Devil’s Brigade – Self Titled

Whenever I posted a news story regarding the release of Devils Brigade’s debut full length, I always threw in the tag-line “Matt Freeman psychobilly side project.”  But now, after fervently listening to the fruit of the Rancid bassist’s own endeavors, I wish I could back pedal on that descriptor.  True, Freeman does slap a mean double bass, but this is far from what most would associate with the atmospheric horror genre.  Instead, listeners are treated to a full spectrum of sound that should resonate well beyond the niche’s narrow reach.

Early on the album digs its punk-rock rooted heels in deep for a sound that should easily please long time fans of Rancid and company.  Opener “I’m Movin Through” and followup “My Own Man Now” keep a quickening pace, with a one-two guitar and drum punch as steady as the Rancid boys’ annual output.  On that note, Freeman sounds as worn and weathered as a dead dog howling up its last chase.  It’s a coarse, sandpapery combo with a raw, honest, and worldly excitement capturing Devil’s Brigade’s aged delivery (in terms of psychobilly, think Matchless for a reasonable comparison).  Songs like “Darlene” draw upon some serious 50’s rooted rock n’ roll, complete with rebellious grooves resonating their origin.  It won’t be the first time a seasoned listener will have heard this combo, but the consistency keeps things fresh and well rounded.

But for all this speak of familiarity, Devil’s Brigade hardly plays it safe.  In fact, even with downplaying the psychobilly influence, there’s some great distortion to be had, and some moments of brilliance sure to impress even those with a cultish appreciation for the genre.  For instance, songs like “Half Way To Hell” open with a bone-chilling guitar reminiscent of Eastern European cemetery troupe The Coffinshakers(a rare find).  On the flipside, there’s the old timey piano pep of “Bridge Of Gold,” an ode to pioneers heading west in search of fabled riches – and a hopeful tune with at least a loose connection in spirit to today’s recession ridden job climate.  And then there’s the seedy, James-Bond-esque nightclub feel of the Tim Armstrong featured “Gentlemen Of The Road,” a track that stands uniquely on its own, but sticks in memory for its oddly exotic qualities.

My only disappointment for Devil’s Brigade’s otherwise solid debut is the at times dead simple lyrics.  Most of these songs are at their heart sing along anthems, so when the vocabulary takes a dip such flaws detract considerably.  The two biggest offenders come with the mindless title looping of “Ride Harley,” and the eventual chorus cries of “Protest Song,” featuring such transparent and simple lines as “don’t ever forget the common man, the working man, he’s a blue collared man, he’s a fighting man.”  While no one expects Freeman to be the next great poet, a little more thought would certainly go a long way.

Still, a couple simplistic phrases can’t mask the strength of Devil’s Brigade’s breadth of sound.  If you’re like me and enter expecting a simple psychobilly romp, you’re in for a pleasant surprise.  Devil’s Brigade is filled with the unexpected, serving as a solid reminder of why any project by a member of the Rancid gang is a project worth looking into.