Year : 2019
Style : Hard Rock
Country : United States
Audio : 320 kbps + scans
Size : 155 mb
Bio:
Like food of the gods, rock ‘n’ roll nourishes the soul. Offering holy communion, Crobot proudly personify a trinity of “meat, strings, and emotion” within their music and during the raucous and raging gigs they remain known for. Striking a delicate balance between hard-charging riffs, ass-shaking funk, and out-of-this-world reflective stage attire, the Pennsylvania quartet—Brandon Yeagley [lead vocals, harmonica], Chris Bishop [guitar, vocals], and Dan Ryan [drums], satisfy starvation for sonic sustenance on their fourth full-length and 2019 debut for Mascot Records, Motherbrain. James Lascu and Eddie Collins share the role of touring bassist for Crobot.“When we were making the record, it was all about ‘meat, strings, and emotion’,” affirms Chris. “It explains the thought process. We’d usually start the day with chicken biscuits from Chik-fil-A. Obviously, I would play the strings. The emotion comes from the sheer power of me playing.”“It had nothing to do with the chicken biscuits,” laughs Brandon.Regardless, Crobot continue to fill a void. Since emerging in 2011, the group have quietly cemented themselves among the rising rock vanguard. Following the 2012 debut Legend of the Spaceborne Killer and 2014’s Something Supernatural, the musicians made waves with Welcome To Fat City in 2016. Consequence of Sound praised the title track as “a stomping slice of doom,” and Classic Rock bestowed a coveted 4-out-of-5 star rating on the album, going on to claim, “Welcome To Fat City is a mighty leap forward for Crobot, an ebullient masterclass.” Not to mention, they received acclaim from AXS, New Noise Magazine, and more as total album streams surpassed the 1-million-mark. Along the way, Crobot toured with the likes of Anthrax, Clutch, Black Label Society, Volbeat, Chevelle, Motorhead, The Sword, and more in addition to appearing on ShipRocked! and at numerous other festivals.During late 2017, the boys started to write what would become Motherbrain. Signing to Mascot Records, the group went from writing at Chris’ spot in Austin, TX to Marietta, GA where they holed up in the studio with Corey Lowery [Seether, Sevendust, Saint Asonia, Stereomud] for a month. The producer’s direction to embrace the dark side took life, while Brandon delivered some of the most emotive recordings Crobot has delivered to date.“I think it’s a much darker record, musically, lyrically, and thematically,” says the frontman. “It’s some of the heaviest material we’ve ever done, but it’s also some of the funkiest. We’re widening the Crobot spectrum even more. It’s the catchiest too. It’s less about wizards and dragons and more about everyday turmoil and the struggles of life. Corey made it digestible and appealing for not just dudes with beards or chicks with dicks.”They heralded the record with the rabble-rousing “Keep Me Down.” Meanwhile, the first single “Low Life” shows the scope of this expanded palette. Featuring chunky guitars and a howling hook, it sees the band co-write with Johnny Andrews and deliver a bold banger. “It’s a song we never would’ve written by ourselves,” Chris continues. “That makes it cool. It took us out of our comfort zone.” “It’s an anthem about this outside perspective on the definition of a lowlife,” explains Brandon. “There’s a misconception that being a touring musician without a lot of money makes you a lowlife, but how is that really any different from the rest of the world? And, if that does make you a lowlife, we’re okay with it!”Co-written by Brian Vodinh of 10 Years, “Burn” nods to “the power of Stone Temple Pilot’s ‘Dead and Bloated’,” and siphons it through “a Crobot filter.” Elsewhere, “Drown” tempers a muscular groove with a magnetic melody, while the “funkiest song” of the bunch “Alpha Dawg” pays homage to a “funky werewolf mofo” inspired by Teen Wolf. Then, there’s “Stoning The Devil.” So catchy it might be Satanic, the tune flips tradition upside down.“I wanted a different spin on the act of stoning the devil,” states Brandon. “Muslims take a pilgrimage to Mecca in Saudi Arabia to throw stones at these pillars. The act is supposed to ward off evil spirits and cleanse one’s soul. It’s a different culture for the devil’s storyline in our genre.”In the end, “meat, strings, and emotion” might just be what rock ‘n’ roll needs in 2019 and beyond…“When people hear this, I hope they say, ‘Yeah, that’s Crobot’,” the frontman leaves off. “We want to maintain our identity from record to record. We always want to be genuine. It’s going to evolve, but it will always be Crobot.”
