Middle Class Rut No Name No Colors Reviews

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Drummer and singer/guitarist duos have seen a ascent in popularity in the last decade, with The White Stripes, The Black Keys and, erm, The Ting Tings among the most prevalent in the field. From this perspective at least, Middle Class Rut may be treading erstwhile ground but that's not to say that they can't do so in some damn shiny shoes.

No Proper name No Colour marks the duo's debut release, a collection of 12 songs composed and recorded over a four yr period. As a result, the album features more raw contrast than cohesive progression but this seems to suit the aggressive selection of tracks on offer here. Instrumentally, the band instantly draw comparisons to Rage Against The Motorcar: frontman and guitarist Zack Lopez's utilize of octave furnishings serves to fill the low end normally occupied past the bass guitar, a technique which is more than reminiscent of Tom Morello's hard-rocking pyrotechnics.

The fact that Middle Class Rut are able to create such a jumbo audio with so few instruments is attestation to the band's ingenuity and dedication to their arts and crafts; No Name No Colour is simultaneously unrefined yet remarkably polished and highlights the pair'due south unique approach to ii-human functioning. Opening tracks 'Busy Bein' Born' and 'USA' demonstrate this with a groove worthy of early on Jane'due south Addiction, Lopez'due south vocal melodies recalling Perry Farrell but delivered along the lines of Jesse Lacey. Taking just the right amount of influence from both old and new seems to accept served the ring well in creating their own unique brand of alternative rock and punk.

As No Name No Color develops, Eye Class Rut keep to demonstrate their diversity, whether it's the cowpunk of the suitably titled 'Alive or Dead', the Beastie Boys-esque 'One Debt Away' or the insufficiently subdued 'Are Yous On Your Fashion'. Perhaps the anthology's nigh successful track is lead single 'New Depression', showcasing the band'due south distinctive blend of fierce riffery and catchy vocal hooks.

While it starts off remarkably well, No Name No Color begins to lose momentum effectually the thirty minute marker. It is at this point that Middle Form Estrus'due south methods serve to both impress and frustrate in equal measure; while their commitment to live performance is commendable, information technology oftentimes limits the scope of their musical output. Although there is certainly interplay between guitar and drums throughout the album, there is only so much one can do with single-note riffs: information technology rests non only upon the input of other musicians but also the willingness to overdub in club to add some much-needed flavour to the proceedings. The latter half of No Name No Color feels disappointingly bare and even static in comparison to the energy and vibrancy that surrounds its opening half-hour.

Nonetheless, Middle Class Rut have crafted a solid release that, while unlikely to set the earth on fire, nonetheless makes for an impressive debut. The fact that the anthology fails to maintain its high momentum throughout indicates that this particular drove of songs may have been ameliorate suited to the shorter EP format, thus omitting much of the filler that dominates No Name No Color'south closing stages. Future releases, particularly if written and recorded in a shorter time frame, will no dubiousness rectify many of the bug with this first endeavor. Should Middle Class Heat choose to expand their musical palette, equally The Black Keys take done in recent years, they may well prove to be a considerable strength in the alternative rock arena.