Raunchy, horny, raw and unfiltered. No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys. This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture. If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage. NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”
When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.”
The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades. About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk. The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus. Think Black Keys featuring the Nitty Gritty Brass Band. Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.
“Bloody Bloody Knife” has a 60’s punk feel that makes you feel guilty for listening. The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it. “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem. The decision making on track placement is as ambitious as the tracks themselves. The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album. The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form. Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power. “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool. Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.
“Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece. The sweet sounding “Peachy” has the loungiest feel of the record. Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track. After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.
Buy Last of the Acid Cowboys now and see them on tour ASAP!
Key Tracks: Rat City, Don’t Give Up Your Mind, Last of the Acid Cowboys
Grabbitz has made a name for himself in his young EDM career. His remix of the Deadmau5 track “Silent Picture,” eventually led to the pair collaborating on the Deadmau5’s hit single, “Let Go,” where you can hear Grabbitz on vocals. The single peaked at No. 11 on the Billboard Hot Dance/Electronic charts, and has over 10 million views on YouTube.
Steel Panther is a tongue-in-cheek parody of all the 80’s hair bands that we know and love, but witty banter and explicit lyrics aside, they are a skilled group of musicians as well that possess a deep love for the music of their youth. With the exception of the guitar solo tribute to some of the greats, including “The Sound of Music,” Steel Panther’s set is strictly original music. You might hear shreds of Van Halen, melodies of Ratt, big guitars a la Iron Maiden, bass lines of Guns and Roses, throw in some Amy Schumer raunch and lyrics that would make Dr. Dre’s mother collapse, finally sprinkle the glam glitter of Poison and Motley Crue and you have Steel Panther.
After 5 studio albums since 2003, they seem to be gaining more and more momentum with each year that passes. Missed them in NYC? In support of their newest release, “Lower The Bar,” they are traversing the country with dates until mid-May. Click 
On All Points North, the new album from 
Written in their ‘sonic dojo’ The Werkspace, the album features eight inspiring tunes which traverse several different genres of rock. Right out of the gate with the first two tracks, the delightfully upbeat “Wide Awake,” followed by the title track, the listener realizes that this isn’t going to be another pentatonic wank session that seems much too common in today’s rock landscape. The Werks have an eclectic sound, reminiscent of 70’s rock gods yet avoids coming off as a cheap imitation. “Slab” really hits the spot, with a gut buster of a riff that offers a pleasantly abrasive counterpoint to the smooth lyrical caress of the first few tracks.