Patrol
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Patrol

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"Album Review - Destinations"

It'd be pointless to rehash the bloated Hollywood fantasies from the early to mid 90s about "The Seattle Scene" but it's a fact that it had been years since there was solid non-fluff guitar rock on mainstream radio. I never had a problem with the music of that era per se (The Nirvana was aight tho) but the vocals were un-listenable. That highly emulated Veder Yarl is like fingers on a chalkboard. Oh well, I guess it was the heroin (or the image of it anyway). Fortunately for us locals, Patrol has hit the scene with the big guitars and the vocals don't sound like someone trying to sing with a tongue full of Novocain (just watch the pronunciations on those words "you" and "destinations".)

I'll avoid the lazy comparisons because Patrol is just too good a band to be pigeonholed. But to at least give an approximation, if you're down for mid 70s classic rock and psychedelia, a tastefully moderate dose of nineties alternative-ish guitar rock (I'll avoid the G-word and it's OK to admit that some of it was in fact good) and quirky art rock released by the likes of Touch and Go and Quarterstick Records, then you're likely to appreciate Patrol. They're musically challenging in a time-change-acrobatics kind of way but they're committed to riffs and melody unlike their noodle-ey art and math rock counterparts ala the abovementioned Chicago based indies. And they're not into guitar solos thank The Lord.

The genre approximation that Patrol is undertaking is not flawlessly executed but this often works in their favor. The ebb and flow of the tempos of non machine-like clockwork can be a good thing so that it actually sounds like human beings playing music together unlike a band like, say Tool. So hopefully Patrol won't ever feel the need to spend months in the studio to achieve a "perfect" sounding recording. Producer Matt Bayles (Botch, Murder City Devils, Isis, Minus the Bear) does a good job in capturing what the band really sounds like without over polishing. One unfortunate detail in the mix though is that Jake Reisenbichler's bass tone doesn't always cut through as clearly as it ought to.

Patrol's arrangements feel a tad rushed sometimes and this can get in the way of the music sounding heavy. Or what I perceive is supposed to sound heavy. I once read heaviness likened to the sound of a big rock being dropped into water — You hear the initial plunk, there's a pause and then the splash. But harnessing weightiness isn't qualified by volume or a sluggish tempo, it's a feel. It's hard to describe but decipherable when performed confidently. Though John Bonham will never be blamed for drumming subtlety, the dude laid it down heavy and steady as a freight train while simultaneously playing barely behind the beat. This isn't a gripe about drummer Eric Jung at all cause he's actually made leaps and bounds in his playing from his days in local prog band Vermillion. It's really a band communication thing.

It could be that Patrol needs to be using minimalism to their advantage. This could probably be accomplished by clearing away the unnecessary clutter of complicated riffs or huge drum fills. Page Hamilton from the nineties rock band Helmet said in an interview once that if the opening for Behthoven's 5th didn't have that big open space in that sinister descent (you know da-da-da-da—long rest—da-da-da-da vs. da-da-da-da-da-da-da-da) it wouldn't have been musically effective or memorable. I'm paraphrasing of course but Hamilton and company took that compositional lesson to heart because they were masters of creating open space so that riffs could breathe.

Patrol is a really great band that needs to be heard. But what would push them over the top into ultimate wickedawesomeness would be economy of song arrangement. I don't mind epic, long songs once in a while but these tunes are well crafted melodically so that the main body of the songs stand well on their own. I say less is more. Hit 'em between the eyes with an infectious riff, back it up with solid vocal melody and you've got a winner. Patrol nails it most of the time but could still stand just a smidge of self editing.

There are a few rev-up mid sections in several of the songs (that kind of remind me of the midsection jams in early Black Sabbath songs) like in "Bropal" and "Relax". This is generally where the guitar interplay of Doug Lorig—who also doubles as the vocalist—and Skippy King heads off into discordant territory by building up the tension and tempo to resolve again into the main riff. It could be that the band was thinking that they didn't want a slower song like "Carve" to lag but the rev-up actually detracts from the overall strength of an otherwise stellar song. This buildup theory is actually executed really well though in the song "Our Compromise" which aesthetically has the same airy and open quality as "Carve".

