Day Of The Dead

X-Press Review of Killer Sounds....
DAY OF THE DEAD - Killer Sounds From The Midnight Highway

DOTDcoverX.jpgIt would be fantastic to see this band add a second guitarist (or organist, perhaps) as even the minimal overdubbing found on this debut album shows that someone needs to take up the essential rhythm duties in Day Of The Dead so that guitarist Ben Frichot is free to lay down a riff-o-rama.

The studio has allowed this band to really flourish as, like they did at their recent CD launch, Day Of The Dead cleverly used the extra space in the mix to fill their songs with neat little fills and instrument textures. Dom Mariani (who should really be in this band) has turned on some great production in this regard, as the filling never spoils the meal. The additions to the melody-driven songs are gentle and complementary, accenting the points in Ben Frichot's riffs that work well with accompaniment, but otherwise leaving them alone to soar on their own.

Of said melodies, many of main riffs on this album sound dangerously similar on first listen, but once you get a feel for this record you can fully appreciate just how subtle Frichot's riffs are. Rather than taking a pop stance with his hooks (a-la The Shadows), Frichot develops his songs gently, without beating his listener over the head with a new melody ever other riff. It's a style that 99 per cent of people suck at, as it requires as much skill as writing a killer hook, but this album shows that Day Of The Dead have it wired.

Initially in the band's life there was a distinctly odd feel to the drums / percussion that has now settled down nicely, with the drums on this album being every bit the feature as the guitar. Again, this is quite an anomaly in the world of traditional surf guitar; the best of which was recorded back when drums were a total afterthought in the mixer's mind.

But that's the point of this band – to update the genre, rather than recreate it. A lot of the clichés are still kept intact (tremolo guitar, while a cliché, is essential nonetheless) but this is not a traditionalist band. This is not nostalgia-driven.

What it is, is an evolutionary step forward in a genre that almost everyone on the planet loves, in spite of most of them not owning much of it. What Day Of The Dead have done here is fuck all compared to what they will go on to do, as this album – while fantastic – is as much the band learning their own rules as it is them breaking surf's 50-year-old rules.

Confidence levels have increased in the band by the gig, and although they are seasoned players themselves they are still a 'young' band. Now that they're proven to themselves that they can pretty much do whatever they please in the studio (and then live, at the launch) Day Of The Dead are so likely to take things to the next level that, as a fan, you can't wait to see what they do next.

Even at the beginning, this band is a great step forward for surf guitar, because they're not afraid of defying the traditionalists and doing their own thing.
- Xpress

Day of The Dead began their set and I didn’t even notice – thought it was a cd. Not that that is derriative against them, more the fact they can be played iin the background or right in you face if you go down the front of the venue. Normally when I see a band like this I think ‘I wish I could play guitar like that’.
In the past I’ve felt their sound has been lacking something, with a 2nd guitar or keyboard needed to the fill the gaps. Tonight the thrd occasion on seeing this group, I am drifting away from this opinion – as the tunes are making more sense.

They’ve been dubbed around town as ‘An instrumental Living End’ but it’s a very much a surf rock sound – someone said it sounded like the soundtrack to ‘Pulp Fiction’. And definitely DOTD’s sound would be perfect for the appropriate movie – so film makers take notice. Now some people may find music without singing boring but i dig this group. - Perth Sounds

Sat 26th Jul, 2008 in Music Reviews

Kill or be Killed is the second album from Self proclaimed Killer Surf and Spaghetti Western Instrumentalists Day of the Dead and it demonstrates why they are so well loved in the Perth local music scene. Some have claimed in the past, that songs from Day of the Dead have suffered from sounding as if there was something missing. Well, with the help of Adam Spark from Birds of Tokyo during production, they’ve managed to suitably stick it to their critics. This album has a full, mature sound whilst still sounding authentic enough to transport you to one of their concerts.

