Glam and hyper-realistic art rock within the on going history of music seems to be a reaction to either the status quo needing a colorful slap in the face or a hard push back, a pointed finger in the chest of those who want to stifle people's freedom of expression and of who they are and who they want to love, freely. This sprouting of psychedelic, brightly colored flowers and weeds seem to be cyclical but, thankfully, it will never go away. I think of any movement like this as a canary in the coal mine or maybe a peacock, but instead of dying, to let us know that it is time to let fresh air into our lives. It is this bird that takes in a deep breath, reveals a full plume of colors and kicks the door down.
Nashville's glitter adorned rockers The Blam Blams are that peacock. Their debut concept album called appropriately "Opening Night" aims to explore themes of sexuality, gender, love and "living without a mask" through their fictional protagonist, "Sydney, a bisexual actor/ artist in 1970’s London is stepping out onto the stage both literally and figuratively as he begins to discover his own agency amidst starring in a production with the Galactic Theater company".
Their newly release single Throwaway Lines feels itself like an art rock extravaganza and while I thought a bit (conceptually) of Ziggy Stardust, the sound here feels more cabaret meets baroque pop meets high end art rock than Bowie's Stardust manifestations that in some ways while still building it's own universes didn't feel quite this grand and, believe it or not, as theatrical. Bradley Owen's attack on lead vox and piano feel a bit more Dresden Dolls / Queen as do the stellar artistically over reaching backing vox. David Estes' scintillating guitar work is incredible bringing in the progressive rock acumen and expressive art rockery of guys like Matt Bellamy (Muse), Bill Nelson (Be Bop Deluxe) and Brian May (Queen) supported by Rob Stewart's rock solid bass and Christian Northover's prescient drumming. Amazing.
-Robb Donker Curtius
THE FACTS AS WE KNOW THEM - PRESS NOTES:
Glitter-soaked rock combo The Blam Blams are exploding out of Nashville to conquer repression and banality. On their debut full length (a concept album) Opening Night (May 22), the quartet tackles themes of sexuality (3/4 of the members are queer), gender, love and living without a mask.
The narrative explores the life of Sydney Fabel, the record’s fictional protagonist. Sydney, a bisexual actor/ artist in 1970’s London is stepping out onto the stage both literally and figuratively as he begins to discover his own agency amidst starring in a production with the Galactic Theater company.
Annihilating suppression with their frenetic live experiences, The Blam Blams are couriers of a spirit of limitless freedom and bold self expression. Bradley Owens (lead vocals, piano) explains the band’s mission: “we want to give everyone an excuse to celebrate what makes them different. Our shows are a liminal space where anyone can be wholly, unashamedly, and radically themself.”
Dreamy 60s psych-pop 3-part harms support Owens’ rich Freddie-esque falsettos which are set against thundering guitar and drum solos that give the theatrical soundscape a glam rock and pop punk edge.
The four brothers in arms [consisting of Owens, Christian Northover (drums), David Estes (guitar, producer), and Rob Stewart (bass)] have been tearing up Pride stages around the south and clubs across the midwest, northeast and southeast. Their exhilarating performances, warm melodies and supercharged anthems have cultivated a diverse crowd, delighting fans of Queen, Of Montreal and the Mars Volta alike.
The narrative explores the life of Sydney Fabel, the record’s fictional protagonist. Sydney, a bisexual actor/ artist in 1970’s London is stepping out onto the stage both literally and figuratively as he begins to discover his own agency amidst starring in a production with the Galactic Theater company.
Annihilating suppression with their frenetic live experiences, The Blam Blams are couriers of a spirit of limitless freedom and bold self expression. Bradley Owens (lead vocals, piano) explains the band’s mission: “we want to give everyone an excuse to celebrate what makes them different. Our shows are a liminal space where anyone can be wholly, unashamedly, and radically themself.”
Dreamy 60s psych-pop 3-part harms support Owens’ rich Freddie-esque falsettos which are set against thundering guitar and drum solos that give the theatrical soundscape a glam rock and pop punk edge.
The four brothers in arms [consisting of Owens, Christian Northover (drums), David Estes (guitar, producer), and Rob Stewart (bass)] have been tearing up Pride stages around the south and clubs across the midwest, northeast and southeast. Their exhilarating performances, warm melodies and supercharged anthems have cultivated a diverse crowd, delighting fans of Queen, Of Montreal and the Mars Volta alike.
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