Artist: Bad Vibes
Album: No One’s Safe
Release Date: August 31, 2017
Label: Blind Owl Records
No One’s Safe, the debut album from local rock & rollers Bad Vibes, is the soundtrack for your next desert trip out.
Bad Vibes do everything just a little bit differently. Where a less dynamic band might get bogged down by the pseudo blues twang at the core of their sound, Bad Vibes inject enough unmuzzled psychedelic energy into their swampy mass of drug fueled rock & roll to make the whole thing float. There’s an almost throwback bravado to Bad Vibes absent in much of rock music nowadays. Whereas many modern rock bands opt for the slick, effortless cool of minimalism, Bad Vibes don’t shy away from dramatic composition, pairing solos and breakdowns vaguely reminiscent of the psychedelic/prog bands of the 70’s with their delta blues roots.
The album kicks off with the atmospheric blues singalong “Strange Love”, which boasts an almost Brian Jonestown Massacre-esque lead guitar line, but it’s “Trial By Fire”, the third song from No One’s Safe that puts their mixture on full display. Commencing with a vaguely Spanish melody line doubled on organ and guitar, the song builds slowly and deliberately, leading to singer Jason Meyers’ hypnotic chorus chant. Framed by Nick Sinutko’s wild farfeesa-style organ noodling, Jordan Searls’ growling bottom end & Rory Morison’s tasteful, hooky guitar work, the whole thing feels like some sort of desert trip out, and just as smoothly as it arrives it descends into the bootstomping refrain “You can’t fight fire with fire baby.”
No One’s Safe, released by Blind Owl, the imprint helmed by Mrs. Henry’s Daniel Cervantes, is a fully realized dive into the Bad Vibes’ world, where all epiphanies lie just beyond some nameless ‘darkness’. Just jump to 1:18 in their song “Last Days” to see their propensity for finding the sweetest release amidst their most jagged of passages. “Grandfather Moon”, on the other hand capitalizes on empty space, creating a dark, brooding canvas on which organ and guitars gently exchange licks. Meyers’ voice excels in these places, as he softens the normally brittled edges into an ethereal croon.