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Tag: richard turcotte drums

Ride the Highway to Hell with the Death Wheelers

The Death Wheelers play heavy psychedelic rock instrumental soundtracks to imaginary sleazy biker flicks. They like gritty, gear-grinding bass, heavy drums and guitar textures that shift from sandpaper distortion to blue-flame Lynchian twang, Their new album Divine Filth – streaming at Bandcamp – is the heaviest one yet.

They open with a swooshy, crunchy title theme that’s over in less than two minutes, slide guitar hovering over Max Tremblay’s chainsaw downtuned bass and Richard Turcotte’s drums. Ditchfinder General is an epic mashup of a twisted ba-BUMP theme as early Sabbath would have done it, along with the Stooges’ TV Eye, thrash metal and spaghetti western textures.

Suicycle Tendencies is a heavy biker theme: imagine Agent Orange covering a Davie Allan & the Arrows tune, with an outro by Sabbath. The title track is a gritty battle theme where the whole gang unites against the enemy, throttles rumbling at full volume beneath Ed Desaulniers and Hugo Bertacci’s shreddy wah guitars.

Lobotomobile, a creepy spiderwalking horror surf tune, is the album’s most gleefully phantasmagorical track. Corps Morts starts off like a heavier Radio Birdman, decays to grim sludge and then rises from the lagoon. Murder Machines – Biker Mortis, true to its title, is part horror film theme, part evilly strutting Harley chopper rock.

The voiceover that kicks off Motorgasm – Canal Pleasures Pt. 1 is pretty priceless: the song. part Isaac Hayes psychedelic funk, part crunchy stoner riff-rock, is just as tongue-in-cheek. Chopped Back to Life is a 70s stoner boogie repurposed as crispy all-terrain vehicle music.

Road Rite shifts between hardcore punk and a strutting, vaguely Stonesy tune. The group close the record with Nitrus, a pummeling horror surf number, like Strange But Surf with distortion and a chunkier rhythm section. It’s the band’s best album so far and one of the most entertainingly cinematic releases of the year.

Menacing Full-Throttle Instrumentals From the Death Wheelers

Today’s Halloween album, streaming at Bandcamp, is I Tread on Your Grave, by instrumentalists the Death Wheelers. The album cover and bandname are a little misleading: what they play isn’t really biker rock. It’s closer to the growling SoCal ATV themes that Agent Orange played on the River’s Edge soundtrack (now there’s a great Halloween movie!). Pat Irwin’s eclectic 80s scorpion rock band the Raybeats also come to mind, although the Death Wheelers are a lot louder. more metal-oriented and distinguish themselves with downtuned bass. In the same vein as another legendary instrumental rock band, Man or Astroman, the group like to open their songs with snippets from cheesy 50s horror flicks.

The album opens with the title track. Max Tremblay’s doomy, gleefully tremoloing Sabbath-esque bass riff kicks it off, then the band – who also comprise guitarists Sy Tremblay and Hugo Bertacci, plus drummer Richard Turcotte – take it on a weirdly syncopated tangent with keening slide guitar.

13 Discycles is a metalflake take on horror surf: when the band go halfspeed, then quarterspeed on the long outro, it could be Pantera playing Beware the Dangers of a Ghost Scorpion. The furthest they go into the surf is Moto Vampiro, but even that takes a detour into vintage 70s riff-rock: the flange and the distorted bass add skunky contrast.

Where so many of these tracks careen from one style to another or mash them up, Roadkill 69 is the closest thing to 60s biker theme here, but with metal sonics. The album’s best track, Sleazy Rider Returns, is also its creepiest, a Frankenstein gallop that starts out as the most horror surf-oriented number here, then slouches toward Sleep and then pre-Dark Side Pink Floyd.

Death Wheelers/Marche Funebre begins all sludgy, with some tasty machete tremolo-picking, then the band put the rubber to the road: it could be the Coffin Daggers with grittier bass. They launch into a nazgul gallop in Black Crack, a wry update on a classic Led Zep stomp; then, in Backstabber, they weld more of that vinyl-cracking sunburst slide guitar to a chugging, vintage Motorhead-style riff. 

If Iron Maiden had been an instrumental band during their earliest days back in the 70s, they might have done RIP (Last Ride) – the sample that introduces it is a real hoot. The brief Purple Wings sounds like an unexpectedly swinging, funk-tinged rehearsal jam that the band decided to keep and maybe work up later.

The album’s final cut is Moby Dick – an original, not the Led Zep monstrosity -where they nick an old Sonny Boy Williamson riff that the Allman Brothers infamously ruined, and do it justice. Guess these guys figured they couldn’t nick the title as well if they didn’t put in a really funny Spinal Tap drum solo as well. It’s hard to think of a more interesting, original heavy band out there.