Review: Dead Ernest

Wednesday, 24 March 2010 | By | Add a Comment

New band on the scene and a debut 7-tracker to light up your life.

It starts with the title track and what you hear is one of the finest slices of commercial classic rock that you’ll have heard in ages. The sound is huge, the vocals power out, the harmonies are massive, the guitars burn, the bass pounds and the drums crunch, all to absolute head-shaking effect. But, above and beyond all that, they’ve come up with one seriously addictive chorus on a song that’s simple but destructively effective at the same time as being totally memorable the first time you play it – the first of many, that’s for sure.

“Spooky” is equally powerful but in a more sleaze-rock vein, still with solid lead vocals, the crunch of drums, the throb of bass plus the bursts of riffing guitar, even a searing lead guitar towards the middle of the track, and another song that just takes off with another scorching seventies-esque sleaze-rock chorus – and subject matter, come to that.

“I.D.O.L.” is the band’s own metal anthem, full of electrifying lead guitar, a typically swaggering seventies styled rock vocal, driving rhythm section and all taking off into that title chorus that, once again, hangs in your head and doesn’t let go, one solid stunner of a rock track, once again.

“Eye Of The Storm” starts with bluesy electric slide guitar, soaring lead vocals full of emotion and underlying bass as female chorus joins in on the verse, a distant cymbal splash is heard and the mood becomes ever more threatening as the vocal is full of passion and any minute you feel the thing will erupt – and it does, too – with a vengeance – as this scorching lead guitar riffs roars in to be topped with one red hot lead as the drums and bass drive ahead, the huge sounding chorus rises up and this anthem of a rock ballad just takes off like a rocket, leads into another hot guitar break then ends as it began.

“Pretty”, in contrast, is a 100 mile an hour slice of Sex Pistols-meet-early Green Day styled punk rock, slows in the middle as the guitar break appears, then accelerates to a guitar-fuelled end.

“Babylon” emerges in a hail of guitar riffing and this blistering bass undertow as the sneering vocal intones the verse before, amid a blaze of guitar, another huge chorus comes into play, that mountainous bass ever present at the forefront of things. The track is a kind of bluesy rock anthem with Blur’s “Song 2” styled bass attached to it and some spirited electric guitar leads and riffing throughout, with, yet again, another impassioned lead vocal that carries the massive sounding track to perfection.

Finally, there’s “Church Of Hate”, a roaring slice of “Classic Rock” with a driving rhythm, powerful riffing, solid arrangements, football terrace vocals and huge harmony-laden choruses, a stone cold stunner of a track that ends things almost as we began, with a track that might not be as commercially memorable, but which is just one great track on what is a truly monumental debut of rdrock from a band that surely deserves to be recognised from one end of the country to the other.

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Drummer, part of tech idol and new daddy!