’s not that they’re specific. But there’s a pleading grief to them that can’t be faked.
In closer “Lose Yourself”, he wanders through a cave of reverb held together by the bottom-heavy trudge of Leah Shapiro’s drumming. During the chorus, he claws at the stratosphere for a falsetto he never grasps.
“Why won’t you lose yourself?” he asks with vulnerability. He might not be talking about his father’s death, or even his father at all. But there’s no doubt that the void informed his performance. The only time he sounds truly joyous on the album is when summoning the spirit of the elder Been on “Let the Day Begin”, a cover of The Call that transcends the original with its fuzz bass, fuller guitar workout, and absence of tinny synths.
Hayes, on the other hand, sticks to bullshit posturing, as if trying to recreate the boot-scraping swagger that trashed the garage when BRMC was released over a decade ago. “I’m a common cold / You want it? / Come and get it,” he taunts on “Teenage Disease”, a song that’s about as threatening as its title. Most of his tracks’ names are just as telling. “Hate the Taste”. Each one sees Hayes reaching into the back of his throat for his yowliest of yowls while the bass muds it up and the guitars rip, roar, and ape The Jesus and Mary Chain.
Call these cuts dark. Call them rockers. But they’re neither of these things when stacked against something much more simple and hard-hitting: sincerity.
Essential Tracks: “Lose Yourself”.