Pinning down the BLSH’s sound is like describing the contents of a blender on puree. On its eponymous 2010 debut album, the group evokes the spirit of the ’70s with shards of Southern Garage Rock, Psychedelic Soul, electric R&B/Funk, Indie Pop and thunderously elemental Hard Rock, represented by acid-washed church and Farfisa organ, searing slide guitar and chunky riffage, Pop melodicism and a funky, slinky rhythm section, all in the service of songs that are compellingly contemporary and utterly appealing.
The BLSH’s efforts have not gone unnoticed — the band’s live shows are achieving the kind of word-of-mouth legend that followed the early Allman Brothers sets, and the group scored big at the Austin Music Awards during last year’s SXSW celebration with an almost inconceivable six wins: Band of the Year, Album of the Year, Song of the Year (for “Detroit”), Best Bass Guitar (for Jack O’Brien), Best Keyboards (for A.J.
Vincent) and Best Producer (for Danny Reisch’s work on the debut).
Forget the social network; what you need is an incurable dose of the Bright Light Social Hour’s power.
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