Head between the speakers with eyes closed is truly the best way to appreciate this album. The music will help even the sternest of imaginations take flight. When one is running down the streets away from hordes of screaming zombies are they honestly expected to come up with their own soundtrack in the background? Hell no!! Wholly instrumental, it’s music for a Zombie Horror, a Sunday Arvo surf special or an old western.

The problem with most instrumental bands is the difficulty they have in keeping a listener’s attention for more than a few songs. Day of the Dead suffer from no such thing Ben Frichot’s melodic guitar playing is unnaturally intuitive, filling and expanding the songs at all the right places better than any screaming vocalist could. It’s not hard to see why Frichot is a WAMI Guitar player of the year. Luke Fragomeni’s drums and Brendan Giambazi’s double bass provide the heart and soul, the thunder in the sky and the devil’s eye. There’s no doubt these three are well-suited.

Opening the album is Thunderball. Setting the scene for this crazy mexican shoot-out fiesta of music, it feels as if you’ve been hit by a thunderball because it’s this point when you realise that your album collection was craving music like this. Phantom follows, with an incredibly cool crescendo at the 45th second and the minute and 35 mark so when you think the songs calmed down…off it goes again!!

Lost City, Gypsy Veil and the title track Kill or be Killed have a more apocalyptic vibe and it’s these songs that will make or break a fan. Frichot’s tremelo bar and vibrato use dares you not to imagine a storyline unfolding in your head. A zombie chase, an alien invasion, hiding from the feds. Gypsy Veil also has the best introduction by far. The violin only adds to the depth of this song and is the perfect precursor to one of the strongest songs on the album.

The most contemporary song award goes to Swamp Siren which has you converted into a finger clicking, head shaking moron as you’re walking down the street with an Ipod in your ears. The beats by Fragomeni in this song elevate your heart rate more than any walk could do! While The Dead Ride Out is very surf chic the true gem of this album is Return to Galaxy Island. Unfortunately, it’s also the last song on the album and has Frichot varying his playing style ever so slightly. Maybe it’s the Hendrix-style licks or the really cool song name but it’s a teaser of greater things to come. And nothing can be said against a harmony of xylophone and guitar for that super eerie feeling!

Throughout Kill or be Killed the songs get better and better which leaves you feeling pretty excited about what these boys are going to do next. Whilst their music stays within the genre, they pleasantly stretch and expand it so that the sound can truly only be described as Day of the Dead-esque. The only cause for concern is that this band won’t reach the heights it should, due to their being purely instrumental but if they keep churning out albums like this, then they quite possibly could be the first instrumental mainstream contender.
- Faster Louder

Headliners, Day of the Dead were next out, striking a pleasant medium between the showiness of The Badpiper and the modesty of Luke Dux. Playing a consistently solid set that included a whole lot of bass twirling and a Tarintino-esque song called Shadowland, the band played their set to a crowd of quite animated and inebriated punters. While it was undeniably of a high calibre there seemed something lacking that had not quite hit the grand finale that was to be expected from the night. Then Day of the Dead pulled out their ace card.

As the final song was about to be played, Frichot announced the long anticipated arrival of the final act of the night, The Devil in Miss Ashlee. An extremely talented burlesque performer that just so happens to be the fiancé of The Badpiper himself. Miss Ashlee strutted on stage in a black corset and peacock feathers to the hooting of both male and female punters. Her sensual and seductive dancing backed by Day of the Dead created a climax to the night few could have anticipated. - Faster Louder

DAY OF THE DEAD / The Devil Rides Out / Arts Martial / Datura
Fly By Night, Fremantle.
Friday, May 7, 2010.

By the time Day Of The Dead took the stage for their headlining show, there must have been upwards of 350 or 400 people in the 500 capacity Fly By Night. With tickets around $30 a pop, this is not only great economics, it also highlights the popularity of a band who have seemingly spent years eschewing the usual pub and club haunts in favour of epic tour supports of bands like The Stray Cats. And they really have learned from the best. This was a totally professional concert experience, highlighting the relentless Mexican-death-cult surf guitar of Ben Frichot.

