Briana Layon & the Boys Bring Their Menacing, Heavy Intensity to Arlene’s
Briana Layon’s bio at her web page compares her to both the Runaways’ Cherie Currie and Jinx Dawson of Coven, which is ok for starters, but it doesn’t tell the whole story. The trouble with the current crop of women with big voices – and Layon has an epic one – is that so many of them are American Idol-ing it, all show, no substance, one watered-down gospel riff after another. Or even worse, they do the dorky SING-song-EY her-KY-jer-KY up-AND-down Tourette’s thing that spewed out from emo into the dogshit pile of Disney autotune pop. Briana Layon doesn’t go for that – it seems she’d rather be her own person. Which is why she’s not on American Idol. Briana Layon & the Boys, her smart, ferocious, blues and metal-infused heavy rock band, have a killer album, Touch and Go streaming at Bandcamp and a show at 7 PM on August 20 at Arlene’s for $5.
What’s coolest about the album is that a lot of these songs are long, with plenty of room for Layon to hit a bitter, gale-force wail and hang there, or for brilliant lead guitarist Chris DiBerardino to scorch the earth with a deep arsenal of stylistic assaults. The opening track is All Yours, a catchy three-minute bluesmetal tune, Layon bringing to mind two other distinctive, charismatic frontwomen, Spanking Charlene‘s Charlene McPherson and then Ann Wilson of Heart, rising to a searing wail at the end. The title track has DiBerardino delivering vamping, clustering early 70s riffage with a hint of funk and some cool, evilly chromatic Buck Dharma glissandos.
Pistolero could be a standout track from the first couple of AC/DC records, bassist Josh Castellano’s chords lurking at the bottom with solid drummer Vlad Hancu, who trades off with DiBerardino on the chorus. Teach Me is unexpectedly subtle, DiBerardino channeling Keith Richards with his catchy chords on the verse and then going to an Angus Young growl on the chorus, Castellano delivering a rare snappy bass solo that doesn’t suck.
Cut My Man opens with an icy, watery lead over a sketchy, muted riff, Layon joining in the ominous ambience and then rising toward murderous rage, airing out her wounded low range and in the process channeling the Sometime Boys‘ Sarah Mucho. They take it out as a waltzing danse macabre – this is just plain awesome, one of the best songs of the year.
Playing Dead is a menacingly elegant noir soul ballad in the Clairy Browne vein, Layon rising from an aptly ghostly purr to a roaring peak. Rope blends sludgy Spanking Charlene-style punk and fuzzy early 70s style metal riffage – ironically, it’s as close to “R&B” as Layon gets here. Sticky Wicket (meaning tight spot, a term taken from cricket, the British empire’s ancestor to baseball) is the closest thing to funkmetal here, DiBerardino capping it off with a gritty wah solo.
Castellano’s pitchblende Geezer Butler lines anchor a sweet, vintage Iron Maiden-style hook on Vanagloria – it would make a good three-minute-thirty track from Number of the Beast. Tell Me I’m Good blends jaunty flamencoesque flourishes from DiBerardino, a dancing pulse from the bass and Layon channeling her usual luridness.
Dear Friend starts out as a 6/8 soul ballad with organ lurking in the background, Layon putting a teens update on pensive Vera Beren-style theatrics – her shivery, low-key outro is just as chilling as her fullscale wail. The album peaks out with Looks Like Rain, which is not the Grateful Dead song but an eerily atmospheric art-metal piece that if you listen very closely sounds suspiciously like it might have had another life as a trip-hop pop song. It’s amazing what a tricky time signature and a great band can do for a tune.