Patrol haven't reinvented rock with "Destinations" but they have expertly extracted all the good stuff from the abovemention - Three Imaginary Girls


"Album Review - Destinations"

It'd be pointless to rehash the bloated Hollywood fantasies from the early to mid 90s about "The Seattle Scene" but it's a fact that it had been years since there was solid non-fluff guitar rock on mainstream radio. I never had a problem with the music of that era per se (The Nirvana was aight tho) but the vocals were un-listenable. That highly emulated Veder Yarl is like fingers on a chalkboard. Oh well, I guess it was the heroin (or the image of it anyway). Fortunately for us locals, Patrol has hit the scene with the big guitars and the vocals don't sound like someone trying to sing with a tongue full of Novocain (just watch the pronunciations on those words "you" and "destinations".)

I'll avoid the lazy comparisons because Patrol is just too good a band to be pigeonholed. But to at least give an approximation, if you're down for mid 70s classic rock and psychedelia, a tastefully moderate dose of nineties alternative-ish guitar rock (I'll avoid the G-word and it's OK to admit that some of it was in fact good) and quirky art rock released by the likes of Touch and Go and Quarterstick Records, then you're likely to appreciate Patrol. They're musically challenging in a time-change-acrobatics kind of way but they're committed to riffs and melody unlike their noodle-ey art and math rock counterparts ala the abovementioned Chicago based indies. And they're not into guitar solos thank The Lord.

The genre approximation that Patrol is undertaking is not flawlessly executed but this often works in their favor. The ebb and flow of the tempos of non machine-like clockwork can be a good thing so that it actually sounds like human beings playing music together unlike a band like, say Tool. So hopefully Patrol won't ever feel the need to spend months in the studio to achieve a "perfect" sounding recording. Producer Matt Bayles (Botch, Murder City Devils, Isis, Minus the Bear) does a good job in capturing what the band really sounds like without over polishing. One unfortunate detail in the mix though is that Jake Reisenbichler's bass tone doesn't always cut through as clearly as it ought to.

Patrol's arrangements feel a tad rushed sometimes and this can get in the way of the music sounding heavy. Or what I perceive is supposed to sound heavy. I once read heaviness likened to the sound of a big rock being dropped into water — You hear the initial plunk, there's a pause and then the splash. But harnessing weightiness isn't qualified by volume or a sluggish tempo, it's a feel. It's hard to describe but decipherable when performed confidently. Though John Bonham will never be blamed for drumming subtlety, the dude laid it down heavy and steady as a freight train while simultaneously playing barely behind the beat. This isn't a gripe about drummer Eric Jung at all cause he's actually made leaps and bounds in his playing from his days in local prog band Vermillion. It's really a band communication thing.

It could be that Patrol needs to be using minimalism to their advantage. This could probably be accomplished by clearing away the unnecessary clutter of complicated riffs or huge drum fills. Page Hamilton from the nineties rock band Helmet said in an interview once that if the opening for Behthoven's 5th didn't have that big open space in that sinister descent (you know da-da-da-da—long rest—da-da-da-da vs. da-da-da-da-da-da-da-da) it wouldn't have been musically effective or memorable. I'm paraphrasing of course but Hamilton and company took that compositional lesson to heart because they were masters of creating open space so that riffs could breathe.

Patrol is a really great band that needs to be heard. But what would push them over the top into ultimate wickedawesomeness would be economy of song arrangement. I don't mind epic, long songs once in a while but these tunes are well crafted melodically so that the main body of the songs stand well on their own. I say less is more. Hit 'em between the eyes with an infectious riff, back it up with solid vocal melody and you've got a winner. Patrol nails it most of the time but could still stand just a smidge of self editing.

There are a few rev-up mid sections in several of the songs (that kind of remind me of the midsection jams in early Black Sabbath songs) like in "Bropal" and "Relax". This is generally where the guitar interplay of Doug Lorig—who also doubles as the vocalist—and Skippy King heads off into discordant territory by building up the tension and tempo to resolve again into the main riff. It could be that the band was thinking that they didn't want a slower song like "Carve" to lag but the rev-up actually detracts from the overall strength of an otherwise stellar song. This buildup theory is actually executed really well though in the song "Our Compromise" which aesthetically has the same airy and open quality as "Carve".