Album:
“I am the Alpha Dawg” roars Brandon Yeagley (and make no mistake about it, Brandon roars most things) on the track that comes about halfway into “Motherbrain”.It’s cool and everything.A few weeks before he’d introduced the same song in Birmingham in a sweat soaked gig, by wrestling touring bass man Eddie Collins to the ground, counting three in the style of a WWE wrestler, and declaring “I am the Intercontinental Champion…..that makes me the Alpha Dawg”.You can decide which one is better.That, actually is the challenge for a band like Crobot. Exactly how do they translate that energy into the studio, and then, once they have, how do they get those who are on board to swell with people that love the band.I am not telling tales out of school here. My credentials as a genuine, Bonafide “Beardo” (their name for their fans) are long established and have been since I was politely asked to review their debut full length “Something Supernatural”. That said, the aforementioned gig was moved to a smaller venue and was far from full.Their second full length record, “Welcome To Fat City” came out in 2016, and on the 10/10 review that I gave it, I chirruped in the last line: “it will make people headbang all over the planet, because everywhere there is someone with rock n roll in their veins and a riff in their hearts, there must be a Crobot fan and “Welcome To Fat City” will move them into the big leagues.”Let’s be honest here, it didn’t. And more to the point, the band themselves only played a couple from it in the current live set, and the former rhythm section of the Figeroa brothers departed too.So, although it shouldn’t really, “Motherbrain” feels like a fresh start (and there’s a new label to go with it). There is a slightly altered sound. If the last couple have been greasy, if you like, this one is dark. Not so much that it isn’t the band you loved before, but there is a palpable change of the guard.Yeagley himself puts it like this: ““When people hear this, I hope they say, ‘Yeah, that’s Crobot’. “We want to maintain our identity from record to record. We always want to be genuine. It’s going to evolve, but it will always be Crobot.”They’ve done that, and within about 12 seconds of the brilliant opener “Burn” kicking off with a groove that shakes the room and the singer at his chest-beating, bombastic best, it could only be them.That one was a co-write with Brian Vodinh of 10 Years, and it shares the 10 Years gift for writing something mighty. “Keep Me Down” is another that – in all honesty – stray too far from the tried and true, and if you can imagine Clutch jamming with Soundgarden, then you’re right there.The suggestion, though, that whatever beast lurks here now is a little more menacing is all over “Drown” – not only is there a driving incessance to the music, there is a hint of violence in the lyrics too.They’ve always a touch of funkiness about them, and this time it is more to the fore, “Low Life” pulses like it wants to go full on Prince and restrains itself – it’s probably the best thing here. Another co-write it might indicate a band that was keen to avoid the comfort zone this time around.At their best there has always been something just a little unhinged about the band. That is shot through the shadowy world of “Stoning The Devil” and if you have been able to detect a bit of Audioslave about the record so far, then the vocals and Tom Morello-esque guitar line don’t even hide the influence on the slow building “Gasoline”.There seems to have been a willingness from many bands recently to incorporate the stylings of what I guess, for want of a better term we have to call “grunge” and that seems to be the case on “Blackout” – which thumps in its chorus and broods in the verse – and also on the catchy, filthy bass of “After Life”. This one doesn’t so much float like a butterfly and sting like a bee as deliver a knockout blow, while the “Hive” takes all that the band are trying to do in 2019 and wraps it up nicely. There’s even a bit of acoustic guitar here too and it is about as balladic as this gets.“Motherbrain” is a brilliant record. A bold one in its own way, and one that the band probably needed to make to break the mould a little. Whether that’s enough to see them become the genuine stars that I’ve always tipped them as, time will tell.
Line-Up:
Brandon Yeagley - Lead Vocals, Harmonica
Chris Bishop - Guitar, Vocals
Dan Ryan- Drums
James Lascu- Bass
Tracklist:
01. Burn
02. Keep Me Down
03. Drown
04. Low Life
05. Alpha Dawg
06. Stoning The Devil
07. Gasoline
08. Destroyer
09. Blackout
10. After Life
11. The Hive
Please my link you can´t spread further and don´t upload to other hostings!!!
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