Apologies if you don’t use Spotify, but their play button was the most convenient way for me to embed tracks for this post.
Having recently completed a degree at BIMM, I remember that appearing on the BIMM album could be a contentious issue. On the one hand, you gain the recognition, and maybe some added confidence in your work, having passed through the screening process for demo submissions and been deemed worthy. You gain the pre-production with tutors, the recording and, seemingly at worst, a free recording of one of your songs. On the other hand, it does carry a reputation, deserving or not, as selling out to the man, letting the college tell you how to write and any listener will hear the recordings through the filter of their opinion of the institute.
As I don’t hold any grudges myself against good old BIMM, I feel it would be unfair to completely neglect to mention here the tight budget and time restrictions placed on the album.
So, I’ve tried to be as subjective as I can, but my own experience studying at BIMM was a positive one, and it seemed right to mention that at the start of this review.
“You gave it all for the recognition, you gave it all for the rock n roll.”
Wisely picked to open the album, Spit Shake Sisters kick it all off with a whoop, a hi-hat count and a fill round the drums that flows into the gratifying groove that follows. Almost immediately, the band play with the underlying tempo, suddenly switching to a heavily accented offbeat that jars quite satisfactorily with the cowbell groove that plays through the opening. The guitar work is almost pure virulent riffs, and the band’s attitude almost seeps from the speakers as the song plays.
The chorus lyric could have come straight from the reincarnation of Detroit garage rock, smelling of motor oil and positively wallowing in its own nihilism. “I am a man of no releejon / I believe in death and UFOs.” After being drawn in by the infectious guitar riff, the song sells itself with a relentless rhythm, pounding into your subconscious until the temporary move towards the accented offbeat provides fleeting relief. Continue reading “Review: Volume Contrast Brilliance, 10th Anniversary BIMM Album”