Hailing from the island-state of Singapore, rock n’ roll marvels Cheating Sons have released their eponymous sophomore effort as a follow-up to 2011s “Masters, Wives, Daughter.” It took four years to proffer something to satiate their growing legion of Asian supporters, and with this release you can be sure that the group with be making waves abroad. “Cheating Sons” is trans-genre, trans-sovereign, and as cosmopolitan as Singapore itself. Influences from all over drop anchor and settle for a while throughout this ten track record, fashioning a mosaic of sonic bliss for all to curl up in.
Yet for all of this innovation and experimentation there is something wondrously familiar about the record. It whole-heartedly embraces and reiterates the lasting and invaluable influence of early rock n’ roll in a way that never seems like camp or gimmick. This iteration of rock and roll springs frankly from the long tradition, utilizing its key cogs and gears so honestly that the songs sit outside of the far gone epoch of rock, and even our own while simultaneously nodding to both. This is timelessness packaged in the best album art you’ve seen in years.
The record announces itself with “Courage, Courage,” Part bluesy, part Americana, the song sounds like Father John Misty, Local Natives, and late Beatles. I’m mentioning this not to package, label, and make salable, but rather to demonstrate the breadth of influences at work on this record. The song is both a unique amalgam as well as something entirely original. It gives way to “The Mercy of Cain and Abel”- a track that pitches its psychedelic and prog-rock influences straight down the plate. On this track a ghastly riff sits in the fore, before the song erupts into something vaguely Asiatic sounding. Its arpeggiated string section played at broad octaves has all of the twang and charm of scales and keys that scream Asia to listeners.
Not without a rock n’ roll edge, the record does have a few bangers. “To Dance With The Devil” marks one. The song never leaves the front foot, and in fact, dances with a twelve-bar structure in its verses. Though this nod to roots rock erupts into a beautifully original chorus melody, demonstrating just how rich and thick the vocals on this record sound. The subsequent track, “Patriarch,” is the kind of song that demonstrates the importance of innovation when it comes to chord progressions. What you hear here are risks taken for the sake of taking risks, and this isn’t a bad thing. There is something truly admirable about trying to push past intuition in songwriting- intuition that of course owes just about everything to the Beatles.
For instance, “St. Jude” has a folksy melody, bass line, and chord structure, though there something so progressive about it as well. That quick little coda that is stuck on at the end of the chorus is unbelievably original. It’s equal parts Allman Brothers and SNES soundtrack. Seriously. And “Oh Mo’ (Keep Your Lady)” does something similar, supplanting a Motown rhythm for folk, but still replete with some truly nuanced chord progressions. This is the kind of song that must have been incredibly fun to write, and the listening experience is equally cerebral as it is physical. That is to say, you have to think about how and why you’re tapping your toes. There’s also a charming little Elvis nod right smack in the middle.
The subsequent two tracks need special attention. “Blood The Prize” is a personal favourite both for its expert crafting and for its unescapable charm. The song is captivating- it sounds like a marching song. Emphatic drums played almost exclusively on the toms and kick keep you rapt throughout its three minute span. And the fiddle (and yes when played like this you call it a fiddle, not a violin) gives the song an Atlantic vibe. Irish cliffs, and Maritime shoes are equally heard from miles away. Following is “Honeymoon” -a Roy Orbison style, 50s rock song with those rakes, that rhythm, but characteristically not those chords while being close enough that they are implied, and heard simultaneously with what’s being played. If that sounds complicated, just have a listen and you’ll see what I mean.
The record comes to a prolonged end with “End Of The Day.” This song is remarkable for the character in the lead vocals. This sort of expressive, apostrophic performance is something you’ve been missing in pop music for decades. The track leaves you with the genuine impression that the delivery means something to what the lyrics say and what emotion the melody implies. The song slowly ends with a drawn out and beautifully arranged string section that lays you down and puts everything to bed.
Every now and again a record will come out that says exactly what its artists intended it to say; that tells a story exactly as it was intended to be told. When this happens the astute listener hears not only the music, but the room in which it was conceived; s/he sees the song grow from its embryonic stage into the finished piece of art it is sold as, and comes to relate to the music as though it has been a close friend for years. “Cheating Sons” is one of these records.
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"Cheating Sons" is Rock n' Roll
PRODUCTION & MASTERING 9
ENGAGEMENT9
CONTINUITY10
DELIVERY9
CONTENT9
INVOLVEMENT9
Pros
There isn't anything out of place on this record- it all fits perfectly, it all works
Songwriting and musicianship is great
2015-07-07
9.2Overall Score
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