March 1st, 2010 
James Shotwell Artist: Black Rebel Motorcycle Club
Album: Beat The Devil’s Tattoo
Genre: Blues/Folk-Garage Rock
Label: Abstract Dragon
Despite the lack of commercial appeal, California’s, Black Rebel Motorcycle Club stay relatively under the radar but have been lucky enough to score the attention of a major record label. A year after releasing their sophomore album Take Them On, On Your Own, they were unexpectedly dropped from the aforementioned, longstanding label, Virgin. Simultaneously, due to much publicised drug related issues and traumas, founding drummer, Nick Jago left the group but soon after rejoined and then left again. Replacing the troubled drummer, former Ravonette, Leah Shapiro joined the trio on their first full length album on their own Abstract Dragon label, in partnership with Vagrant Records.Following the ill-received Effect of 333 and a live album, their 6th record, Beat The Devil’s Tattoo, blends previous work of folk and blues inspired garage rock, and is a constructed amalgam of the best parts of all its predecessors.
Conceiving the name from Edgar Allen Poe’s short story, “The Devil In The Belfy,” title and lead track, “Beat The Devil’s Tattoo,” casually eases the listener into the gritty music that is to follow. The song opens, stripped down to just vocalist Robert Levon Been, singing alongside his acoustic guitar, layered over tambourines. Their reoccurring use of dream-like, psychedelic grooves are easily compared to shoegazer acts like The Jesus and Mary Chain, and My Bloody Valentine. After the subtle opening “Conscience Killer,” and “Bad Blood,” are two of the highlight tracks and follow with a heavy assault of raspy vocals and a sharp edge. Continuing with the use of their trademarks, “War Machine,” encompasses a slower paced industrial blues opening while using the effect pedals to create a fuzzed out guitar sound. The droney, ear piercing instrumentals become overbearing and make it complicated to pay attention to the vocals. On the other end of the spectrum, “Sweet Feeling,” dials back to their acoustic-bluesy folk sound from their renowned album, Howl. Been’s vocals shine more so during the chorus, while towards the end incorporates a gorgeous harmonica.
Robert Been has a way with words and translating relateable feelings into lyrics perfectly. He tells stories of redemption from self destruction and the agony of heartbreak. Emotional lyrics akin to, “As you’re walking out the door, my heart sits on the floor” from “Evol,” are heart-wrenching and delivered with raw passion. Furthermore, from the line, “She’s a reckless lover, with blood-stained hands ‘round the neck of her helpless man” to Been’s ominous vocals and slow paced tempo, there is an eery aura to “Aya,” but the elevated key and powerful vocals on the chorus are what makes this track the centerpiece to this album. BRMC’s experimental and fuzzed out music can easily become daunting to listen to for a long period but “Long Way Down,” providing a break from all the distortion with a beautiful, yet sombre piano-ballad. Following, with “Half-State,” which has a gargantuan ten minute run time and unfortunately closes the album on an uninspirational and monotonous note.
Black Rebel Motorcycle Club successfully escape from their rut but not without faults; some of their songs are too extensive, never culminate to anything spectacular or venture from the same path. However after over a decade of hard work they have honed their craft. Beat The Devil’s Tattoo is their loudest and grittiest work to date and exhibits fuzzed out instruments, distorted bass, ferocious stomping, and a soaring spirit. BRMC are ever changing but if you were a fan before, then this is along your line.
Score: 6.5/10
Review written by: Nerissa Judd
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