Album Review: Red Fang - Whales and Leeches

(via redfang.bandcamp.com)

Album Review: Red Fang - Whales and Leeches

     As an Oregonian, I am always excited to hear about good things coming out of the state. And, as a metal fan, I am just as excited when one of my favorite bands release a new album. Killing two birds with one stone, the stoner metal band Red Fang released their third official release on October 15, 2013, and have since had national exposure—their first TV appearance—on "The Late Show with David Letterman," helping them steamroll momentum to break into the mainstream. 

     I first heard Red Fang on Metal Swim, a compilation album released by the cable network [adult swim] back in 2010, and the song that hooked me was "Hank is Dead." After being stricken with the song, and the attitude the band emanated, I looked them up online, finding that they had already released their self-titled debut album, Red Fang, and that they were but a stone throw away, based out of Portland, Oregon.

     Whales and Leeches, named as a throwback to a song from their debut album, was released to a collective "Hell yeah!" by their fans. True to form and spirit, the album cuts no corners and continues the trend Red Fang has established through their last two records. Singles “Blood Like Cream” and “Crows In Swine” exemplify their pop-sensibilities while not losing the heavy, crushing feeling their music is known for, thus further distilling their sound.

     According to the band's webpage at Relapse Records, Red Fang was formed by friends and long time collaborators Bryan Giles (guitar, vocals), Aaron Beam (bass guitar, lead vocals), David Sullivan (lead guitar), and John Sherman (drums) in late 2005 and debuted on the Portland rock/metal scene New Year's Eve 2006. After years of playing in other bands, the guys of Red Fang came together with an affinity for good beer and music—mashing stoner metal, heavy metal, and classic rock riffs together, lined with punk rock urgency, and began playing local gigs. 

From left to right: David Sullivan, Bryan Giles, John Sherman, Aaron Beam
(via Spin.com)

     Needless to say, the formula worked and blasted them out of the gate and into the arms of Sargent House record label, producing their debut album. That was in 2009. Two years later they moved up the record label chain to Relapse Records and have released their last two albums with them, providing a steady flow of hard-hitting guitar riffs, crunching bass tracks, and blasting percussion regularly. Because Relapse Records produce albums for some of the biggest rock and metal acts today and have the advertisement/promotion power, Red Fang have had enough exposure to capture the #25 slot on the US Top Heatseekers for their sophomore release, Murder the Mountains, and #66 on the US Billboard 200 on their current piece, Whales and Leeches.

Red Fang on their "Prehistoric Dogs" music video shoot.
(via metalpaths.com)

     Now, while Red Fang is not as hip-moving as Queens of the Stone Age, nor as pop-oriented as Torche, as heavy as Baroness, or as punk-driven as The Melvins, Red Fang still manages to pull together an intimidating musical presence by successfully combining them in an effort to carve their own path through the music industry and their river of beer cans.

     In regard to albums one and two, album three is not a departure from Red Fag's musical formula. However, it is a mash up of the strengths from the prior releases. Where Red Fang was more raw in production, Murder the Mountains smoothed that out; Where Murder the Mountains lacked an abundance of catchy songs, Red Fang excelled; Where both albums missed the mark on balance between these qualities, Whales and Leeches consolidated.

     Red Fang, I believe as a fan, is an important addition to the re-emergence of rock/metal music culture in the US. With mainstream exposure, like that by Letterman's show, it helps introduce people to this type of music, the musical influences that shaped the sound, and larger, more accessible bands that share the spotlight, such as metal giant, Mastodon.

Red Fang opened for Mastodon's "The Hunter" Euro tour in 2011
(via heavyblogisheavy.com)

     While not the striving for any particular audience other than metal heads, the main demographic for Red Fang—being metal heads—is males ages 18 to 35, give or take a few years, or a decade, from either end. With that being the case, Red Fang is not against offensive, yet playful, displays and lyrics. And while not meant to be readily accessible by everyone, they are in the business of songs that tell a fantasy story, exampled in Whales and Leeches' “1516” and “Voices of the Dead." Really though, all of their songs are stories, not just the two.

Heritage single-handedly split
Swedish metal band Opeth's fan-base.
(via deathmetal.org)

     The album's overall strengths lie in production quality and hard-hitting instrumental and vocal work; however, it does fall short in variety. While there is nothing wrong with doing what Slayer does—sticking with the tried and true—evolving a sound to encompass more ground helps expand band life expectancy. It's a fine line for a band to try and maintain their known style while experimenting with it. It can quickly lead to fan alienation if done improperly, something that can be noted on Opeth's Heritage release. With Whales and Leeches, Red Fang took the safer path, but remember, this is only their third release. There is plenty of time for growth, and, with a two-year record cycle trend being followed, we can hope to expect a continuation of their musical evolution in 2015.