Patrol haven't reinvented rock with "Destinations" but they have expertly extracted all the good stuff from the abovemention - Three Imaginary Girls


"Album Review - Destinations"

The first release from singer Doug Lorig's (Roadside Monument, Raft of Dead Monkeys) new project is finally here. Put out by Japan's Stiff Slack Records, this Seattle four-piece is no comparison to Lorig's former bands, with the exception of Black Eagle which bears a striking resemblance. This record has a definite Seattle sound to it; Lorig's unique vocals echo distantly over the grunge-metal tinged style, and the fullness of the sound is polished nicely by Matt Bayles' (Botch, Isis, Pearl Jam, Soundgarden) production. - SHzine


"Album Review - Destinations"

The first release from singer Doug Lorig's (Roadside Monument, Raft of Dead Monkeys) new project is finally here. Put out by Japan's Stiff Slack Records, this Seattle four-piece is no comparison to Lorig's former bands, with the exception of Black Eagle which bears a striking resemblance. This record has a definite Seattle sound to it; Lorig's unique vocals echo distantly over the grunge-metal tinged style, and the fullness of the sound is polished nicely by Matt Bayles' (Botch, Isis, Pearl Jam, Soundgarden) production. - SHzine


"Up & Coming"

Patrol's lineup is impressive, and as much as I don't like relying on band members' previous work to bring praise to current projects, I think in this case it's worth mentioning. Drummer Eric Junge has played with Vermilion and The Building Press while vocalist and guitarist Doug Lorig comes from the revered 90's band Roadside Monument. Nice, right? Now get superstar producer and Minus the Bear electronic aficionado Matt Bayles to produce their heavy and math-rock-influenced post-hardcore sound (rounded out by Skippy King and Jake Reisenbichler) and, well, it's pretty much what you would imagaine: Awesome. - The Stranger


"Up & Coming"

Patrol's lineup is impressive, and as much as I don't like relying on band members' previous work to bring praise to current projects, I think in this case it's worth mentioning. Drummer Eric Junge has played with Vermilion and The Building Press while vocalist and guitarist Doug Lorig comes from the revered 90's band Roadside Monument. Nice, right? Now get superstar producer and Minus the Bear electronic aficionado Matt Bayles to produce their heavy and math-rock-influenced post-hardcore sound (rounded out by Skippy King and Jake Reisenbichler) and, well, it's pretty much what you would imagaine: Awesome. - The Stranger


Discography

Destinations LP - STIFF SLACK (2006)
-Frequent airplay on 107.7 Young & Restless and 99.9 KISW Loud & Local for the songs Destinations and Relax.
-Destinations was featured on 90.3 KEXP Music That Matters podcast (vol. 22).
-Destinations was included in the Sonic Boom Records Top 10 Local albums of 2006.

Photos

Bio

Patrol was formed in the Summer of 2003 with the core membership of Doug Lorig (Roadside Monument, Raft of Dead Monkeys) on guitar/vocals and Eric Junge (The Building Press, Vermilion) holding down duties behind the drum kit. After a year of grueling rehearsal, the final line-up was solidified with the additions of Jake Reisenbichler (Black Eagle) on bass and Skippy King (Not My Son, Tigernaut) on guitar.

During 2004-05 the band honed its own brand of heavy rock, playing shows in and around the Seattle area and cutting an initial demo with Ben Verellen (Harkonen, These Arms Are Snakes, Roy). Originally the recordings were to be released as an EP, but those plans were scrapped. Still, the band moved forward, eventually settling down long enough to record a full-length album.

With the completion of their debut album Destinations, Patrol emerges fully formed, completely devoid of the over-eager idol worship that usually scars a young band. The album is a clear statement of purpose by a band that has sharpened its sound to a deadly point. This is Patrol's vision of rock music; heavy and loud but retaining the rhythmic complexity of the member's earlier bands through passages that kick like a drum pedal to the back of the head. From the seesaw grind of "The Arraignment" to the slow brooding "Our Compromise" Patrol show a balance in their craft. While the tempos on the album shift, the band remains in control of their sound. The guitars hack, slash and crunch their way throughout the album's ten tracks, driving and molding the melodies with shocking precision. All the while, pummeling drums and bass create an uneasy rumble, like something big, black and dense swirling above the huge spacey riffs and emotive howls. This is hard rock, both new and pure.

Destinations was put to tape in late 2005 by esteemed producer Matt Bayles who's past production work includes such bands as Isis, Mastodon, Murder City Devils and Minus the Bear. The album was released in Japan by Stiff Slack in the summer of 2006.

In the Winter of 06 they toured the midwest with the aid of Copper Press and 54'50 or Fight masthead Steve Brydges. 2007 included more support of Destinations in the form of a West Coast Tour. Also a new bassist by the name of Jared Burke Egilngton (Ex-Akimbo, currently Spirit of Radio) joined the group after the unexpected departure of Jake Reisenbichler. Right now Patrol is in the midst of creating their sophomore effort tentatively titled SAHARA ANGEL (A History of Failure) which they plan to record with Matt Bayles in Summer 2008.