For starters, I like the name Bron Sage. For those a little slow on the uptake, it’s Bronze Age with a little literary flair. Or maybe that’s just me? Either way, Brawn Sage would have been cool as well, brawn being a firm word as well as a linking with the album title spelling. This is hardly important, but these are my thoughts and they’re far from caged. I have to say, Frawd is surprisingly dense with material and mood. That’s what art rock should be; a collection of unique tapestries that tie together to make an even more original design. The brass section is a great choice and works well in peculiar tandem with mandolin and accordion.
For a short stack, this album carries some longer winded tracks so don’t worry about missing out on those instrumental jams, slow hurricane solos and overdone exposition. All in the name of development, but sometimes it plays like musician’s music and can miss a general audience.
“Leslie’s Gone” drips the blues like molasses, but get a load of “My Baby, She Lost Her Mind on Christmas Day.” It’s one hell of a jam and those title lyrics sound better than you’d think. This track puts it all together nicely incorporating horn sputters, powerful drums and dancing delivery complete with a mini disco revival. It’ll get in your head maybe even make your day.
“Middle Step” clocks in at 8:23, but doesn’t grow legs until around four-and-a half minutes. It has a strong swing feeling that sounds more big band that dirty blues which I think is more in this group’s wheelhouse. The ending is too much of a slow death than a segue to something bigger, but when the syncopated hits punctuate that guitar line it’s on. The motif repeats as it grows and the listener is hooked. The beat comes full circle and we’ve got ourselves a damn rock show. All that’s left is the encore.
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