Clutch – Earth Rocker

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2013 Weathermaker Music

I remember that fateful day in late 2002 when I walked into Iko’s Music in York, PA and saw a copy of Clutch’s most recent CD Pure Rock Fury, along with their Impetus EP.  I had lost track of Clutch and many of my favorite bands in the late 1990′s and the turn of the millennium, whatwith being consumed by a depressing and dismal marriage, and was immediately blown away by Pure Rock Fury when I listened to it on headphones in the store.  Neil Fallon’s intelligent and often humorous wordsmithing also brought some much-needed smile action to my face as well.

Needless to say, I bought the disc and have been a Clutch homer ever since.

Pure Rock Fury marked a decided upping of the ante in terms of focus and energy, and it was the beginning of a string of 4 straight studio albums that I would personally put up against any string of 4 albums by any rock band in history:  the aforementioned album, Blast Tyrant’s Atlas of the Invisible World Including Illustrations of Strange Beasts and Phantoms, Robot Hive/Exodus and From Beale Street To Oblivion.  As much as I was anxiously awaiting 2009′s Strange Cousins From The West, it was ultimately a disappointing album missing many of the deep and long-lasting hooks of previous works.  I could only hope that their next album would be a kickin’ return to form.

Needless to say, it is.

Earth Rocker will undoubtedly draw comparisons to 2004′s classic Blast Tyrant’s Atlas of the Invisible World Including Illustrations of Strange Beasts and Phantoms, as producer Machine is back with his latest mix guaranteed to lay waste to your sorry woofers.  I would call this new collection of tunes a melding of the very best elements of Pure Rock Fury and Blast Tyrant as only Gone Cold lightens up on the throttle, creating the same moody vibe as The Regulator.  Hooks and energy come flying at you relentlessly, as the rather silly chorus of the title track wins you over with conviction guitar power.  Speaking of hooks and riffs, everything that was missing on Strange Cousins has been found…and found in spades.

Earth Rocker and Crucial Velocity kick the album off in unrestrained fashion much the way You Can’t Stop Progress and Power Player kicked off the Beale Street album, albeit with more power from Machine’s white-hot mix.  Then we’re on to what is my initial favorite tune, Mr. Freedom, which finds the good Rev. Fallon back in a venomous wordsmithing form that stretches over the remainder of the album.

DC Sound Attack! has a groove that just cannot be stopped while Unto the Breach, Cyborg Bette and Oh, Isabella are other highlights of both groove and hooks.  The guitar sound is sharp, the riffs are quite intoxicating, Neil Fallon is commanding the mic and rock’s greatest rhythm section of Dan Maines and Jean-Paul (The Master) Gaster groove in the deepest of pockets.

Final verdict?  Nary a duff track to be found.  This is Clutch back in classic form and Earth Rocker stands easily next to the very best of Clutch’s incredible catalogue of music.  Blast Tyrant still stands as my fave Clutch album, but after 10 listens already Earth Rocker could be my favorite Clutch album on any given day.

Rock and roll isn’t dead.  Rock and roll is back…and it’s name is Clutch.

Rating:  5 out of 5

Buy Earth Rocker full CD          Download Earth Rocker full disc as MP3

Are You An Earth Rocker? New Clutch Is Coming…

Ladies and gents, it’s almost time for the greatest rock band of the 21st century to unleash their new CD, “Earth Rocker,” on the world.  From the sounds that Clutch has so kindly allowed to leak via YouTube and the Earth Rocker website, the new disc is going to be a welcome return to form after the somewhat disappointing (but still pretty good) Strange Cousins From The West in 2010.

Check out the lead track “Earth Rocker” and enjoy samples from the entire album in the second video.  2013 (The First Year Of The Rest Of Our Lives) is gonna be a good one for our fave earth rockers!

 

10 Most Truly Abysmal Albums of 2012

And here we have it, ladies and gents…in what was allegedly the last year of our lives on this earth, these bands came through with new albums recorded as if they would be their last musical statements on this earth.  Lucky us.  While my 10 Most Truly Abysmal Albums lists are always in no particular order, I usually have one favorite that manages to make its way to the top and this year is no exception.

