Nupping
by Dope Body
Hoss Records (2011)
Nupping
Dope Body is smart music played hard and fast, the rock rulebook ripped to shreds as trails are blazed. The group’s new album Nupping is wild and free, the product of a party of young fellows, robust, merry, singing with open mouths their strong melodious songs.

Over the course of the past several years, Dope Body have been turning underground Baltimore warehouse parties into swirling, chaotic vortexes with their unique musical assault, everything turned up to eleven, on the verge of blowing out. They are the reason you go out to a show on a Saturday night, hoping to catch fire from the heat of some new musical enterprise.

On this, their first proper studio album, the trio takes off like a muscle car, providing the same chills and spills as a day at the dirt bike track. What at first might seem like chaos reveals itself as thought-out and composed, each of the ten tracks a series of explosive moments strung together to achieve full demolition.

The band doesn’t really fit into any of the current molds of hard and fast music. We are not among the Punks or the Metalheads or the Artrockers exactly, nor is this some “Gothwave” slog through the darkness. Although some critics have assumed a “return of the rock” has been signified by the rise of Dope Body, it’s more complicated than that. Let me try to explain.

Sometimes Zach Utz’ multi-instrumental mayhem on guitar and bass takes the form of a mutant Van Halen, sometimes seems inspired by the noise rock of Lightning Bolt, at other points stabs forward like early Black Flag. Despite those reference points, there is no way this all doesn’t sound like Zach, since nothing else out there comes close to his unique brand of sonic squall.

Dave Jacober’s drumming adds texture and dimension, reflecting the chops he clearly possesses, now artfully applied to the science of explosions. What time signature was that in? Wait… how many fills was that? Dave’s drumming is the engine for this mean machine, the minimal set-up allowing him to stretch out, sometimes riding the beat, sometimes going pedal to the floor down the strip. In each case, he has an uncanny knack for knowing when to pull back and when to push forward.

Andrew Laumann’s vocals ride herd over it all, his barbaric yawp surprisingly versatile, able to nail the throaty sing-along chorus of “The Shape of the Grunge to Come” just as much as it is able to bark commands on tracks like “Chain Link.” His is a language of “ow’s” and yow’s” and “c’mons,” as much a descendent of Funhouse-era Stooges as it is in the tradition of rock’s best lead barkers and howlers.

The first four tracks, kicking off with the heave and jerk of “Enemy Outta Me,” rip and snort, a bucking bronco we ride through an overview of what Dope Body does best, kicking and shaking and acting crazy, riding off the rails.

“Falling Down,” the track that comes at the apogee of the album, stands out, a stripping down to the best parts of rock music. The song is just the build-up and the killer riff, like a hip hop DJ cutting down to just the breakbeat. Zach’s guitar becomes a two-note thumb piano at first, Dave building up behind him, until we explode into a big and meaty riff that seems like some lost Black Sabbath outtake as Andrew rages overtop. Build up, killer riff, build up, killer riff, breakdown, exit bridge. Loop it on your iTunes and the song just gets better and better each time it comes back around.

From track “City Limits” forward, we are into new sonic territory. Things become frantic and confused, waltz forward, and then settle into a groove. It is clear that the band is restlessly pushing forward, finding out about the breaking points, taking chances. Album closer “Force Field” even makes it past the four minute mark, a hypnotic main riff chugging along with a detour into speedy hardcore before we spiral off the cliff into an extended breakdown.

In the end, we are left dazed on a ratty warehouse couch, rough around the edges but ready for another round in the mosh pit. Dope Body have taken their sound and fury and refined it into something truly memorable, signifying Nupping, a record that will blow minds, ears and speakers.

Saw this, v0 rip

Cymbals Eat Guitars

um, this is Miles From which came out in 97

Guitarist/songwriter Brian Robertson returned to the spotlight with his first solo album, 2011's fantastic Diamonds and Dirt. Also known by the nickname Robbo, the Scottish axe slinger first gained fame as one-half of the guitar team fueling the 1974-1978 prime of the criminally underappreciated Thin Lizzy. (There's much more depth to the band than just the classic anthem "The Boys are Back in Town," and Robertson and Scott Gorham arguably perfected the two-lead-guitars concept in a rock format.)

Next, Robertson was a member of Wild Horses for two albums in the early '80s before a brief, ill-fated stint in Motörhead for 1983's Another Perfect Day.

In the following years, he worked with cult favorite Frankie Miller, embraced miscellaneous musical projects, formed a production company, and spent most of his time working in Scandinavia and Europe.

Diamonds and Dirt is a treasure for fans of melodic hard rock and meaty electric guitar work with gritty character and personality; Robertson unleashes superb chords, riffs, and solos from his Gibson Les Paul.

This 13-track collection features previously unreleased originals, new versions of two Thin Lizzy songs, and Miller and Jim White covers. Robertson recruited many guests including MSG vocalist Leif Sundin, Europe drummer Ian Haugland, and Riverdogs vocalist Rob Lamothe. Liny Wood provides backing vocals and her lively voice is a big plus.

"Diamonds and Dirt" kicks off the album, and it's a hook-laden hard rock tune that likely would have been a hit single in the '80s (that's a compliment, by the way). An innovative, moody arrangement is one of the "Texas Wind" highlights, along with Robertson's unhinged guitar solo.

The Thin Lizzy remakes are lesser-known songs, not the hits -- "It's Only Money" (from 1974's Night Life) and two versions of "Running Back" (from 1976's Jailbreak); the fast version of "Running Back" is an energetic stomper whereas the slow version is an intriguing blend of blues and pop.

Speaking of Thin Lizzy, Robertson and vocalist/bass guitarist Phil Lynott co-wrote "Blues Boy," an appropriately named, slinky, blues-rock number making its debut here.

The best Miller covers are "Mail Box" and "Ain't Got No Money" (which Bob Seger included on 1978's Stranger in Town).

Robertson's sole lead vocal credit is his hypnotic version of the White oddity "10 Miles to Go on a 9 Mile Road."

Diamonds and Dirt should please listeners who thought nobody recorded guitar-based, melody-soaked rock music like this anymore. Highly recommended.

When Rory Gallagher died from complications following a liver transplant in 1995 at only 47 years old, the music world lost one of its most influential and respected guitarists. Apocryphal evidence suggests that Hendrix rated Gallagher second only to himself and numerous respected guitarists cite him as having influenced their sound including Brian May, Eric Clapton and The Edge from U2. He appears in many fan-voted best guitarist lists and remains the personification of the razzled Irish blues-rock musician.

He was born in Ballyshannon, Ireland, raised in Cork and cut his teeth in the show bands of Ireland in the 60s playing popular hits of the day. He went on to form Taste to much commendation, but by 1968 he had left them and was performing solo. He released his debut solo album Rory Gallagher in 1971 and this marked a prolific period for him; he released 10 albums during the 70s.

However, though his albums were well received, it was his dedication to his performances which earned him his stripes. Above all, Rory was the showman's showman.

the new rapture in between raptures

So far this new Rapture album blows though. What happened?

Webrip, LauraMarling, have not heard it yet except for the Sophia release which is pretty good