Artist: The Whipsaws
Album: The Whipsaws
Bitrate: 231kbps avg
Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz
Label: Blue Rose Records
Genre: Rock
Size: 87.82 megs
PlayTime: 0h 49min 54sec total
Rip Date: 2013-06-07
Store Date: 2013-07-05
Track List:
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01. Took My Tears 4:24
02. Wait It Out 4:24
03. Cave In 4:00
04. Coralee 3:37
05. Tried And True 4:44
06. Shutdown Checklist 6:38
07. C.F.G. 1:36
08. Reno 4:29
09. What Are The Chances 5:45
10. Lay Down By Me 3:46
11. Daylight 6:31
Release Notes:
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Alaska is a land of extremes ù near endless hours of darkness in winter, and the
midnight sun of summer. It is also a place of isolation, even in the stateÆs
largest city. Many things just never find its way north ù musical trends
included.
This, however, has proved advantageous for the Anchorage-based Whipsaws. While
the popular musical styles of the moment get batted around like a tennis balls
across the net of the Lower 48, The Whipsaws have relied on their own intuition
(and the scattered records collections and obscure radio broadcasts they happen
upon) to become a hard-driving rock band, albeit, one with some stomp and twang
and the ability to mesh that with solid story lines and timeless tales.
"WeÆre kind of sheltered from whatÆs going on Outside," explains lead guitarist
Aaron Benolkin, who also plays steel guitar, banjo and sings. "Alaska has kind
of kept us away to develop on our own, and weÆre better off for it."
The Whipsaws cast off the misguided music industry notion of categorization and,
in true Alaska pioneer spirit, see boundaries as something to cross, not a place
to get held up. Hard and aggressive, crunchy and raw, twangy and roots-deep,
subtle and heartfelt ù these are all accolades that accurately reflect upon The
Whipsaws, driven by attitude, belief and imagination-capturing lyrics.
"If anything we were just kind of experimenting with different sounds, lost
pieces lingering in our subconscious. But it ended up being something completely
ours," says guitarist and vocalist Evan Phillips of the bandÆs approach.
"Collectively weÆve found a liberty that doesnÆt constrain us to play just one
style. If it sounds cool, weÆre just going with it and taking chances," Benolkin
adds.
And like previous albums, The Whipsaws eponymous third album (due in early 2010)
demonstrates the bandÆs desire for continual growth, but in a manner that means
making music with enough integrity that theyÆd not only want to listen to it,
but crank it up so the world can share.
The Whipsaws also represents the solidification of the bandÆs songwriting
approach into a true team effort.
On the bandÆs first two albums, Ten Day Bender (2006) and 60 Watt Avenue (2008),
Phillips came to the table with the bulk of the mostly-completed songs. Drummer
James Dommek, Jr. (best known as Junior) contributed a few songs, and everyone
chipped in to round out the sound. That is all in the past.
"This is a totally collaborative record," Dommek asserts. "We collaborate on all
levels of songwriting, music, lyrics. We all work together to refine the songs,
and Ivan comes up with great arrangements."
That would be bassist Ivan Molesky, who joined the band just prior to the
recording of 60 Watt Avenue and immediately applied his indie-meets-Motown
groove to the band, adding yet another dynamic to an already diverse sound.
"I think outros are my forte," Molesky jokes, "but I tend to be a groove guy. I
brought some of that deep bottom end into the rock and roll thing."
The Whipsaws took 60 Watt Avenue to the Lower 48 for three lengthy tours in
2008. The spring tour culminated with appearances at the SXSW Music Festival.
Their final gig was as backing Tim Easton (who performed on 60 Watt Avenue) at
the Continental Club where Lucinda Williams joined them for a rendition of Bob
DylanÆs classic, "Meet Me in The Morning."
Williams was straight to the point about The Whipsaws.
"This is awesome, this is true, earth, down to the roots, bottom of the soul,
fucking grease, fucking blues and rock ænÆ roll right here. ... IÆm so fucking
impressed. ItÆs hard to impress me, ya know what IÆm sayinÆ?"
Riding that high, the band immediately made plans to record an EP of new
material generated during the tour. Yet, before a solid footing for the project
could be established, The Whipsaws were indefinitely put on hold. An injury
sustained by Evan, a former guide on AmericaÆs highest peak, Denali (Mt.
McKinley), had resurfaced, making it painful to walk, let alone perform.
"It was a really big eye opener for me and the band," Phillips says of the
forced break.
He still isnÆt able to lift his amp, but is "feeling excellent and recharged"
right now. Phillips adds that the time off from touring and playing ù seven
months to be exact ù may have actually been a blessing. The band members all had
time to dabble in other projects, and reunited well rested, and with renewed
vigor and inspiration.
"Coming together again we all kind of felt this great energy to really make
something happen," Phillips adds. "We worked hard for seven years, and to just
have to stop when we had this momentumà I think we harnessed the fears and
anxiety into making a truly powerful record."
Besides devastating hooks, alluring melodies and thinking manÆs lyrics that say
it without saying it, The Whipsaws bristles with a creative sheen, intense depth
and the tight musical interplay of a band excited to be back on the beat.
"It sounds like four guys whoÆs taken every little bit of music theyÆve absorbed
over their lives and are throwing it down," Dommek says. "This record is going
to show that and prove that we are onto something bigger than ourselves."