     As a fan, Whales and Leeches is good. Dare I say, "amazing!" In truth, I've been listening to it regularly since its release. However, it isn't without one or two underwhelming moments. Some riffs feel recycled and a few choice lyrics feel weak. And "Dawn Rising" just feels out of place with its atmosphere and guest vocalist, Mike Scheidt from YOB. Ultimately, though, I am happy with the music Red Fang has produced. They do know what works. Here's a cliche: If it ain't broke, don't fix it.  

     However, here is a word from critics: “Whales and Leeches … is markedly fine and little else. Predictable and plain,” Grayson Currin, music critic of Pitchfork.com says, “it is the no-threats sort of stoner rock a teenager wouldn't need to hide from suspecting parents....” Currin went on to rate the album a five out of ten. Then, over at RockRevolt magazine, we have writer Rob Ryles hand the album a five out of five—he stressed he'd “give Whales and leeches six skulls (their rating system) if we had that many!” Across the board, there are critics that either love the album completely or those that go “meh.” But, Red Fang must be doing something right to garner such quick success. And its just continuing. 

     Ultimately, I agree with Ryles whole-heartedly.

     Up to this point, Whales and Leeches is the best album from Red Fang to date. I am more than confident that their next release with take that spot. On the band's timeline though, each record holds a special place, and none fall short of the band's standards.

Red Fang's 2014 Euro tour poster

(via redfang.net)

      In comparison to today's pop music culture, Red Fang will be lost among the "Katy Perry"s, "Beyonce"s, and who-else-have-you musicians that saturate the current industry. Catchy songs that are made to be catchy and appeal to the lowest common denominator with a simple beat and hook in the chorus is all you need nowadays to gain success. However, in their niche audience, Red Fang will continue to grow. Proof of this is their progression to national television airtime.

     Overall, Whales and Leeches is helping make Red Fang a formidable force in the rock/metal scene. With another heavy touring cycle stated and a future album in the works after, It's possible we could be seeing one of the next premier music acts breaking out on the scene. And being that I've never gotten the chance to see a band in concert (I know, right?!), I have hopeful plans to make my first concert experience be of Red Fang, that is, as soon as I can catch a tour date back in Portland, OR—which is coming around March 8th.

      P.S. Lastly, here's a recording of a live set they did in Moscow, Russia; Enjoy!

    

Binge Watcher: "Archer Vice: A Debt of Honor" Summary and Opinion

FX presents: Archer, Season 5, Episode 3: "Archer Vice: A Debt of Honor"

Originally aired: 01/27/2014, 10 P. M.

Comedy, Animation

Main Cast:                                                                                  Commercial Breaks included the following:

- H. Jon Benjamin as Sterling Malory Archer                                 - ”Vampire Academy” movie

- Aisha Tyler as Lana Kane                                                          - Old Spice, mom song

- Jessica Walter as Malory Archer                                                - Taco Bell, 6' 10” guy

- Chris Parnell as Cyril Figis                                                         - Dave and Buster's sports bar

- Judy Greer as Cheryl Tunt                                                         - BSI credit card relief service

- Amber Nash as Pamela “Pam” Poovey                                        - ”Legit” with Jim Jefferies

- Lucky Yates as Doctor Krieger                                                   - ”3 Days to Kill” movie

- Adam Reed as Ray Gillette                                                         - PS4, awaits song

- George Coe as Woodhouse                                                        - Sprint's family cell phone plan

                                                                                                   - Burger King, 2 for $5

                                                                                                   - MIO drink squirt product

                                                                                                   - ”That Awkward Moment” movie

EPISODE SUMMARY:

     For the ex-ISIS clan, a botched mission, involving selling cocaine for exuberant profit to Cubans in Miami, has left them broke. Not that they weren't paid, they were just paid in well-crafted counterfeit bills because of a ruse. Pam, the overweight human resources director at ISIS, took the blame for the failed mission, being that she was taken along for the ride as a mule and ingested much of the coke on the way. Sterling, Archer's main character and number one secret agent in the world, brings back the bills only to realize the ruse too late.

