Dojos - Dojos

Dojos

Dojos
​self-released; 2021

3.9 out of 5

By Dino DiMuro

Dojos is a rock trio based in Granite Falls, Washington. After forming in September 2019, they played a few shows in the Seattle area before lockdown, then took the opportunity to complete their first, self-titled album Dojos. The members are Nick Michel (guitar/ vocals), Christopher “Burger” Thomas (bass/vocals) and Matt Wyscoki (drums), with additional vocals by Kirk Rutherford. 

The songs are a mixture of rock, blues, pop and funk, and were birthed from hours-long jam sessions. “Because there are only three of us,” they state, “we try and fill the space with busy bass lines and percussion as well as an emphasis on guitar.” The album was recorded by Tim Wilson at Summertime Studios in Snohomish, Washington, and mastered by Chris Hanzsek at Hanzsek Audio. Dojo’s recorded sound is crisp and upfront, coming off as both live and studio-polished.

I don’t have to think too hard about a band like this, as I had two or three similar bands myself. There’s a primal power to a rock trio, especially one that recognizes the need to keep things interesting. As expected, after the tribal all-boys vocals are done, guitarist Nick Michel often steps up to take a solo (as he does in the opening “Aztec Song”) but the rhythm section does indeed find plenty to do within the open spaces.

“Something To Say” features a Sabbath-like main riff and growly vocals with some harmony lead guitar for class. I really like the Egyptian-sounding guitar solo. “Stranger In My Car” has an evocative minor-key feel, jazzy staccato guitar chords and ’60s garage band vocals. Best track so far!

“Lights Out” feels like a dark ballad, as the pace and the chords take a slow, downward turn. The vocals sound like the narrator was left out in the desert for too long, asking to be let back in but pretty certain you’ll refuse. Another tasty lead guitar solo seals the deal, after which the boys sneakily switch to waltz tempo. The vocals here (Nick or Burger, I can’t tell) take on a wild Jim Morrison quality. 

“Freaks” has a Mexicali feel, though of course on electric guitars. It’s a kind of narrative anthem with that classic Sabbath quiet/loud dynamic and a lot of wicked Hendrix-style soloing. “Modern Art” is a darkly dramatic mini-epic that feels more substantial than some of the other tracks with a Michel guitar solo that surprisingly recalls Steely Dan. “Bolognious Funk” is two-and-a-half minutes of something I would also term “Red Hot Chili Funk.” They even manage to channel the Mahavishnu Orchestra during the choruses.

“Portal” is the doorway to the end of the album. Starting with appropriately portentous minor chords, it appears to be an ode to refugees or immigrants. The vocals are among the cleanest and most unadorned on the album' with nicely restrained chorus singing, and Michel’s solo has echoes of Cream.

Honestly, there’s nothing here that will necessarily change your life, but fans of hard rock trios should find lots of great songs and many killer moments within this album.​

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