Clap along towards the end of “We the People.” I’m sure it won’t be one of the only songs that will be leaving you hanging on to your chair by your fingernails. Mortigi Tempo is made up of Christopher Fallo (guitar/vocals), Nicolas Allen (guitar/keys/vocals), Marz Leizureman (drums) and Jason Clift (bass/vocals). Remember these names; remember the album title, which has a flare of igniting an engine on fire or in this case my own brain, Bob Your Head Suzie. Once some time had passed with shows being played and with writing songs, this band decided they should record an album.
The third track “Shun the Light,” vibrates a raw inducing coma, which could make your tongue numb by the number of plays you’ve recounted. While the distortion has a wall of sound, the melodies do not become lost inside of the ordeal. Promptly it’s the other way around, this successful blend of casual jamming and teasing riffs allow their influences to run wild.
They have two songwriters after formally joining together the band The Lucky Strikes and Mortigi Tempo, the shared powerhouse of rock n’ roll phenomenon has risen in a chanting tone. This ten-track album has songs well over the five-minute mark, but you won’t even notice. You know how some albums, you end up waiting for that next song to play, no don’t worry about that with these guys. The song “I’m No Genius” creates this beautiful varying hint of psychedelic blues that makes wandering in a desert a visual past time. It incorporates keys and guitar together, which sometimes can come off as a love song with a hair metal twist. Lucky for us, this track has all the traces of a connection made between the heavenly strings and keys that are supposed to sound ethereal as you continue to listen.
Then, as if this doesn’t already feel like a storybook, flipping the pages to the next surprise. As the “Interlude” plays peacefully into the space, “Come On In” feels close to a mixture of early punk inspired ideas that have led you down the right musical path. “Feelin’ You” just confirms my previous statement. Muting of the guitar chords adds a sinister approach with lyrics that want to feel you, justifying that there is a difference between actually knowing how to manipulate their instruments instead of just lightly strumming or patting them. “You Led Me On To Believe” has to have been a conversation that took place between Iron Butterfly and Jimi Hendrix while they watched King Crimson perform “21st Century Schizoid Man.”
Then just like that, with a snap of your fingers, the last track “Tired Heart” feeds you as if it were mother’s milk. Words that puncture towards a climax which exceeds half way through the song; depicting a story of mind and time and it is with this album alone, I would travel to Utah to see this band play live.
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