Album review

Drunk Horse : Adult Situations
Sweet Nothing

Drunk Horse : Adult Situations This band somehow passed me by the first time; a time when the stoner rock thing was sowing the seeds fast and furious and making even the discerning listener a bit of an eye roller. Combine a catchy name like Drunk Horse with some killer riffs and hellacious harmonies, and they've effectively sidestepped the stiffs and aimed straight for the centre.
    I listened to Adult Situations and didn't get bored, point number one. The band fucks a little with otherwise fixed playing positions - time signatures bend and nearly brake, free-reigning pedal effects and plodding bass lines swing and sway off the beaten path - showing both the confident swagger of sound musicianship and the eventual stupor of liquor soaked love affairs and centrefold scenes.

The train leaves the station in fine form with National Lust and Lube Job, two taut introductions into the world of lava lamps, low cut denim and Leslie West. The following Legions trails off a bit yet stands among the lyrically supreme with its suggestive step forward stance.
    The Bitch Is Bach pays homage to an unlikely hero, ". . . the master Bach," a lifetime ago wunderkind who's brilliance is beyond doubt and whose music couldn't veer further from the sun settin', spoke spinnin' Oakland stomp herein.
    Adult Situations sees Drunk Horse kickin' up a storm, wailing away on the amps and the ears of appreciators of heavy rock guitar, serving up a sofa cushion ride through sound tracked scenes of the summer of '74. The track listing only reads nine, but the tunes are rigorously pumpin' the toxins for many an OD-length duration, some four, five, six minutes, or more; with a huge MC5-like curl and Stones'-worn choruses.

:: Vinnie Apicella

Go to top of page
Latest articles

Alone in the dark: Buffy The Vampire Slayer bows out in style with the Season Seven DVD Collection.

Johnny Knoxville plays him in the movie Grand Theft Parsons, but counterculture speaks to the man himself: Phil Kaufman interviewed.