Naught – Stolen Babies
No Comment Records
The sophomore effort by bizarro circus sounding punk/metal band Stolen Babies has arrived! Yeah, it came out in October, but I had difficulty finding it — their merch store was down for a bit — but I have finally got my copy (along with a sweet-ass t-shirt). I am a pretty big fan of the Dillinger Escape plan; I originally got into Stolen Babies when Gil Sharone (drummer) joined Dillinger, and I read he was from another band. At the time, I was just getting into more agressive music such as Dillinger, thanks to the Mike Patton EP (Irony is a Dead Scene). So, when I heard Stolen Babies, they were way more my speed. The bizarre theatrical approach was very tasty. I listened to the debut and was instantly in love. The mix of stand-up bass, accordion, electric guitar, and Gil’s insanely tight drumming made for one kick-ass album. Flash forward to 2012, and and I’m seeing them in the flesh opening for the all-mighty Devin Townsend (whom they complemented very well, excellent show), which is where I hear they have a new album coming out. Well, color me giddy.
Anyway, that’s not important: I just wanted to mention the concert, so I can say how I got to talk to Gil, and he was an awesome, friendly dude.
Naught opens up with the exciting “Never Come Back” displaying all of Stolen Babies trademark sounds: accordion over heavy metal riffing and a mix of front woman Dominique Persi’s harsh and clean vocals, which she jumps back and forth from quite smoothly. From there, the momentum never lets up. Tracks such as “Behind The Days” and “Swimming Hole” display the dark cabaret mood and atmosphere exceptionally well; one could easily imagine stumbling into some dark Burlesque club in a back alley only to see Stolen Babies performing behind the show. Meanwhile, other songs like “Civil Disguise” tear your nipples off with heavy metal riffs and heavy metal accordion. Stolen Babies continue with short, exciting, never-boring songs that attack one after another just like the debut. Melodies and choruses come in that you can sing along to after one listen, and you sure as hell will be tapping your foot along to right away. The rhythm of the Sharone brothers on bass and drums is the easy highlight for me. Locked into each other tighter than any brothers should be (get it?), they tear through song after song. The ability of Dominique to incorporate the accordion into this music works wonderfully. It never sounds like a gimmick. Instead, it is necessary for the unique sound they are creating.
Naught is just as good as its predecessor if not better. Everything just sounds a little bit smoother this time around. They obviously had a clear vision of what they wanted this album to sound like, and they definitely succeeded. Naught is highly recommended for fans of anything a little bit different or people who just want something exciting and new to listen to. Naught is like being taken by the hand by a creepy, but very nice clown who just wants to show you a good time, in his own schizophrenic way. So, show this highly original band some support, and pick up Naught (and their debut while your at it). Here’s to hoping they do a tour with Diablo Swing Orchestra.
This entry was posted on February 11, 2013 at 12:01 am and is filed under Stolen Babies with tags 2012, Album Review, avant garde, cabaret, dillinger escape plan, Dominique Persi, gil sharone, metal, mike patton, naught, no comment records, punk, rock, sharone, stolen babies. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.