La Chinga (CANADA)
Napísané: 06 Okt 2023, 08:47
La Chinga - Freewheelin' (2016)
Year : 2016
Style : Hard Rock
Country : Canada
Audio : 320 kbps + front
Size : 101 mb
Bio:
La Chinga is a hard Rock power trio with psychedelic powers sitting on the worlds edge in Vancouver, Canada. Drawing from Sabbath, Zep, the MC5 and their own superbad habits, La Chinga has established a beachhead with Detroit's Small Stone records and a penetrating buzz across Canadian campus radio. Released in 2013, the bands debut self-titled album prompted ecstatic reviews from the kind of people who wonder why they don't make em like this anymore.It was in the year of the no lord 2012. In the dark wilderness of Vancouver, BC, where lost youths teemed in search of the true power of ROCK, three men chosen by occult forces too sinister to name rose up in answer to that dire and baleful call.With their electric black magic unleashed and in full flight, they bonded with the children of the forest over Cro-Magnon riffage, pounding drums, banshee wails, bell bottoms, boogie vans and the sweet miracle of tequila. Through sheer stoopidity, brutality, violence and volume they honed their primordial craft into a sonic axe of stone, opening skulls with deadly precision for as far as the pterodactyl flew.They would meet regularly, when the moon was full, filling their bellies with intoxicating wild berries, their faces wet with lizard blood as they summoned an unholy frenzy of righteous and orgiastic riffage, bashing out pagan odes to some long forgotten bronze age GOD.Through their music they traveled back in time to year UR, where they became wild and their manes grew shaggier.And thru this transmogrification their vision became clear, the seas of bullshit parted before them and they were free to shuffle off the chains of modern society and raise a stubby and musk-tinged middle finger to the craven new world.Their war cry became their name, their name... La Chinga! Their mission: to vanquish all foes.Three men. They howl, growl, prowl and stomp upon the terra in a glorious march to free man from his own mortal enemyHIMSELF!!! La Chinga!! La Chinga!!! La Chinga...!!!!To be continued...?
Album:
Boogie Van-couver trio La Chinga signed to Small Stone Records in 2013 following the release of their self-titled debut (discussed here), a blow-the-doors-down heavy rock affair that served notice from on high (or up north) that the band were a force taking shape. Their second outing, the unassumingly titled Freewheelin’, makes no attempt to fix what wasn’t broken either with that record or with the audience-friendly tenets set forth by masters Stanley and Young in ages past, but shows definitive growth in craftsmanship and the tightness of its performances.Comprised of 10 tracks and not to be confused with the Bob Dylan album of similar name, the 44-minute Freewheelin’ gets off to a raucous start and offers little by way of letup between “Gone Gypsy” and the 10-minute closer “The Dawn of Man,” their boozy intention writ large over each motion-minded cut between as bassist/vocalist Carl Spackler, guitarist/backing vocalist Ben Yardley (also theremin, mandolin and lead vocals on “Faded Angel”) and drummer/engineer Jason Solyom build furious classic-rock-gone-modern momentum across the crisp side A salvo of “Gone Gypsy,” “Mother of all Snakeheads,” “White Witchy Black Magic” and “Stoned Grease White Lightnin’,” the latter two titles of which feel drawn from a stoner rock name randomizer, but which provide landmark choruses whose impressions resonate through the end of the record and beyond. At the start of the record, “Gone Gypsy” seems particularly to be gunning directly for latter-day Sasquatch‘s ’70s-via-’90s crown, but La Chinga expand from there even as they head into the sprint of “Mother of all Snakeheads,” the start and central shuffle of which could just as easily have been born out of a Radio Moscow jam.It’s a potent blend of elements, and as much as the focus of Freewheelin’ is everybody-get-down-and-have-a-good-time, the album does have a front-to-back flow and stylistic depth to that course. The party is in full run as the hooks of “White Witchy Black Magic” and “Stoned Grease White Lightnin'” take hold, but with the turn to the Yardley-led “Faded Angel,” which trades back and forth between acoustic and electrified stretches, La Chinga signal not just a slowdown, but a general spreading out of their aesthetic basis. The subsequent “Mountain Momma” is livelier but still centered around an unplugged arrangement, Spackler‘s best Robert Plant holding sway over a momentum drawn down only to be rebuilt again. With the way the songs are positioned and the fade-in of “War Cry,” I’m assuming that’s where the vinyl split is, but don’t quote me on that.Either way, the track maintains the backing vocals from “Mountain Momma” but revives