Haunting Film Noir and Desert Rock Themes from Reverend Screaming Fingers

by delarue

Reverend Screaming Fingers’ cinematic, surfy instrumental themes don’t often scream, but boy do they resonate. And there are no doubt films in development screaming out for these songs. The guitarist (real name: Lucio Menegon) layers colorful multitracks over a steady, low-key rhythm section for a mix of creepy noir themes, spaghetti western tunes and midtempo surf rock. The Desert Years, his new third volume in his series of Music for Driving and Film, is streaming at Bandcamp. Big Lazy’s highly anticipated new album isn’t out yet, but until then, this twangy, dusky masterpiece will do just fine. It’s a lock for one of the best albums of 2019.

Here Menegon is supported by a rotating rhythm section: Wally Ingram on drums, with Danny Frankel, Damian Lester, Kip Powell and Janie Cowan sharing bass duties.The opening track, No Destination starts out with a fleeting, insistent new wave guitar riff but quickly slinks into the shadows with a southwestern gothic ambience capped off midway through with a little Tex-Mex. Then the bandleader completely lfips the script with the tender, oldtimey country ballad Chapparal Kiss, with low-key mandolin over a graceful 6/8 sway.

Dream of the Desperado comes across as a mashup of rapt Japanese temple music mingled with slow-burn Black Lodge guitar that finally coalesces as a creepy slide guitar blues: it would be a solid track on any Big Lazy album. Monsoon Gully has snarling, distorted, serpentine guitar leads set to a gently tumbling cha-cha beat: Beninghove’s Hangmen are a good point of comparison.

Spare, spaciously fingerpicked guitar figures mingle above a backdrop of rain and tree frog samples throughout Funereal. Speaking of funereal, the organ beneath the loping, savagely crescendoing desert theme Dance of the Dust adds immensely to the ominous ambience.

Delicate tremolo-picking beneath lingering reverbtoned riffs raises the suspense in Yuma Interlude, up to a tantalizing exchange of riffs in both channels, then back down again. Lost Alien Highway slowly builds into a simmering roadhouse blues. Almost Home is a lively blend of Buck Owens twang and roller-rink organ theme. The final cut is Rattler Ranch, an upbeat, catchy, woodsy groove for guitar and bass.

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