This year’s list is alphabetical, save for the aforementioned personal favorite, and this year my Album of the Year honor goes to…

Toadies – Play.Rock.Music:  With an album title as in-your-face as Play.Rock.Music., the contents had better be stellar.  And boy are they ever.  In a year delightfully littered with some truly Abysmal releases, Play.Rock.Music. is my fave rave of the year as it has received more play time on both my car and home stereos than any other 2012 release and threatens to displace somebody on the list of all-time Truly Abysmal albums.  If the energy and hooks on this disc don’t grab you and have you reaching for your favorite air-guitar, you probably don’t have a pulse.  I offer no apologies for my hysterical praise…this album is truly that great.  Chorus of the Year honors most certainly go to Magic Bullet, a song that would have been a monster hit if all was right with the world.

And now, in alphabetical order, the Most Truly Abysmal Albums of 2012…all of which should find their way into your personal collection.  Enjoy Abysmally…

Akphaezya – Anthology IV:  Well, 2012 started off really well for Abysmal music when I received this absolute gem of an album from French avante-garde rock/prog/metal band Akphaezya.   The song “Nemesis” is truly something you’ve never heard before and the album courts progressive metal and tuneful hard rock with a gift for melody and deftness of hook that marks this band as something special and this album as one you will want to pay repeated visits to.

Anthrax – Worship Music:  Not quite the headstomping return to form I was hoping for, but it’s close.  It still ain’t “Among the Living,” but I’d have to be a real ass to stick to comparisons like that.  It’s so cool to hear the classic lineup back together again and sounding so juiced.  Best disc (by this lineup) since “Among the Living” by FAR!  Thank you, Anthrax:)  And The Devil You Know just flat out kicks.

Creature Creature – Life and Lust:  You might recognize lead throat Morrie from my 10 Most Truly Abysmal Vocalists list.  It really says a lot about a singer when they’re so passionate and emotive that you truly don’t care that you don’t understand a single word sung in native Japanese.  He was awesome with Dead End and this album shows that he’s not just a singer…he’s a powerful influence on his band.  And the band ain’t no slouches, either.

Dead Can Dance – Anastasis:  There’s just something reassuring about the fact that the DCD duo of Brendan Perry and Lisa Gerrard are still making music after all these years.  While I can’t say Anastasis is necessarily their best work (I’m still partial to Into the Labyrinth and the splendid live recording Toward the Within), it is a more than worthy addition to their mind-expanding catalogue of music and another fine example of the duo proving they can take the concept of world music to other worlds indeed.

The Fixx – Beautiful Friction:  You know, I always had a soft spot in my heart for The Fixx, for while many of their “new wave” contemporaries in the early – mid 1980′s (that they were unjustly lumped in with) offered little beyond the odd one-off hit and the even more odd new wave haircut, The Fixx were way deeper than most people realized.  Cy Curnin’s darkly romantic and soul searching musings were perfectly expressed with his distinct voice and a deceptively talented band.  All these years later, they’re making music that is both true to their original style and a logical modern expansion of it.  Beautiful Friction, Small Thoughts, Shaman, Take a Risk and Girl With No Ceiling (my personal fave) showcase a band that doesn’t give a damn that the masses aren’t listening like they were in 1984.  They damn well should be, as these 5 songs are but a sampling of an album that makes it perfectly clear that The Fixx are no 80′s guilty pleasure.  And did I mention Follow That Cab?  Hell, there’s not a duff track on the whole stinkin’ disc.  Criminally underrated…and thank God they’re still making music.

Georgie LeHoop – Have You Ever Heard A Painting?:  OK…this was released about 3 years ago and you’ve probably not heard of it, but dammit this is one of the coolest concepts I’ve ever had the pleasure of witnessing. I met Georgie at the Mt. Gretna Arts Festival this past summer and saw his amazing paintings, made all the more terminally cool by the fact that he paints by playing drums on stretched canvas with sticks dipped in paint.  Amazing to see and a very meditative and calming listen.  Don’t worry, these paintings-that-would-be-songs don’t overstate their point and Georgie gracefully redefines the term multi-media with this release.  Get the full scoop here.

Lamb of God – Resolution:  First of all, it’s Lamb of God.  They’ve got their “thang,” they’re awesome at it and you either love it or you don’t.  Ain’t no mere “liking” here.  I love it.  Second of all, it’s Lamb of God.

Lacuna Coil – Dark Adrenaline:  A storming return to form for this proud (and rightfully so!) goth metal franchise after 2009′s solid but unspectacular Shallow Life.  Christina Scabbia and Andrea Ferro’s vocal yin-yang chemistry is powerful and moving, and the music sounds hooky, strong, dark and inspired.

