Working at a record shop is pretty sweet. I worked at one for years, and the only time it sucked would be on say, a cold rainy Tuesday afternoon, when there would be nuh-thing to do. So you’d find yourself going through CD bins to make sure everything was filed correctly. One day I pulled out a CD with this psychedelic collage/painting, kind of like something Rick White would do, and guessed (correctly) that this would most definitely be worth a spin. What came next was one of the most serious guitar tones, followed by an even more serious riff, and by the end of the record the shop had a new favorite band.
Five records later, Dead Meadow continue to deliver. On Old Growth, the California transplants deliver their most refined album to date. As on previous records, they structure it around their 3 staples: head nodding riffs, fantasy inspired lyrics and deep grooves. But the appropriately titled Old Growth manages a new interpretation, which forges a different vibe not found on any of their previous records. Guitarist Jason Simon has always been a bit of a pedal-dancer, but as opposed to Shivering King and Others, which sounds like it could have been recorded underwater, the production on Old Growth has been stripped away to reveal top guitar playing and, thanks to playing (hard?) in his hardcore days, Steve Kille’s bass comes through in the mix more than ever.
In keeping with the tradition that started on their first album, the opener “Ain’t Got Nothing (To Go Wrong)” is a monster. With drums just behind the beat, a plodding riff and lyrics about sunny days, this new fave opens the record. Back to a 3-piece—and with the stripped away production—the sound is more open and clear, leaving space between the notes. The whiny sneer of Simon’s voice had been replaced by a more mature rasp, and his continually improving guitar playing is evident. But then about halfway through the song, as if to remind us they still have it in them, the effects are turned on, rooted by some excellent wah-guitar solos, and they take off on a soaring psychedelic ride.
The album is made up primarily of nodders, but they still flex their acoustic chops as well. The fourth song on the album, “Down Here,” comes as a breath of fresh country air. It’s almost as though their new California surroundings have been influencing them, giving us a laid-back finger-picked piece. “I’m Gone,” which could be fairly labeled country-rock, is further proof of this, and closer “Either Way” is their most relaxed and prettiest to date, an acoustic sister to “Stacy’s Song” from Feathers.
But it’s the Meadow’s brand of psychedelic rock that I love them for. “Between Me and the Ground” carries the momentum of the opener, and “Till Kingdom Come” brings us to the real meat of the record. The middle bi of the record is psych-rock at its finest and ending this section of the record, “The Queen of All Returns,” which goes from storming riffs to spacey solos, exemplifies this.
The record’s whole sound is displayed on the first single, “What Needs Must Be.” A dirty, not distorted, guitar tone, a groove rooted in a clean bass line, new experiments with studio trickery and most importantly, proper guitar solos.
It occurred to me one day that they must be one of my favorite bands because their CDs were always at the top of the pile. It is not surprising when I think about it. Their albums have always been complete pieces, with quality songs from beginning to end, not just a couple tunes and a bunch of filler. This record measures up well, if not stands above their previous material, and there are a boatload of terrible puns that could be made regarding the growth of this maturing band and the album title. So I will spare you and say this record is yet another step forward by one of the top rock ’n’ roll bands today. This record is perfect for evenings, or late nights when you are getting that second (or third) wind.
Old Growth is out 2.5.08 on Matador.
More on Dead Meadow, including tour dates, here: myspace.com/deadmeadow
Download – "What Needs Must Be" from Old Growth – [mp3]