     For “Archer Vice: A Debt of Honor,” Malory, Sterling, Lana, Cyril, Ray, Cheryl, Dr. Krieger and Pam try coming up with a plan to make back the money they've lost, while also getting ride of the fake bills. With a plan of action decided, Pam comes up with her own agenda. In order to get out of being blamed for her current failure, she uses her connections with the yakuza—she used to be a drift racer for them—to use the counterfeit money to buy pills so she can sell them for real money and clear her name. However, like standard procedure, the bad guy isn't as dumb as he seems. ISIS's current base of operation, held in Cheryl Tunt's mansion, gets surrounded by yakuza and they want their pills back, along with Pam's head to pay her debt of honor.

     After a brief shootout, since Pam's death isn't acceptable, Sterling finds himself in a limousine with the yakuza branch leader, Mr. Moto. They come to an agreement: Mr. Moto will take the pills and leave Pam alone in exchange for Moto's life. He accepts and the yakuza leave. Sadly, as a side note, Woodhouse, Sterling Archer's butler—which he cares little for—is trapped under a heavy medicine ball all episode, slowly being crushed to death, unable to call for help since Sterling has his phone, which gets broken at the end of the episode, leaving Lana and Sterling laughing as the credits roll and Woodhouse unfound.

OPINION:

     Regarding the style of the show, it is an obvious spoof of secret agent movies. While the "Archer: Vice" storyline currently being embarked is more of a throw to drug cartel movies, such as Scarface, the posh dress and attitude of “secret agent” is still there, as large a part of the characters' personas as ever. The only show of recent memory that spoofed secret agents was Chuck, which ran from 2007 to 2012. What makes Archer such a unique show is its style as an animation that isn't traditional animation. Sure, other animated television shows stretch the “adult-only” theme, such as South Park, but Archer maintains its watchability by creating a cast of dysfunctional characters that revolve around a “cause, effect, and other effect” kind of episode set-up.

     Being that Archer is a blatant parody, the character stereotypes present in the show are exaggerated. For example, Sterling Archer is a secret agent that travels the globe completing missions, bedding women, and excessively drinking. If it weren't for his buffoonery and idiotic tendencies, he would make 007 proud. Ultimately, each character is a caricature of a more serious characterization.

     In regard to the commercial breaks and their demographic, it seems that each ad were targeting different audiences. None were aiming for any specific Archer audience and their interests, only their eyes. Archer's main demographic is men under thirty-five; however, it is popular among other demographics too. As an FX channel exclusive, its audience—as the current top-rated comedy on FX—is filled by those who previously watched It's Always Sunny in Philadelphia, a fairly large, diverse group of viewers. So, with this being the case, it is possible that such a large variety of commercials with separate targets is exactly the plan for the ten to ten-thirty primetime slot on FX.

     Right now, Archer is one of the best animated TV shows on cable. It garners a net average of 1.1 million views per episode. As a comedy, through parody, with a stellar cast of actors and writers, I believe the show will continue to do great through this season and the next; however, as I am a fan, I am not without my gripes. Where the strengths lie, such as in the well-written characters and comedic instances, there are also weaknesses, maybe not in the aforementioned strengths but definitely in the occasional repetitive episode formatting. The writers and directors do a a fantastic job of trying to cover this up episode to episode, and I applaud them for it, but it isn't hard to notice when one episode feels like another you watched a week or two ago. I'm not the only one with these opinions. Online fans and and critics alike have pointed this out, yet, because of the cover-up writing, they are willfully overlooked so the humor can be fully appreciated.

     Obviously, I'm a fan of the show and am a regular viewer; however, I am not the TV watcher variety. I started with TV, then moved to Netflix, and now I'm on watchcartoononline.com. I got lucky to catch this episode using my iPhone with the Dish TV application since my parent's have a subscription—they too are fans are of Archer. While my friends and family and I are not super-hardcore-mega fans, we do enjoy the show. I don't know about the rest of them, but I don't have a Facebook or really follow the Archer webpage or fansite; I just watch the show because I find it funny. Also, while I like the show in its singularity, I was a fan of its creator Adam Reed and his previous project Frisky Dingo, which was shown on the [adult swim] programming block of Cartoon Network. Both shows have a similar style of animation and sense of humor.

     Overall, I learned that just because there is a show on primetime television doesn't mean it receives distinct ads to the show's main demographic. This could say a lot about the way a network is run, or nothing at all. I imagine it has to do with who would be willing to shell out the most money for an airtime slot instead of which commercial is more relevant to the audience of a particular program. This surprised me because I was under the impression that ads were made for a certain group of viewers yet seen by them and the rest of the non-target viewership. However, it made me think: as long as the commercial is paid for and seen, who cares who the target audience is; if the commercial is engaging and cuts through the clutter, making general audiences notice, why should a target audience even matter anyway?