Here’s a really interesting idea. The Dirt Tracks new single is three songs in one, but not in the style of say, “Bohemian Rhapsody”, where each distinct section segues into the next; it’s a bit more complicated than that and it’s a very clever idea. To get the full impact of “Kaleidoscope”, you need to be able to isolate the right and left stereo channels because the two songs are panned to opposite ends of the stereo spectrum; if you listen to only the left channel, you hear one song and if you listen to only the right channel you hear another song. Still with me?
To make this idea work, the songs need to have the same tempo, structure and chord sequences, but after that you can get a bit creative and The Dirt Tracks have got very creative indeed. Each track has its own drum pattern, chiming guitar arpeggios and sampled sounds and stands alone as a complete song. The concept is that one of the songs represents rationality while the other represents emotion and the combination of the two songs demonstrates the conflict in the human mind between the two contrasting approaches to the way we interpret information.
So, does it work? When we listen to music in stereo, what we usually hear is a soundscape where various instruments, sounds and voices appear to be positioned at various points from left to right between the speakers or headphones; we expect the lead vocal to be in the centre and anything goes after that. If we hear a sound at exactly equal volumes in the right ear and the left ear, the brain tells us that the sound is directly in front of us. If a sound is louder in the left or right ear, the brain positions it spatially to the left or the right. Have a listen to Thin Lizzy’s “Don’t Believe a Word” to hear how that works; the vocal is in the centre and the two guitars are far left and far right.
“Kaleidoscope” plays with that concept by pushing everything to the extreme right or left of the stereo spectrum. The two songs are very cleverly dovetailed together with instrumental and vocal parts combining in the stereo mix to create a completely new (but similar) song and the harmonies created are particularly effective. I’m only guessing here, but I suspect that everyone will hear this in a slightly different, personal way which is dependent on the way they process music mentally. I listened to the two individual tracks first before combining them into the complete song.
After hearing the individual parts, combining them has a very disorientating effect because we hear sounds in an unusual and unexpected way as the brain struggles to adapt to a new way of listening; the instrumental and vocal parts seem to combine in the centre at times while separating across the stereo channels at others, creating the illusion of moving in and out of phase at times. And that fits in well with the idea of humans having different cognitive styles and processing sensory inputs in different ways.
This is a very interesting piece of experimental music which explores the way the human brain processes music but it’s a lot more than that. It’s a song which, in the combined
form, is slightly disturbing, but totally captivating and you really should give it a listen. And while you’re doing that, check out the first two singles “The Madding Crowd” and “Never Been to Mars” because they’re very good as well.
Available on Monday 5th August on iTunes and Spotify.
I have one rule of reviewing that I never break. I never read a review of something I’m about to review myself. It’s a good discipline because I know that I’m not being influenced by anyone else’s opinion. It’s been really difficult with this album because the press releases and Facebook posts I’ve seen have all made me realise that it needs hard work to do this justice because all of the obvious comparisons have already been made and I’m not going to repeat them.
This is a very, very good debut album from a band who have everything in the locker; strong songs, great playing and outstanding vocals all combine to create a very listenable and accessible funky rock album from this Manchester band. Federal Charm are Nick Bowden (vocals and guitar), Paul Bowe (guitar), Danny Rigg (drums) and L.D. Morawsk (bass), they’ve been together for about two years and this, their first album, features eleven original songs plus a cover of the Lowell Fulson classic “Reconsider Baby” (listed here as “Reconsider”).
The band draw their inspiration from the classic British blues-rock period of the early 70s and play with the assurance and verve of a much more seasoned outfit. There are obvious influences which I won’t bore you with, but you can also hear touches of Wishbone Ash, Thin Lizzy and the Stones in their twin guitar arrangements, which are under-pinned by powerful drumming and basslines which are more melodic than you might expect from a rock band. Throw in an occasional touch of Hammond or piano, and you’ve got a classic rock cocktail. And then there’s the vocals; Nick Bowden has a superb rock voice and he’s equally at ease with the all-out rockers and the slow bluesier material.
The album kicks off with two riff-driven rockers (“I Gotta Give it Up” and “I’m Not Gonna Beg”) before slinking into a funkier groove with “No Money Down” and the slow blues of “Somebody Help Me”. “Reaction” takes the pedal back to the metal before a keyboard swell eases into the brooding menace of “The Stray”. “There’s a Light” and “Tell Your Friends” are funky strutting riff-rockers leading to another tempo change for the superb rendition of “Reconsider Baby”. It’s a brave choice given the list of blues players who have already covered the song (Eric Clapton and Joe Bonamassa off the top of my head) but it works because it’s played at a slower tempo and the emphasis is on the vocal rather than the guitars. “Come on Down” is powered by another funky riff, while the final two songs “Any Other Day” and “Too Blind to See” nod in the direction of the Stones, particularly the intros.
As a debut album, this is a great snapshot of Federal Charm. They wear their influences proudly and they move effortlessly from slow blues to balls-out rockers. The track sequence works perfectly as the album starts and finishes on big rock songs and the slower songs create a contrast to the more raucous rockers. It’s full of melodic invention and great playing from all four members and the quality of the songs is excellent from start to finish.
While I thoroughly recommend the album, I have to say that you really should make the effort to see the band live to get maximum bang for your buck; they play with a self-assurance that never steps over the line into arrogance and Nick Bowden’s voice is superb live. They’re playing all over the country in next few months to promote the album, so get yourself out there and see them.
Out on Monday July 1 on Mystic Records (MYSCD213).
