Hectorina, Lee Bains III and The Glory Fires, Modern Primitives, Temperance League


psychedelic garagey math pop band from Charlotte, NC

Lee Bains III and The Glory Fires

What awaits you when the needle drops on Dereconstructed, the new album by Lee Bains lll & the Glory Fires? Nothing less than pure fucking heaven, that’s what.

Consider the record’s opener, “The Company Man.” It revs up with a riff sleazy enough to clog Rod Stewart’s stomach pump as an incantation that only a Yellowhammer can truly understand is bellowed and then screamed. Before you know it, the joint is hotter than a Birmingham soaking pit while you, the listener, are reminded, lest you forget, don’t ever trust the company man.

No shit.

Dereconstructed is a careening, road raging, all night party of a record. Informed by a distinctly southern hoodoo, it is a master class in authentic Gulf Coast choogle. Having cut his teeth in the Dexateens, Lee Bains lll has been properly schooled in how to throw down, so much so that even his hyper literate musings are no match for the blown out distortion that gives this record its blistering urgency.

Songs like “The Kudzu and the Concrete,” “Dirt Track” and the roaring, blissfully shambolic title track could be anthems looking for a stadium, but they’re also reminders as to why Lee Bains lll & the Glory Fires are such a formidable party machine. If your hometown is graced with a scuzzy dive and a few warm bodies to populate it, you’d best believe that the Glory Fires have been there, or are on their way back.

Dereconstructed is Lee Bains lll & the Glory Fires’ debut for Sub Pop Records. It is preceded by the band’s actual debut, There Is a Bomb in Gilead, on Alive Natural-Sound Records (2012).

Dereconstructed was produced by Tim Kerr, and engineered by Jeremy Ferguson at Battle Tapes, Nashville, TN.

Lee Bains III & the Glory Fires are:
Lee Bains lll: Guitar and Vox
Eric Wallace: Guitar
Adam Williamson: Bass
Blake Williamson: Drums

The band resides in Atlanta, GA and Birmingham, AL.

- by Jonathan Poneman

Modern Primitives

Travis Phillips - Vox and Guitar, Darien Steege - Bass, Phillip Gripper - Drums

Temperance League

If a Temperance League show doesn't end with the singer swinging from a rafter, table-walking through the bar, or drenched in sweat and geysers of cheap beer, you could well be at some other band's show. Led by 39-year-old Charlotte native Bruce Hazel, Temperance League has been overturning the old-guys-can't-rock notion since solidifying as a quintet two years ago. They're doing so at a pace that
should shame many younger acts, kicking out blitzkrieg jams on a relentless basis.

The band's initial singles—released through their own Like, Wow label—are culled from 2010 sessions done with Mitch Easter at his Fidelitorium. The songs channel the band's forebears, including fiery elements of the MC5, Ramones, Springsteen and even the Byrds, all in a vintage-sounding blend of swagger and catharsis. But what sounds raw and feral belies the craftsmanship that's gone into these tracks. The two-guitar attack of Shawn Lynch and Chad Wilson tears through muscular rhythms delivered by drummer David Kim. Hazel, meanwhile, shouts out common-man aphorisms and left-leaning agit-prop like the possessed offspring of Strummer and The Boss. Decades spent slugging it out in the service industry provides him with plenty of narrative vigor and vitriol.

As energized as the singles sound, it's live that the Temperance League really plugs into its strengths. The live chops are formidable, having been honed in some of the Queen City's best bands of recent years, including Lou Ford, Benji Hughes, Les Dirt Clods, the Fence Lions and Buschovski, among others. It's a veteran lineup, in other words, playing music we traditionally associate with younger generations. But while youthful rockers find punk energy and inspiration in the hunger to make their mark, this band is powered by something maybe even more urgent—the ticking clock. —John Schacht

$5.00 - $7.00


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