Written
by David Shouse, posted by blog admin
It’s
not often a Jimi Hendrix, Jim Morrison, Kurt Cobain, etc. type comes along in
rock n’ roll that often anymore. Someone
who takes an idea from the smallest seed of a thought, grows it into a living
breathing musical organism and cultivates it into an idea so unique that no
matter what musical project they decide to tackle next, it will ALWAYS sound
exactly like that person. In 2017 we can
say that Thomas Abban is the rooted of such a creative force with his debut
album, A Sheik’s Legacy. This feels like an innovative concept album
of yore and though only Abban himself could tell you if it is or isn’t, the
songs achieve this connected and kinetic power; a feeling of unity throughout
the album that projects a staggeringly satisfying experience for the listener.
The
haunting, brooding “Death Song” hits like a kick in the gut as a roaming,
acoustic walk down a wooded path soon becomes a hobbling, granite stomp of
manic guitar scrabbles, molten drums and Abban’s primal, feral vocal howls. It’s the start of an album with split
personalities. An album that unleashes a
ferocious edge while tempering its calamity into a gentle melodicism. Quickly picked, safari hunt acoustics thrust
“Symmetry & Black Tar” into an upbeat frenzy. Abban’s guitar-work glides nimbly atop the
surging drum n’ bass energy as the track gives away into heavier guitar riffs
and tribal percussion mash ups that eventually crash land into the lava hot,
knife-edge blues swipes of “Fear” and “Aladdin.” This duo goes straight for the throat in
terms of heft and downturned groove; it’s got enough sweat n’ swagger to turn
the heads of Sabbath fans.
A
dusty, cowpoke vibe paints the image of a gunfight at high noon on “Time to
Think’s” country soaked goodness. These
constant but necessary changes in style, tempo, texture and dynamics only
enhances the sheer enjoyment of A Sheik’s Legacy,” further summoned up in the
exotic instrumentation of “Horizons” which incorporates some flute and provides
unique updates to the sounds of vintage outfits like Jethro Tull and Gravy
Train. Further down the line “Sinner” is
modern folk that somehow feels like the good, old stuff with a pop-infused but
hugely enjoyed chorus vocal from Abban (a combination Thomas returns to with
even greater success later down the line with “Irene.” The album continues to juxtapose numerous
musical and thematic elements till the brain-scorching, 60s burnt guitars of
the penultimate “Born of Fire” ends the album with a brimstone finish. Besides the pyrotechnic American gothic, bluesy
guitar grinds of the boundless Algiers, I can’t seem to think of anybody going
this route with both acoustic and electric instruments recently. That is to say that Thomas Abban and his
debut A Sheik’s Legacy are filling a
vast, aching void that’s been present in rock music for quite some time. For fans of the “album” era, searing,
original guitar work with chest-rattling rhythm playing, fascinating
songwriting and vocals that scream with personality; Abban’s work simply can’t
be beat.
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