WAY PRISTINE

Il suono contenuto in questa demo dei Bad Blow Job è forte, deciso e coinvolgente. Tutti gli strumenti hanno spazio e interpretano il loro ruolo come ci si aspetta da una rock band che sa fare il suo mestiere: dalle chitarre che spaziano dall 'acustica all 'elettrica seguendo spiriti ed anime delle canzoni, alla voce, personalmente molto apprezzata, matura e profonda, capace di rendere in aggressività nei brani un po ' più duri come Miss equality a quelli più leggeri in stile ballata come Paint the world.

Principalmente un suono che ricorda i Three Doors Down, Bush e Staind, con dei piccoli momenti dedicati esclusivamente agli strumenti, che si avvicinano vagamente ai Porcupine Tree - come nella Intro di She used to tell me - ma senza troppo impegno. Pezzi come Deep Glance e Drifting away and die riescono a trasportare l 'ascoltatore e liberarlo dai pensieri; classici pezzi da mettere nell 'autoradio durante un viaggio notturno, accompagnato da assoli di chitarra struggenti, batterie lente e qualche piccolo accenno sintetico.

Forse le registrazioni non sono del tutto pulite e curate e certe tracce risentono parecchio di questa carenza tecnica, mentre altre acquistano un effetto particolarmente piacevole: durante l 'ascolto sembra di ritrovarsi realmente davanti al gruppo durante un 'esecuzione in un pub. Registrazione interamente analogica in vecchio stile? - www.genovatune.net

By Dave Urwin

Although I do my best not to be judgemental in life occasionally I just see a band name and am fairly convinced that what I’m about to hear will not be to my liking. BBJ stands for Bad Blow Job and I was expecting two minute punk songs with a lyrical content that I would have struggled to find amusing even as a teenager but within seconds I was to be proved wrong. I guess I asked for it really. What we have instead is atmospheric rock of the general ilk that Life of Agony were beginning to make before the departure of enigmatic vocalist Keith Caputo. That’s the first track anyway, but in time we also get electronic beats, African rhythms and disjointed vocal effects, although these add seasoning to the existing recipe rather than becoming the basis of a shift to another dimension. Ironically, the music BBJ make is pretty radio-friendly. In fact after a couple of listens I realise that the vocals did remind me of another band but sadly this band was Nickelback. If it wasn’t for that fact then I’d probably really like them too. Seeing as they hail from Italy a Chad Kroeger howl simply sounds artificial and is like one of those moments when it starts pissing down with rain during a lovely picnic.

‘Deep Glance’ clocks in at nearly seven minutes and throughout the guitars duel in an understated, melodic manner with the occasional piano inflection before finally towards the end the expected blast of distortion pops its head over the wall. ‘She Used to Tell Me’ is split into a two minute intro track and a five and a half minute main track. The intro is almost jazzy in places – I’m thinking Robbie Krieger of The Doors rather than Miles Davis, then the main track could almost be Simple Minds if the spirit of Nickelback crept into their brains at a crucial moment during proceedings. ‘Drifting Away and Die’ seems to have at least three different guitar tracks and none of them are unnecessary, which is something that BBJ have very much in their favour.

If I am to cast further aspersions on the vocal delivery I will undoubtedly be forced to scoff a hefty slice of humble pie when I discover that the singer does actually hail from the other side of the pond, although if he is an unashamed Italian then in my opinion he should bear this in mind when singing. The music on offer here is of a high quality, that much is in no doubt, but…..well, what if Liam Gallagher sung for Radiohead? - www.live-music-scene.co.uk