the stomp and push of the earlier material, the kicked-in-the-ass AC/DC vibe surging to the fore atop Solyom‘s punctuating snare as La Chinga get down to business once again. The scope will broaden furthest on “The Dawn of Man” still to come, but “K.I.W.” introduces a more mid-paced boozy roll, boasts yet another scorching solo from Yardley, and rides out on a long fade following some awaited cowbell. That leaves “Right On” to ground the audience one more time in a killer hook before the closer takes off into the stratosphere, and it’s a task to which the penultimate track is well suited, a crowdpleaser of spilled beer and banged head, it reaffirms the rock-for-rockers ethic at the core of the record as a whole and neatly summarizes a major portion of the album’s appeal in the three-piece’s efficient, sing-along-ready modus.La Chinga‘s debut showed some nascent psychedelic influences, but nothing quite so firmly entrenched as “The Dawn of Man,” which sets itself apart immediately from the rest of the album preceding in a subdued, patient introduction that builds to its full thrust over the first two minutes before unfurling the first verse and carries a semi-lysergic feel through a layered chorus, extended solo section, return of the verse/chorus and long, trippy march outward into the record’s end. Obviously, “The Dawn of Man” isn’t without its underlying structure — that’s what all that verse/chorus stuff is about — but what sets it apart is what La Chinga do with that structure, and “The Dawn of Man” is a bolder push into space than anything else they’ve done to this point or anything else presented on Freewheelin’.That’s the point. It’s intended to stand out, intended to end the record on a switched-up note from what came before, and through it, La Chinga signal to anyone who hasn’t yet passed out that they haven’t yet reached the be-all-end-all of their songwriting progression. Because they not only make this turn at the end of their second outing and Small Stone debut, but because they pull it off successfully, it’s easy to imagine the band continuing to progress from here, but the consideration of what the might do in the future shouldn’t come at the expense of appreciating what Freewheelin’ has to offer, its fine-pointed, energetic shove a reminder that the whole point of rock and roll in the first place was to make you move. So move.
Line Up:
Carl Spackler: Bass, Vocals,
Ben Yardley: Guitars, Vocals
Jason Solyom: Drums
Tracklist:
01. Gone Gypsy
02. Mother Of All Snakeheads
03. White Witchy Black Magic
04. Stoned Grease White Lightnin'
05. Faded Angel
06. Mountain Momma
07. War Cry
08. K.I.W.
09. Right On
10. The Dawn Of Man
Download links for all albums only on our blog here: http://goodmetalandhar.do.am/
Year : 2016
Style : Hard Rock
Country : Canada
Audio : 320 kbps + front
Size : 101 mb
Bio:
La Chinga is a hard Rock power trio with psychedelic powers sitting on the worlds edge in Vancouver, Canada. Drawing from Sabbath, Zep, the MC5 and their own superbad habits, La Chinga has established a beachhead with Detroit's Small Stone records and a penetrating buzz across Canadian campus radio. Released in 2013, the bands debut self-titled album prompted ecstatic reviews from the kind of people who wonder why they don't make em like this anymore.It was in the year of the no lord 2012. In the dark wilderness of Vancouver, BC, where lost youths teemed in search of the true power of ROCK, three men chosen by occult forces too sinister to name rose up in answer to that dire and baleful call.With their electric black magic unleashed and in full flight, they bonded with the children of the forest over Cro-Magnon riffage, pounding drums, banshee wails, bell bottoms, boogie vans and the sweet miracle of tequila. Through sheer stoopidity, brutality, violence and volume they honed their primordial craft into a sonic axe of stone, opening skulls with deadly precision for as far as the pterodactyl flew.They would meet regularly, when the moon was full, filling their bellies with intoxicating wild berries, their faces wet with lizard blood as they summoned an unholy frenzy of righteous and orgiastic riffage, bashing out pagan odes to some long forgotten bronze age GOD.Through their music they traveled back in time to year UR, where they became wild and their manes grew shaggier.And thru this transmogrification their vision became clear, the seas of bullshit parted before them and they were free to shuffle off the chains of modern society and raise a stubby and musk-tinged middle finger to the craven new world.Their war cry became their name, their name... La Chinga! Their mission: to vanquish all foes.Three men. They howl, growl, prowl and stomp upon the terra in a glorious march to free man from his own mortal enemyHIMSELF!!! La Chinga!! La Chinga!!! La Chinga...!!!!To be continued...?