Mars Volta – Noctourniquet:  I have to admit that I’m still fairly new to the mesmerizing freakshow that is The Mars Volta.  On first listen to Noctourniquet, I wasn’t sure what to think.  Upon second listen, the schizophrenic hooks began to take hold and I thought I was starting to “get it.”  I love these kinds of albums.  The ones that don’t necessarily grab you with the first listen but rather beckon you for a second listen…where you realize there’s MUCH more going on that what you could ever absorb in one mere listen.  A truly unique, talented and gleefully Abysmal band.

Meshuggah – Koloss:  An album of gargantuan power, intensity and inimitable groove, this has been my music of choice while doing my geekwork by day.  Probably my album of the year if not for Toadies, as it takes everything I love about 1995′s Chaosphere and combines it successfully and profoundly with the vomiting groove of their Catch-Thirty-Three era for the first time.

The Cult – Choice of Weapon:  A nice return to form for one of my fave bands…fave despite their sometimes spotty output.  Every bit as good as Beyond Good And Evil, this one finds Ian Astbury, Billy Duffy and Co. cranking out some excellent tunes with some real fire and passion again.  Really faith-restoring after the embarrassing WTF shamefest that was Born Into Shit Born Into This a few years back.

The Sword – Apocryphon:  Dr. Chadrock introduced me to The Sword just a few months before Warp Riders was released back in 2010.  Apocryphon is just epic from start to finish and offers some surprises like the video game-like keyboard intro to the title track, which might be my fave tune here because of what happens after said intro.  This is the living, breathing classic I so badly wanted Warp Riders to be, and an ethereally gleeful melding of the heavy and the melodic with a curious scent of incense

Testament – Dark Roots of Earth:  I still maintain that while I hated most everything Metallica released during the 15 years of Bob Rock-produced albums (one exception is the Black Album…yes, I know, now leave me alone), Death Magnetic proved they benefited from the tighter songwriting skills they developed in the process.  Similarly, Testament has benefited from their experiences away from the band, allowing them to return more creative and juiced than ever…just enjoying making kickass music together again.  Whereas 2008′s Formation of Damnation was a most welcome return to form, Dark Roots of Earth proves that this most underrated of metal entities is undoubtedly far from finished and more than capable of producing a stone cold metal classic.  And damn if Skolnick and Peterson don’t deserve mention in the same breath as the finest rock guitar duos of all time.

Honorable Mention:

Candlemass – Psalms for the Dead:  You either love ‘em or you don’t.  I do…when I’ve had a bad day and there’s no beer in the fridge.

Holograms – Holograms:  You really have to hear this one.  It’s out there in a cool way.

The Whigs – Enjoy the Company:  Hey, it’s The Whigs…a fine disc, but not quite the standout I was expecting.

Fear Factory – The Industrialist:  As with The Whigs, Fear Factory 2012 doesn’t disappoint in the least…it’s just not quite Abysmal enough.

Feeder – Generation Freakshow:  As with The Whigs and Fear Factory…well, you know.  I’m just glad these guys are still making mighty fine tunes.

Melvins – Freak Puke:  You just gotta love Melvins.  OK…I just gotta love Melvins.  There’s no one else quite like them.  They’re known for being the “Godfathers of Grunge” but they’ve influenced so many genres of heavy rock that it boggles the mind.  This is yet another example of the twisted genius of King Buzzo and crew.  Melvins are a band that can successfully surprise and confound even a longtime fan like me, and I love them for it.

Public Image Ltd. – This Is PIL:  Because John “Johnny Rotten” Lydon would probably hunt me down and kick my ass just for the hell of it if I didn’t include the new PIL disc here.  Fact is, if you like PIL, you’ll dig this one.  I do.

Sleigh Bells – Reign of Terror:  I’m not normally a fan of this style, but damn if Sleigh Bells doesn’t bring back the excitement I felt when I first heard Curve.  At-times-abrasive noise with Alexis Krauss’ voice as the perfect foil.

Tiamat – The Scarred People:  Listen, we’ll probably never see another Sisters of Mercy album, so it’s just fine with me that Tiamat continues to release music with the dark waft of Sisters smoke about it.  And they do an excellent job of it…entirely their own band,  yet majorly filling a void mostly due to Johan Edlund’s Eldritchesque vocal leanings.  Their best effort since 1997′s A Deeper Kind of Slumber.

