And tonight, I have yet another exciting local (to Minneapolis) release! Harakiri is a band I first saw at a Rawkzilla Battle of the Bands show. I had a few drinks, but I knew I liked what I heard. Initially, I miss heard the name of the group as Heart of Fury (this may have been a result of afore mentioned drinks), and I thought that was a rather lame-ish name, but after searching for their mercy booth, I discovered they were indeed Harakiri. Now, I don't know what the name is from or refers to, and quite frankly, I don't care (maybe I care a little, and I will probably ask them at their CD release show); I do know that these guys are a kick ass live group, and I'm hoping that translates to the album.
Now, there has been traveling to see family, and hosting family happening in the past couple of weeks, so as I am low on cash, I nabbed a twelve pack of Miller High Life from the liquor store down the street. I always hope for something better, but alas, money eludes me for now. I had a few with dinner already, and I'm feeling good and primed to kick back in from my hiatus. Thus, on with the review!
Album:
Harakiri (Self-Titled)
Alcohol:
Miller High Life (The motherfucking Champagne of Beers bitches!)
"C'est La Vie" opens the disc up with naked guitar before kicking into a nice groove compete with ooohs that give a very slow funk feel. As everything comes together into the verse, there is a nice tossing around of focus keeping everything drawing me in. The verse moves into a more unified feeling before picking up really nicely, and the drop back into guitar is nice. The movement throughouot the first half of this tune was killer, and it just keeps going. I'm loving the vocal interplay. The drop to a clean guitar after the second verse is nice, and the line feels like a spiral. If that make sense? I don't know. It's a really cool feel. And I really dig--oh, look there was a mention of a spiral. And the unison part is really cool there swell. Moving into a nice solo. I could almost use more musical intensity. Like a high dynamic? It's nice and intense, but I want more. Cool tune.
We move on to "Danger Will Robinson", and the tune opens slow, and ballady. I really like the voicing here as well,a nd those backing vocals are still ever present. And this is a tune I definitely recognize from the show as the chorus comes in. Simple, but catchy and nice. interesting interludy part here.The music really plays nicely with what the vocals are doing, and it gives this an almost musical theatre quality. Again here however, I want... More... More something... I think it may be a production fault, but it needs something.
"The Borgia" comes in as another ballad feeling song, and then launches into a killer, but not-too-long guitar solo. Drops down again, and god, I love all of the vocal and music interplay. It's a continuing theme, and it keeps you hanging on and waiting for the next twist. More music needs to have this feel. And may I say that the guitars, while very subtle are awesome, and beautifully tasteful. And the change up from pretty appeggios to punchy guitar? Awseome. And moving into a more flowing feel. So much happening and changing and moving right before me... My poor fingers are struggling to keep up.
"Through The Gates" comes in with a very similar feel to it's predecessors, but a neat feel in it's own right. Some of the melodies give this... I'm not sure... Hauntingly catchy? feel. And I like it. I also love how there are beautiful ins and outs of that and pure modern funky rock. This group may not be pushing the envelope on high energy, but they certainly keep you in it and engaged. Another solo in this tune. This one a little more lyrical, and longer too.Beautiful really. A nice way to close.
"Rumspringa" gives us our first taste of real aggression with a pushing guitar line that settles into a groove. Even if this doesn't take off, it certainly retains a sense of aggression. It's nice and well done with a lower dynamic. Again some beautiful music and vocal interplay capped off by a slow vocal part that builds through a flowing lyric line and some excellent guitar, and into a driving and awesome guitar line. Beautiful! The composition and flowing nature is almost too much for my buzzing brain to comprehend. I fear what happens if I reach "Shit-Faced bastard" status.
Opening quietly with mostly voice and low guitar, "To My Old Man" brings in a really cool stop and go groove in the verses and the vocals continue to show off a nice range and blend. And that musical theatre-esque vibe definitely carries on here. I haveint mentioned it yet, but the bass has been more than busy through this whole album as well. Really the rhythm selection moves beautifully along with everything and with all the changes and ins and outs, I can be nothing but impressed. I'm actually blown away by how catchy, and accessible this manages to be with all of its movement and intricacies. It's an excellent feat.
Coming in with a dancy feel, "Lorelei" borders on disco, but when it kicks in there is so much more there. Here, I'm getting that missing drive and heavier dynamic I was hoping for earlier. I le the vocals here too. Lovely falsetto! This tune is the closest to formulaic I've felt on the albums thus far, and it's hardly at that point. The bridge makes lovely use of guitar delay as it builds into a lovely vocal release and cool musical interlude. Back into the opening... And kick in to the chorus. Nice.
"I Love Lucy" comes in with an almost overly cliche ballad feel, but I can dig it... Ooo... Elevator style groove. I can respect. moves along nicely and very pretty. Nice build, and opens up nicely. Female vocals are nice and powerful here. I dig them a lot. The male vocals are up now, and I swear it's like listening to a musical soundtrack, and I do love musicals.
"Epilogue" comes in at a rather in appropriate time as there is one song after it, but it has a nice and pretty feel nevertheless. That guitar tone is lovely, and the growth happening is awesome. With what I've said before in regards to dynamics. Let that not be a shot at how they are used on this disc, because, they are used beautifully, believe me. This song has some lovely example of that. Ooo. Farty bass! I also love the emotion evoked even without lyrics with in the vocals. There are so many wordless tags and melodies that create beautiful depth with the mucis. Killer build! And nice nasty kick in. Love it! Lovwly.
"Apples From A Tree" starts the close of the disc with more groove. The whole disc does have a bit of a static feel in that... Every tune takes you all over the place... And here we go taking off again. It can be somewhat exhausting, but in an entirely awesome way. Again, there is a definite accessibility retained; however, it is a bit much listening front to back. But again, just when they have you lulled into that sense of slow and pretty they hint at growth, and then bitch slap you back into awesome. And oh, so aweomse. There is such a retro-modern (god, that's a cliche term) feel to it. It's a real--oh shit.. Is that... Sax? Yes, I think so. Hot. So goddamned hot. Just shat myself. figuratively. But on the real. Holy shit, this is a cool track. Or... You know... hot track? And nice flourish to close out the disc.
Final Thoughts:
I'm not quite going to call this mind blowing, because that's not the way Harakiri approaches it mental destruction on this album. It's much more a sense of mind melting until your brain leaks out your ears and pools around you leaving you in pure liquid-lobotomized bliss. Yeah... that's accurate.
-Badhorse
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