Cheers Elephant Like Wind Blows Fire
(Self-Released)
An excruciating orgasm can behold you in such a way that you begin to question it. There are all manner of layers to its intricate sensation. All that you can say for certain is that you would like another go.
Philadelphia has bequeathed to us outsiders, such wonderfully wounding sounds recently and at such a velocity we can hardly receive the blows with accepting compliance anymore. The profundity of the output has been frankly, outstanding, and as I prepare to rest this desperate evening I shall indeed be spread-eagled on my hands and knees saluting to the west, to the macabre mecca of Philadelphia, Pennsylvania. For, as is customary to one of such a disposition as myself, fawning the alternate, indie caressers Cheers Elephant must be undertaken in the appropriate manner.
The unassuming sound of Like Wind Blows Fire is an indescribable occurrence in many aspects – commented on by some as being “Chew It Up, Spit It Out, Rock ‘N’ Roll” is a somewhat discretionary comment to say the least, and not an entirely accurate one, despite the delectability of the sound-bite. If this were entirely relevant there should at least be the presence of some masticated organs of inner frustration billowed in a colossal umbrella over a shredding power chord or two. Not that I’m disappointed that this isn’t the case, that’s what the eighties were for. Welcome to the pre-teen years of this caustic millennium.
An inner angst is no longer the necessity for creating affecting metropolis’ of Rock ‘N’ Roll anymore (for we can entirely confound this as such a genre, among many others – as tends to be the multicultural way of things.) The effervescent spirit of Like Wind Blows Fire compels a necessary vision of liquidity, and in fact a dense and complex combination of sensory notes as well. The rhythm of its meandering is of such comparison to the eccentricities of canyon-esque rapids (Travelin’ Mat; Robert Kingsly); the piques of melody represent joyous echoing tides (Derek Krzywicki) and the majestic savagery of the cataclysmic riffs allow you to transcend resurrection (Jordan del Rosario).
Partly, I’m sure, the previously mentioned quotation was an aspiration rather than a true consideration, I mean, who doesn’t want to be that! But, in actual fact, it commits an incendiary disservice to the music that it supposedly portrays. Throughout, passages are embedded with more than merely regurgitations, they are preciously assimilated harmonies and melody falls. The body of the record itself is more of a soulful osmosis of crack-cocaine-grooves and lyrical lullaby’s which are an irresistible indulgence.
Disposing of effortless and unfounded assumptions which, may or may not, be to the detriment of Cheers Elephant is basically irrelevant. A record has been made which confirms every belief that I have ever held about Rock ‘N’ Roll music, which is that it is profoundly unsurpassed as a means of artistic valour. It is consuming, invigorating and wholly believable.