Vote For Wes Morrison In The Bootsy Collins Funk Bass In Your Space Contest

Hello Friends,

I have a friend from my elementary school days in Tennessee who also happens to be a dynamite bass player. His name is Wes Morrison and he has submitted a composition to the Bootsy Collins Funk Bass In Your Space contest. Really cool, jazzy and fun. Please take a listen for yourself and give Wes a vote while you’re at it…he realy deserves it.  Dude can flat out PLAY!

Cheers, love and peace,
Moose

Testament – Dark Roots of Earth

Testament 2012 Nuclear Blast  2012 Nuclear Blast

Man, there’s nothing better than hearing a metal band you loved in the 80′s and 90′s sounding more juiced and inspired than ever on a new release 20 years later.  I remember back in 1987 when I bought their first album The Legacy (an album which initially scared the bejeezus out of me with its dark imagery) and I was blown away by the interplay between guitarists Alex Skolnick and Eric Peterson on songs like Burnt Offerings.  I honestly wasn’t as blown away by the songs on the album, but it was obvious that there was immense talent in the band and I was hooked.

Hooked enough to buy every release since then.  I really thought they were the band that threatened to make The Big Four (Metallica, Megadeth, Slayer and Anthrax) The Big Five.  Though it never quite happened, Testament earned immense respect and produced a bevy of cool albums in the years after.  While I was totally disappointed when the classic Testament lineup eroded (beginning with the departures of axe wiz Skolnick and drummer Louie Clemente), I was equally thrilled when Skolnick returned for The Formation of Damnation a few years back.  To say I’m thrilled with Dark Roots of Earth would be an understatement.

Skolnick and Peterson have never sounded more juiced and Dark Roots of  Earth is quite possibly the best album Testament has ever recorded.  This is a band thoroughly in love with the sounds they’re creating and obviously having a blast creating them.  Kicking off with powerful opener Rise Up, this album  just never lets up and it’s chocked full of everything that has made this band special from the very beginning.  Lead throat Chuck Billy (cancer survivor…YEAH!) turns in one of his very best and most inspired performances, as does the whole band really.

Skolnick originally left Testament because he wanted to explore other less metal musical terrain, and I really believe the band is better for it.  What he brings to the music now is that much better, and that’s saying a lot when you consider the quality of Testament’s songwriting.  Peterson is more of a co-lead guitarist now and Dark Roots benefits from the two guitarists having a better chemistry than ever.  Hell, this band has been bleeding talent from the early days, as evidenced on their absolutely killer metalized cover of Aerosmith gem Nobody’s Faultquite a feat by a band that at that point was still proving themselves.

Witness Native Blood, True American Hate, Cold Embrace and Throne of Thorns, all delivering in spades and showing Testament to be a band with much more to offer…hopefully for many years to come.  This is a guitar hero album in the best way.   Many bands from Testaments early era are pretty much nostalgia acts, but these guys are perhaps more vital than they’ve ever been.  Whatever the journey that’s gotten them to this point, it’s been worth it.

Squarely heavy metal (once again in the best way), Dark Roots of Earth is one of those albums that could truly earn these guys a whole new legion of fans.  If you don’t like metal, you probably won’t like this album, but if you do like metal you’ll want to give this one a good thorough listen.  It’s so good that you’ll probably find yourself wanting to check out their back catalogue,

It’s also so good that you may find that it outshines their fine collection of recordings.   I haven’t been this stoked about a Testament disc since Low.  Welcome back, guys!

Rating:  4.5 out of 5
Download/Buy Dark Roots of Earth and other Testament music

 

Toadies – Play.Rock.Music.

2012 Kirtland Records2012 Kirtland Records

“Maybe I’ll find…a new religion

Underneath a rock…with no television,

With no distractions…only survival,

Perhaps I’ll witness…a great revival.”  (from opening track Rattler’s Revival)

A great revival, indeed.

Over 10 years have passed since Toadies released the criminally overlooked Hell Below, Stars Above and broke up shortly afterward.  In those 10 years they have reunited, released a nice return to form in 2008′s No Deliverance, re-recorded and released Feeler (their rejected follow-up to Rubberneck) and created a nice buzz of anticipation for their next disc.

