A Crash Course In Rock from Red Recluse
A new single release from Red Recluse comes through with a wonderful cross of classic style hard and heavy rock, an authentic tonality, driving guitars, and this catchy approach that hits with a damn near perfect energy from beginning to end.
"Midnight Moses" is a total banger and doesn't really let up even for a heartbeat. One of my favorite aspects of this track is the simple fact that it has guitar hooks.
This is something that I have found has been missing from certain kinds of rock music in the past years. To hear a great guitar hook that is just as juicy as the core is, is a complete relief.
Growing up listening to all kinds of heavy and hard rock music, guitar licks aren't an essential part of the genre, but as I mentioned, it feels like they've been disappearing from it for a while now. I'm so glad to hear these guys brought it back the proper way.
Now, the guitar work across this track is outstanding. It's got a live performance energy, as a matter of fact, there's a crowd at the beginning of the track giving you that essence of live shows, and they really bring in a blues rock aesthetic.
The crowd comes back in during some middle sections of the track as well, but I'm not sure if it's actually a live performance.
The guitars are performed with loads of soul, and the track comes through with a slightly theatrical undertone, which is something I absolutely adored.
The track is progressive to a perfect extent, the riffs are hard and heavy but still really catchy, and the track boasts a perfect blend of color and edginess.
It's a totally danceable rock single, and to me, it does display some of the semi-vintage tonalities that I loved listening to as a kid.
That set of driving guitar tones really lets the song thrive. The bass guitar line and tone itself are perfect and not just in line with the song but really help drive it all forward, and the drumming also pushes that liveliness further.
None of this just sits in the pocket, but it really gives you a heavy dose of pure rock that is really easy to get into.
The vocals are vivacious and really help the essence of the song shine and showcase the band's presence as well.
This is a song that was originally done by The Sensational Alex Harvey Band, who were popular in the '70s.
Of course, this is part of why that classic rock vibe is heavy-handed on this track, and the band certainly gives it their own spin but stays true to the original on many levels.
The track is set to be the first single from their upcoming record, dubbed Orange.
Red Recluse is an Indianapolis rock outfit, and they do bring elements of all kinds of alternative, indie, classic, Southern, and blues rock to the table with this one track alone, so I cannot wait to hear the full record when it finally drops.
This was a lush single that came through with a powerful approach and it really showcases a band with a pure love for their craft and for the genre, obviously.
This track is clearly a love letter to the original and to rock music itself.
Everything about this performance is completely robust and alive with an amazing energy that feels like each member of the band is feeding off of each other the entire time.
Because of that, you kind of feel like you're in the moment with the song itself, and you can't really turn away from something like that.
Giving into their inspirations for pure rock and roll at its roots, this was an amazing rendition of an absolute classic, performed with heart and electric energy that is unbelievably infectious right from the get-go.
Bopping, catchy, and heavy-hitting, this is not something that you want to miss.
After catching this track, we wanted to have a chat with the band to see why exactly they wanted to take on this song in particular, and what may be coming up next for them as well.
So, while you crank this track, have a read through of the interview below and don't forget to turn it up.
TSWS: Let's talk about "Midnight Moses"! This song was killer! Great guitars and energy all over it! Where did this track come from?
Red Graves (guitar/vocals/etc.): The most noted version was recorded by the Sensational Alex Harvey Band (from Glasgow) in the early ‘70s. They didn't break in the US, but they were popular in Europe and Australia. Alex Harvey was a huge influence on Bon Scott.
I have been a Lubricated Goat and Black Eye Records enthusiast since the early ‘90s and first met Stu (Gray aka Spasm) in Chicago about 20 years ago. Knowing that he is a big Alex Harvey fan, I sent him a rough mix of the recording we had started, and he offered to record some guitar licks for it, invoking the inimitable spazazam.
I first heard James McCann via the Drones (Melbourne, who morphed into Tropical Fuck Storm). We have been good “mates” for years, and in addition to his Australian connection to Stu and Scottish connection to Alex Harvey, it was all a bit serendipitous, so we got him in on the action. James is also curating the Spencer P. Jones tribute albums - All The Way With SPJ - and was kind enough to include us on the next volume, which should come out next year.
TSWS: I'm hearing a few different approaches to this record! Who are some of your biggest musical influences?
I listen to anything I can get my ears on, but the obvious ones are probably the Stooges, T Rex, the Cramps, Royal Trux, VU, Sabbath, Gun Club, Birthday Party, Link Wray, and all of those Aussie Black/Red Eye bands…and being from the Midwest, early Cheap Trick is a big deal. Rick Nielsen is probably my biggest influence - his approach and role in the band, more than his technique, so it might not be that obvious.
TSWS: Did you record this at a home setup, or at a big studio?
It was written and recorded at home studios, sending files back and forth.
Do you guys write songs together, or is there one main songwriter that brings ideas back to the group?
I write the tunes with occasional assists from Skip (Tracer; keyboards/guitar/etc.). He is more focused on production, sound design, and textures, but his playing is all over the albums, too - the chef's kiss.
TSWS: How did this all start for you as a band?
It started out as a solo thing, so the songs on the first album were written before Skip got involved, but it would not have happened without his input and guidance. My sensibilities aren’t very practical, so it would probably result in a lo-fi disaster of sorts with limited appeal. He makes it much less painful to listen to and has taught me a lot about recording. Plus, we have been making music together since we were kids, so there is a telepathy between us.
TSWS: Are you performing live right now?
We have actually pieced a band together and recently had our first rehearsal, so we plan on playing select gigs - making it an event, like a Butthole Surfers gig or something. Skip and I have also toyed with the idea of hiring a band to perform and tour for us, as long as they put us on the guest list.
TSWS: Now that this is out, what's next for you?
The plan is to release a few more singles on the streaming platforms before dropping the full album on various formats, including double vinyl with bonus tracks (pre-order currently available on Bandcamp).
We also have an EP coming out around Halloween on the streaming platforms - an extension of the “Midnight Moses” single that will include a couple of other covers we had recorded during the sessions. We recorded 35 songs for Orange, so we have enough material to keep us busy for a while, if we choose to use any of the other leftovers.
After that, it is anyone's guess, but we try to take a different approach on every record.
TSWS: Who's in all your headphones right now?
Lots of old school industrial and electronic. White Hills and Genre of Death - both from NYC - have caught my ear recently. Stu’s latest band, the Art Gray Noizz Quintet is brilliant. Velatine (from Melbourne) is doing some inspired, neo-gothic-ish things. I keep tabs on whatever James is doing as well. His latest record (Hit With Love by the JJ McCann Transmission) is a blaze - produced by Rob Younger from Radio Birdman/New Christs.
TSWS: What would you tell people they can expect on this release?
A quirky, potent rock and roll album with lots of guitar nuttery and bass so fat that you can feel it deep in your asshole. To fully get what we are about, you have to listen to the entire thing, not just the singles. The songs serve the album.
TSWS: Before we go, what would you like to express to fans of the music?
Drink milk
Stay in school
Don't do drugs
…and pre-order the Orange vinyl on Bandcamp. Grab the first (White) LP while you are at it. We are a self-financed DIY dynamo and hope to keep it that way. Thanks in advance.
