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July 2014
Cadillac Flambe
"Old American Law
"
mp3

Some bands have the ability to create music that reaches into a chasm of sorrow and affliction, exposing the deepest of wounds. With its latest release Old American LawCadillac Flambe boasts nine heavily weighted tracks that escort the listener through calamitous musical compositions, and tragic tales told by the mesmerizing vocals of husband and wife Kris and Havilah Bruders.

 
Since its previous release, Eli’s Porch, Cadillac Flambe has had to adjust its sound. The band’s harmonica player James “Pappy” Garrett, who was an integral component to its dark Americana blues approach, died in a car accident during the making of the 2011 EP. Shrinking down to a four-piece, the band has shifted in a decidedly more rock ‘n roll direction, still retaining its rootsy nature but packing a more substantial punch.
 
Ushered in by Kris Bruders’ signature gritty blues guitar sound, “Shakin’ Baby” sets the album in motion, highlighted additionally by Michael Payne’s massive but calculated drum work and Dave Duly’s perfectly in-the-pocket bass playing. On this album, Payne and Duly add a collective rhythmic wallop unheard in previous recordings, pervading the tunes with a rock and R&B heartbeat.
 
After the first track, you’re likely in for the ride, which allows Cadillac Flambe to pull you in to its turbulent descent.
 
This emotional tailspin careens to its greatest depths in “3 Bullets,” the album’s longest and most powerful track—one split into two distinct acts. In Act I, Havilah Bruders tells the story of a desperate mother trying to feed her child, reaching out to the church, the government, and the bank, and is turned away by each. Act II arrives in the middle of the song, which slows from a steady 4/4 to a haunting 6/8 groove, as she discloses the news of her child’s death. A chilling anguish is felt as Bruders’ voice rages, a deliriousness is experienced as she transitions from a quiet whimper to a grief-stricken roar, also revealing the song's final crux: the woman has murdered the three entities that indirectly caused her child's death. Her soul and gospel background is most noticeable here, as she carries us through each scene and makes us feel her misery and despair, measure by measure. It’s also apparent in “Sweet Chariot,” where she takes us through a woman’s frenzied fear of impending death, into her answered prayers of serenity and light.
 
Most of the songs on Old American Law were penned by Kris Bruders, whose own vocals have a mystic, commanding, but sincere quality to them. Take “Father to Son” for instance, a narrative about a father’s beliefs and pressures onto his son. Bruders’ vocal delivery at once contains the father’s threatening tone and the son’s subsequent harsh, casual defiance. In the album’s title track, his voice characterizes the overall personality of the album. His words and the dusty Delta blues sound of his hollow-body custom magnesium guitar convey the voice of an uncompromising outlaw. Bruders’ authoritative, booming vocals—often coupled with his wife’s harmonies, sometimes impassioned, sometimes a simple adornment to his own—and the unique gravel of his guitar dig into the meat of each song.
 
Plenty of bands write songs about death, family strife, social issues, and religious conviction, yet few are able to execute it as effectively as Cadillac Flambe does in Old American Law. The throttle of the rhythm section, the bedraggled, melancholy guitar tones, the dissonant piano chords, and the soulful vocals push the message of each song to the forefront. The LP, which was tracked, mixed, and mastered at Little Class Records by Keegan Smith, is the strongest manifestation of anything the band has released to date. 
 
--Michelle Bacon

 

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Show review: Sonic Spectrum Ramones Tribute, 10.28.12

Show review: Sonic Spectrum Ramones Tribute, 10.28.12

Four bands came together to pay tribute to legendary punk band, the Ramones, as a part of Sonic Spectrum’s tribute series at recordBar. For all intents and purposes, the Ramones saved rock n' roll. When they released their self-titled debut in 1976, the radio was jammed pack with long-winded keyboard solos, disco beats, and mini-operas. The Ramones went back to the original blueprint, designed by the early rock n' rollers and doo-wop groups of the ‘50s. Only the Ramones' songs were faster, louder, tougher, and weirder; punk was born. Their sound continues to influence countless bands to this day, four of which showed up that night.

If there was a secondary theme to the night, it was that covering these three-chord simplistic songs looks much easier than it actually is to pull off. Nearly each band recognized that on stage. The first band, UFT!, kicked off the show right with the shouts of "Hey! Ho! Let's go!" in "Blitzkrieg Bop,” quite possibly the most recognizable tune in the Ramones catalog. Bassist Steve Tulipana shared a funny story about meeting the artist behind the iconic Ramones logo, and his surprise on how getting prepared for the show had been. They played other Ramones classics such as "I Wanna Be Sedated" and "Rock N' Roll High School.”

Next, Rockets to Russia took the stage (members of Bleachbloodz, The Uncouth!, Hobo Zero, Appropriate Grammar, The Bad Ideas). Consisting of the largest group of the night, the five-member band tore through songs about as fast as the Ramones would perform them live. Songs like "Glad to See You Go" and "Cretin Hop" were accompanied by boundless energy that seemed to run back and forth on both sides of the stage. Two songs in, vocalist Mitch Clark convincingly told the crowd he'd have to slow down for a song or two or else he was bound to have a heart attack on stage. Still, the band continued through their set this way.

Gene Kreamerz and the Pussycats (members of The Quivers, The Latenight Callers, Drew Black & Dirty Electric, Deco Auto) played their songs closer to how the Ramones sounded on the albums. It's not at the breakneck speed of their live performances, but still animated enough for a crowd to bounce around to. Highlights included "(Do You Remember) Rock N' Roll Radio?" and a personal favorite, "Danny Says,” the true ballad of the night (surprisingly, the Ramones were great at writing those, too).

True evidence of the Ramones influence in even today's world came when Radkey finished the night off. The band consists of three brothers, all of whom were born well after the Ramones had their heyday. The spirit, energy, and rock n' roll the Ramones championed during their career came through the band. Highlights included the seasonally appropriate "Pet Cemetery" and campy "Somebody Put Something in My Drink.” The band ended their set with the anti-political song "Bonzo Goes to Bitburg", a song most fans would consider to be a favorite. The night was a great tribute to the Ramones, and in turn, a great tribute to rock n' roll.

All photos by Todd Zimmer. Please do not use without permission.

--Travis Stull  

Travis is a technical writer who loves rock n' roll. Give him a hug sometime.

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