If you’ve heavily perused The Sonic Abyss, you’ve probably learned who some of my favorite bands are…and Toadies are one of them.  Wrongly thrown into the catch-all “post grunge” category, they’re one of the coolest and most fiercely original rock bands of our age.  Album after album bursts with barely harnessed energy, delicious hooks and careening rhythmic shifts that make listening to a Toadies disc a lot like riding a really good roller coaster.

Now we all want the next album by our favorite bands to be their best yet.  That can’t always happen (rarely does), but it’s great to follow a band that consistently delivers the goods like Toadies.  When I found out a new album was in the works for release this year, I was hoping it would be their classic “magnum opus” that Hell Below, Stars Above tried hard to be.

As soon as I saw the cover, something about the unapologetic simplicity of the title gave me the immediate feeling that this is the album I’ve been waiting for and, well, they’ve done it.  Play.Rock.Music. is a fitting title for a disc that screams boldly “this is us.”  While song structures have gotten more orthodox, the instrumentation, guitar textures and occasional spoken word verses (Rattler’s Revival, Epic Castles) keep everything comfortably left of center.  Even the more straight-ahead rockers are left of center. This is rock music…Toadies style.

The aforementioned Rattler’s Revival is one helluva call-to-arms to kick off the disc and Get Low follows up delivering a powerful mid-paced groove with a relentless energy that doesn’t let up, whatever the velocity.  My fave raves right off the bat (I’m listening to the disc for about the 12th straight time right now) are the two aforementioned tracks, Magic Bullet, Sunshine, Epic Castles and epic Toadies-style hoedown We Burned The City Down.  Laments of a Good Man is another wicked Toadies curveball that grows on me with each listen.  It’s really quite deliciously bizarre.

Truth is, there’s not a duff track to be found on Play.Rock.Music.  I have my favorites, but this is one album full of the strengths of one of the most underrated bands in the history of rock and roll.  After all these years, congratulations Toadies…you’re at the top of your game.  Thank you for following up No Deliverance with the deliverance of a stone cold classic.

And the album title to end all album titles.  Says it all.

Rating:  5 out of 5

CLICK HERE TO DOWNLOAD Play.Rock.Music. OR BUY THE CD

The Sword Are Back With “Apocryphon” October 22nd!

It seems like forever (though it’s only been 2 years) since the mighty Warp Riders was released and I missed the chance to see The Sword at the Chameleon in Lancaster because the drummer abruptly left the band.

Well, The Sword are preparing to release their much-awaited followup CD “Apocryphon” on October 22nd.  All we have is this just-released snippet right now, so enjoy it while we count down the days to the release.  You can preorder the CD now at The Sword’s official website www.swordofdoom.com.  Enjoy Abysmally…and thank you Dr. ChadRock for the heads up on this!

Click here to pre-order/buy Apocryphon (Deluxe Edition)

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Georgie LeHoop – The Original Drum Artist

Georgie LeHoop

“Some people march to the beat of a different drummer.  I am the different drummer.” – Georgie LeHoop

Have you ever heard a painting?

Bet you never thought you’d ever be asked that question!  And it’s a valid question because of one Georgie LeHoop.

I had the good fortune of meeting Georgie this past Sunday at the Mt. Gretna Art Show, a weekend long feast of unique arts and crafts in the beautiful town of Mount Gretna, PA. In an environment absolutely overflowing with unique, creative and original art from paintings to jewelry to metallurgy, Georgie’s drum art stood out to me as the most original.

Georgie LeHoop

Maybe I’m biased because I love music so much, but really…have you ever heard of anything like this before?  Wow!

In a nutshell (drumshell?), Georgie is a lifelong drummer who takes a stretch canvas, dips his drumsticks in paint and drums on the canvas to create his works of art.

The Drum Artist

Flams, paradiddles, ratamacues…all the drum rhythms are there for you to see.  And the art he creates is amazing.

His work is available on original canvas, prints and some very cool t-shirts.  He’s wearing one of them in the picture above.

The Drum ArtistSometimes he records while he paints and did this to create his CD, which is called…

You guessed it…”Have You Ever Heard A Painting?”  You should…it’s like nothing you’ve ever seen or heard and it’s the work of creative genius as far as I’m concerned.

