Review Summary: The eclectic trauma of some gritty, confrontational punk music.
California breeds some interesting brands of punk music. Plague Vendor is another eclectic band on the Epitaph Records catalog that just released their debut album, Free To Eat. The band doesn't need long to leave an impression as the album flies by at around twenty minutes. Along the ride there are various influences from what feels to be separate genres coming together to flaunt energetic anthems. The band moves from dance themes to aggressive brawls with ease, packing as much fun as possible into the album.
'Cursed Love, Hexted Trust' is one of the standout tracks on the album. It bolsters a solid mix of dance rock and punk. Vocalist Brandon Blaine mixes what sounds like a Jack White impression until he turns on his throat to spit a flow that wouldn't sound misplaced on a Red Hot Chili Peppers album. He means to be confrontational, and that is what his eccentric vocals are doing. It's his ability to keep the song moving at breakneck pace while maintaining an incredible range on his chords that blew me away on the first listen. 'Numbers' is another track that has Blaine soaring to the height of his range, almost as if trying to break his voice. Just give the first 30 seconds of 'My Tongue Is So Treacherous' and experience the jaw dropping range for yourself.
Musically the band pulses along with a vivacious mood similar to Funeral Party and The White Stripes. The intro of 'Plague Vendor' sounds like a song off of Icky Thump, and transforms into an atmospheric letter spewing anthem similar to 'New York Moves To The Sound Of L.A.' The guitars are gritty, twangy and heavily echoed. At times Jay Rogers just slaps his strings to release a quick pulsation of echoes, like at the end of 'Garden Lanterns.' Otherwise, he is bending and thrashing his way across the fretboard. Luke Perine has great control over his extremities behind the drum kit. He brings a punk feel to the album, especially with his syncopated blastbeats pounding behind the discordant guitars on 'Seek The Ruby Scarab.' The band ends the album at breakneck pace with 'Neophron Percnopterus.' The bass, provided by Michael Perez, is bellowing out against the twitchy drums that switch patterns effortlessly.
The album cover is fitting for the feeling the band. The energy of the band is tight knit, and they bring with them the L.A. garage feel. It is even mixed to perfection, bringing a more raw edge to the sound. Take 18 minutes out of your day and enjoy a punk rock band bound to induce trauma, leaving you dazed wondering what just hit your ears.