‘Twas all about the little things for Day Of The Dead: from the cacti, skeletons, and giant death mask on stage; to the videos of dancers, highway drivin’, and any number of things that played constantly on the huge screen behind the band. A badass psychedelic tiki-bar feast, the audience were enthralled and kept themselves moving throughout while Frichot made great use of his catwalk and the performance space.

All in all, a resounding success. Well done! - X Press Magazine

Next was the well-known three-piece instrumental surf-guitar Perth band Day of the Dead. These guys picked things up to a new level. Their confidence just shines on stage, and they just seem to bounce off each other with what they do. They have found a sound that really works for them and they seem to really enjoy what they are doing, but with all their skill, it would be nice to see a little more original material produced by them. - Faster Louder

or anyone that sought a fix of surf, blues, and soul music last Friday night the place to be was Manhattan’s Bar. Boom! Bap! Pow! and Day of the Dead hosted a night of doo-wopping and fast-action spy guitar for the small cohort of punters that filed into the music hub. The choice of Manhattan’s is unsurprising, since its change in management Manhattans has gone through somewhat of a rebirth. It is now the home to regular gigs from left-of-field bands and is quickly building a reputation as the new Amplifier.

With Valiant finished, the stage was set for the spy guitar trio Day of the Dead.
It is universally understood within the music community that instrumental bands will always struggle more than their vocal counterparts to hold audiences, let alone animate them; this was not the case with Day of the Dead. The cadre, channelling the musical energies of Dick Dale attempted to warm up the crowd with their guitar-driven surf-rock, along with impressive renditions of The Chantays’ Pipeline and The Surfaris Wipeout they were able to achieve this to some extent. It seemed that the crowd was quite standoffish towards the idea of dancing and it took several attempts by the band to encourage the audience to loosen up, however they got there in the end.

By this point in the night the punters were well and truly warmed up. People were laughing, the drinks were flowing and male toilet-goers were even treated to an impromptu poetry session from a somewhat inebriated music-lover.

by Shaun Cowe - Faster Louder

Day of the Dead @ Fly By NightClub, Perth (07/05/10)

So finally Day of the Dead graced us with their delightfully unique sound of spaghetti western surf guitar. The options at a Day of the Dead gig are to sit and let the twangy joy wash over you or get up and let it move through you, hips falling into line with the syncopated rhythms. The audience was split and all were contented. Towards the end of the night a gaggle of ladies jumped on the catwalk to show off their moves. Two extra brave beauties made it to the real stage to practice their burlesque moves (to the envy of the others who quickly dissipated). We were otherwise visually engaged by a screen that at times showed the desert, at others a gyrating beauty, and others their signature cartoon drawings of skulls and dogs gambling.

They are an instrumental band and no member can be faulted. Ben Frichot with his narrow moustache leads the pack with his never to be faulted guitar skills. Brendan Giambazi used his double bass like a weapon, pluck pluck plucking to give the sound a deeper quality. Luke Fragomen was also very skilled, with a variety of drum styles to show off his talent. There is no fault to be found in this band. Think minor progressions from the wild west or some espionage scene, something delightfully sinful and yet so sweet.

There was a secret surprise for all after the encore. Perhaps it was a hint to a future direction. A guest singer, Pat Laughlin (Sugar Army) rolled onstage and fitted in perfectly with their style and their sound. He had the swagger to fit the cool requirement and the voice to match their talent. His one song was impressive and fun also.

Frichot complemented the audience that we must have been “creative” to want to come to see this kind of instrumental music. Perhaps the audience was creative, or probably just clever enough to know they’re onto a very good thing. Day of the Dead are obviously masters of their chosen genre and fill the void of bands who could play the soundtrack to a noon showdown in the main street of town. - Faster Louder