Album:
Boogie Van-couver trio La Chinga signed to Small Stone Records in 2013 following the release of their self-titled debut (discussed here), a blow-the-doors-down heavy rock affair that served notice from on high (or up north) that the band were a force taking shape. Their second outing, the unassumingly titled Freewheelin’, makes no attempt to fix what wasn’t broken either with that record or with the audience-friendly tenets set forth by masters Stanley and Young in ages past, but shows definitive growth in craftsmanship and the tightness of its performances.Comprised of 10 tracks and not to be confused with the Bob Dylan album of similar name, the 44-minute Freewheelin’ gets off to a raucous start and offers little by way of letup between “Gone Gypsy” and the 10-minute closer “The Dawn of Man,” their boozy intention writ large over each motion-minded cut between as bassist/vocalist Carl Spackler, guitarist/backing vocalist Ben Yardley (also theremin, mandolin and lead vocals on “Faded Angel”) and drummer/engineer Jason Solyom build furious classic-rock-gone-modern momentum across the crisp side A salvo of “Gone Gypsy,” “Mother of all Snakeheads,” “White Witchy Black Magic” and “Stoned Grease White Lightnin’,” the latter two titles of which feel drawn from a stoner rock name randomizer, but which provide landmark choruses whose impressions resonate through the end of the record and beyond. At the start of the record, “Gone Gypsy” seems particularly to be gunning directly for latter-day Sasquatch‘s ’70s-via-’90s crown, but La Chinga expand from there even as they head into the sprint of “Mother of all Snakeheads,” the start and central shuffle of which could just as easily have been born out of a Radio Moscow jam.It’s a potent blend of elements, and as much as the focus of Freewheelin’ is everybody-get-down-and-have-a-good-time, the album does have a front-to-back flow and stylistic depth to that course. The party is in full run as the hooks of “White Witchy Black Magic” and “Stoned Grease White Lightnin'” take hold, but with the turn to the Yardley-led “Faded Angel,” which trades back and forth between acoustic and electrified stretches, La Chinga signal not just a slowdown, but a general spreading out of their aesthetic basis. The subsequent “Mountain Momma” is livelier but still centered around an unplugged arrangement, Spackler‘s best Robert Plant holding sway over a momentum drawn down only to be rebuilt again. With the way the songs are positioned and the fade-in of “War Cry,” I’m assuming that’s where the vinyl split is, but don’t quote me on that.Either way, the track maintains the backing vocals from “Mountain Momma” but revives the stomp and push of the earlier material, the kicked-in-the-ass AC/DC vibe surging to the fore atop Solyom‘s punctuating snare as La Chinga get down to business once again. The scope will broaden furthest on “The Dawn of Man” still to come, but “K.I.W.” introduces a more mid-paced boozy roll, boasts yet another scorching solo from Yardley, and rides out on a long fade following some awaited cowbell. That leaves “Right On” to ground the audience one more time in a killer hook before the closer takes off into the stratosphere, and it’s a task to which the penultimate track is well suited, a crowdpleaser of spilled beer and banged head, it reaffirms the rock-for-rockers ethic at the core of the record as a whole and neatly summarizes a major portion of the album’s appeal in the three-piece’s efficient, sing-along-ready modus.La Chinga‘s debut showed some nascent psychedelic influences, but nothing quite so firmly entrenched as “The Dawn of Man,” which sets itself apart immediately from the rest of the album preceding in a subdued, patient introduction that builds to its full thrust over the first two minutes before unfurling the first verse and carries a semi-lysergic feel through a layered chorus, extended solo section, return of the verse/chorus and long, trippy march outward into the record’s end. Obviously, “The Dawn of Man” isn’t without its underlying structure — that’s what all that verse/chorus stuff is about — but what sets it apart is what La Chinga do with that structure, and “The Dawn of Man” is a bolder push into space than anything else they’ve done to this point or anything else presented on Freewheelin’.That’s the point. It’s intended to stand out, intended to end the record on a switched-up note from what came before, and through it, La Chinga signal to anyone who hasn’t yet passed out that they haven’t yet reached the be-all-end-all of their songwriting progression. Because they not only make this turn at the end of their second outing and Small Stone debut, but because they pull it off successfully, it’s easy to imagine the band continuing to progress from here, but the consideration of what the might do in the future shouldn’t come at the expense of appreciating what Freewheelin’ has to offer, its fine-pointed, energetic shove a reminder that the whole point of rock and roll in the first place was to make you move. So move.
Line Up:
Carl Spackler: Bass, Vocals,
Ben Yardley: Guitars, Vocals
Jason Solyom: Drums
Tracklist:
01. Gone Gypsy
02. Mother Of All Snakeheads
03. White Witchy Black Magic
04. Stoned Grease White Lightnin'
05. Faded Angel
06. Mountain Momma
07. War Cry
08. K.I.W.
09. Right On
10. The Dawn Of Man
Download links for all albums only on our blog here: http://goodmetalandhar.do.am/
