Customer Reviews

Black Comet

5 star:		(1)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

In the past five or so years there has been an obvious trend in popular music. I have heard people refer to it as a "revival". There has been something missing from most of the albums that have been released in this new-old genre. Interpretation. A band of moderately versed musicians can mimic just about any riff or nostalgic mood that rock and roll has to offer, but that is not what makes something relevant. The Heavenly States are relevant because they lace up their musical shoes with their own soles, pockets, tongue and gription. The songs are all different and full of invention. They use their own particular illusions and fears and angst and love, and wrap it up in riffs that we've `almost' heard before. I swear there's a Van Morrison song in the vein of "Look and Listen" but the chorus takes it somewhere else completely. The title track is much like the comet Ted Nesseth sings about. It rushes by, beginning with a huge tribal drum beat that becomes a country ho-down. In the middle eight, the sax solo (yes - a sax solo) is like Clarence Clemons on speed with the rest of the E Street Band. I'm able to hear a multitude of influences and at the same time have a feeling I haven't had before. The album rolls seamlessly in and out of emotions and genres and that makes it stand out like the sore thumb home in the neighborhood -- the home you have to wonder about. This year, it's being subletted by The Heavenly States.

The Heavenly States churn out rambunctious rock, like the spawn of The Replacements and The Wonder Stuff. The spirit of a rollicking bar band drives much of Black Comet, but what really makes the album click is the addition of Genevieve Gagon's violin and viola. These smokin' strings combine with occasional sax, trumpet and keys to expand the band's sound, enabling The Heavenly States to rock in a more unique way, which is always good. On songs like "Elastic Days" and "Look And Listen," Gagon's violin adds an extra emotional element and an urgent texture to the tunes. While Ted Nesseth's vocal range does not appear to be that broad, he compensates by having something just as important: a true tone of sincerity.

- Connell Burton McDaniel
Synthesis.net

This is the Heavenly's second release and, like the first, it's a huge disappointment.

As a live band these guys are a visceral, raw, scream-your-head-off band that can live with any other band around.

As a studio band they seemingly have no idea. The drums sound as though they were recorded through a 30 foot steel door from six hundred miles away and the overall sound of the album suffers the same fate.

Songs like Racetrack and Pretty Life (so vital in concert) are limp wristed and lard assed.

How songs that sound so good when you see these people live can die such a horrific studio death is beyond me.

I think THS should really think about changing producers or do something positive for the next release, because this is 12 tracks of bad news.