What makes it all even better is that he’s about the nicest person you’d ever want to meet. Down to earth and genuinely kind, his passion for drumming and his drum art is evident after about 5 seconds of talking with him…and his stories behind his creations are fun and fascinating.

Check out the pics and videos here and pay Georgie a visit at his Drum Artist website.

Below, check out Georgie LeHoop and the Electric Kayak!  Thank you Georgie for your time, your kindness and your art.  Rock on, brother!

Here is Georgie’s own description of what he does:

“Rhythms – earth rhythms, life rhythms, ocean rhythms, lunar rhythms, nocturnal rhythms, ancient rhythms. When I hear the waves pounding a shore, I hear rhythm – the wind, the crickets, a grouse drumming, bees buzzing, horses running.  Rhythms have surrounded me my whole life.

Some people march to the beat of a different drummer.  I am the different drummer.  My art is a merging of music and painting.  It is expressed by dipping my drumsticks into paint and then playing a rhythm on a stretch canvas: Producing both a painting and an audio recording.”

Meshuggah – Koloss

2012 Nuclear Blast Meshuggah Koloss

 

 

 

2012 Nuclear Blast Records

I’ve been a longtime fan of this bunch of Swedish virtuosos going back to 1995′s Destroy Erase Improve.  I’ve regarded the followup CD Chaosphere to be their best and have listened to it hundreds of time over and over while doing my geek work during the day.  It’s as atmospheric as it is powerful and is like jazz to me (albeit jazz with a sledgehammer).

While I have every Meshuggah release and honestly like them all, 2005′s Catch Thirty-Three and 2008′s obZen (while being very well done) just didn’t resonate with me like their other releases.  I decided that for my Abysmal ears, Chaosphere was their creative peak and I should just enjoy the fact that this is a band that will keep delivering solid releases for years to come.

Then came Koloss, the 2012 release that has basically reorganized the billions of cells in my brain.  There’s no other band quite like Meshuggah, and they’re the very best of their genre as proven on Koloss.  And Koloss just might be their very best album to date.

“I Am Colossus” kicks off the album in style and sets the tone for the entire disc.  Dizzying and heart-palpitating rhythms are the order of the day with the remarkable Tomas Haake continuing to confound and amaze with his complex polyrhythms which the band hone into tight songcraft that really should be impossible.   Seriously…that this music can even exist is testimony to the immense talent of the band.

Highlights of the album for me are “Marrow” with lead guitarist Fredrik Thordendal’s jazzy Allan Holdsworth-isms working magic against a heavy and hypnotic backdrop, “Swarm” with my fave rhythmic barrage on the album, “Do Not Look Down” with its brutally (down)tuneful staccato riff and some brilliant lead work from Thordendal, and first ‘single’ “The Demon’s Name is Surveillance” whose rhythmic power was my first hint that Koloss was going to be a special album.

And it is…easily their best since Chaosphere and one that you can just put on and let ‘er play without skipping anything.

That the album comes to a close on an eerily beautiful and chill instrumental “The Last Vigil” is testimony to the band’s intelligence and use of dynamics and atmosphere.  This album is a flat-out classic and a definite contender for Most Truly Abysmal Album of 2012.

A word of warning for the uninitiated:  If you’re not into the heaviest side of metal and not of the mind to try it out, you’ll probably be turned off.  Truth is, with music this extreme there’s a fine line between good and bad to the untrained ear.  There’s plenty of crappy music that calls itself extreme metal…Meshuggah sets the bar for both power and quality.  I can’t say that I like Koloss any better than my beloved Chaosphere, but I can’t say I like Chaosphere any better, either.

Rating: 5 out of 5

Click here to download/buy Koloss by Meshuggah.

The Fratellis – Chelsea Dagger

How the hell did I miss this band and especially this album (Costello Music) 6 years ago?

The whole disc is so rockin’, energetic and insanely catchy I just don’t know what more to say.  I was going to post the video for their song Flathead, but Chelsea Dagger won by just a hair.  Both videos are quite cool, featuring retro pinup-style girls, which fit the songs just perfectly.

Fortunately, they have ended their indefinite hiatus as of June of this year and could be recording new material together.  We can only hope.  In the meantime, grab a copy of Costello Music, their phenomenal debut album that will be happily stuck in your head forever.

Oh yeah…Enjoy Abysmally…

Click here to download/buy Costello Music album by The Fratellis.

Click here to download/buy Chelsea Dagger single by The Fratellis.