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I first ran into "Windigo" when
they opened at the Debut Party for another Phoenix, AZ band in
Sept. of '97. I only remembered a few of the songs the next day,
but the band impressed me with their energy and innovative style.
This was right around the time when rap-core was getting a foot
in the musical door, and these guys were at the cutting edge.
Fast forward to Aug. of '98, when I attended the Debut Party
for "Windigo" in support of their self-titled debut
LP (they had a couple of very successful EPs prior to this).
It was in a small club, with not much of a stage for them to
stand on, but again they rocked the house, although their style
had grown and matured quite a bit.
This new and improved "Windigo"
is who you will find on their album. Losing none of that cutting
edge, the songs come across crisp and tight with a mixed vocal
sound that doesn't depend on rap-core alone. Lead vocalist, and
co-founder, Matt Strangeways, combines rap, spoken word and sung
vocals to whip out some pretty interesting tunes. Accompanied
by the other co-founder, Jason Wilhite, on guitar, Dave Curwin
on bass, and "Jr." Newlin on drums, Matt delivers the
lyrics in a combination of styles that fit the mood of each song.
I think they get my vote for most unusual song titles too!
Coming together in 1994 as “Windigo
Psychosis,” the Phoenix, AZ based band was originally metal/hardcore
with a New York overtone. In their first year, they released
a 4 song CD, “Who Can You Trust?” Along with their
chaotic live shows, they built a loyal following, and were chosen
as the New Times “Best Of Phoenix” in the hard rock
category. With the talent floating around the “Valley of
the Sun,” this was no mean feat! In 1996, a new rhythm section
was added, and a new EP, “Strangeways Prison” hinted
at the new direction of “Windigo,” using more experimentation
in the songwriting and vocal style. Continued popularity in the
Phoenix area, and another “Best of Phoenix” nomination,
drew the attention of Pavement records, and a deal was signed
in late ‘97.
Despite overwhelming support and positive
responses from critics, and a lot of college radio airplay in
both the U.S. and Europe, if you live outside Arizona, it may
be difficult to find this album readily available. However, our
link to Music Blvd. will give you immediate access to one of
the best combination style albums to be released by a young band.
Although they do limited touring in the Southwest, at this time
there is not a national tour in the works. But to quote Strangeways,
“I hope people make an effort to find this album They won’t
be disappointed.” I totally agree with that statement.
If I HAVE to put a tag on this band, I’d
call them part hardcore, part metal, part rapcore, part hard
rock and great musicians. Several songs on the album have long
instrumental “jams,” and there’s a lot of talent
displayed in these instrumental interludes. Strangeways uses
a variety of vocal styles to express each song, from rap, to
a sing-song chant, to a “laid back psycho-drawl” per
Matt, to just some great singing. Produced by the great Gilby
Clarke, and recorded at Steve Lukather’s Steakhouse Studios
in Hollywood, this debut album takes the vibe from a live “Windigo”
appearance and adds a “a healthy dose of good ol’ fashioned
psychedelia. As Strangewayes explains, Live, we want the crowd
on their feet and moving, but I dont think the record can be
fully appreciated without listening to it 70s style - smokin
a fat joint, and your head between the speakers! I dont know
if Id go quite that far, but a good set of speakers or headphones
are definitely a must to fully appreciate this Cd.
The album opens with one of my many favorites
from this disc, The Ballad Of Reichen Overgraaben, which has
a super heavy instrumental that should please any metal or hard
rock fan. Matts sing-song delivery adds just the right touch.
The story is supposed to be about the fall from grace of a Norwegian
speed skater named Reichen Overgrabben. The lyrics are very subtle
in relating the story, and toward the end of song a bit of a
cover of Riders On the Storm by the Doors shows up, but its still
a really cool song, enhanced by changes in pace and vocals. I
asked Matt how they came up with the song title, and it actually
started out as sort of a joke between the band members. While
travelling, the guys in the back seat kept reaching into the
front seat for snacks when the front seat passenger finally said
Quit reachin over and grabbin stuff. And there you have Reichen
Overgraaben!
Holy is another heavy rocker musically,
with some really grab ya backing instrumentals over hardcore
rapping vocals. The lyrics are pretty straightforward in their
sentiment, Whats holy to you is not whats holy to me, but the
delivery gives it somewhat of a dark sound. Wobblies is another
favorite, and usually gets a big crowd response at a Windigo
live show. This one is kind of a slow rocker, but its fun in
its own way. Basically the song is about being drunk or stoned
or whatever, but Wobblies wobble but they dont fall down. Another
super metal intro brings on S.P. (Strangewayes Prison). This
is one of the more hardcore songs on the album, both musically
and in the rap. Pace changes, phat riffs and some great bass
give this a super tight, on the edge sound. Never goin back,
never goin back . . . is the haunting lyric repeated over and
over with a variety of musical accompaniment at the end of the
song.
Opening to the sound of the didjeredo,
courtesy of Iron Mike Hill, is Yohimbe. This is an extremely
exotic sounding song throughout, although theres some great metal/hard
rock music as well. The lyrics are a comment society, presented
in the form of piggies. Perhaps that has something to do with
the lyrics Mr. Mansons doing well/ Hope John Lennons not in hell/
Somethings cooking/ Whats that smell?/ Its all fair game when
its time to sell. Producer Gilby Clarke provides keyboards on
Poughkeepsie, a really cool instrumental that kind of mellows
things out, and shows the musical talent of the band as well
as the slammin metal and rock do.
Ladmo/Bad Things sounds like jungle music
and is basically beat driven for the first 90 seconds. Changing
things over to some massive bass and guitar riffs, the lyrics
finally kick in on Thinkin about bad things . . . This is probably
the heaviest song on the album, and when you think about the
fact that all youre hearing is a drum, bass and guitar with a
vocalist chiming in once in a while, its really pretty amazing.
These guys are no slouch in the music department, I guarantee.
The next song gets my vote for most unusual
title ever: The Nutty Shenanigans Of Joe Nugent And The Unquenchable
Thirst For Knowledge Via Association With Latitudinarians (Born
To Rock). Its probably one of longest titles Ive come across
too! Joe Nugent actually does join Windigo on this number, doing
backing vocals. This band really uses a lot of bass - much to
its advantage - and this song is no exception. Again, the heavy
sound is perfect background to vocals by Strangeways and Nugent.
This is one of the few tracks where Matt actually sings most
of the song, and it has some truly awesome instrumental bridges
that run back and forth with the rap portions.
Postcard From Chupacabra sounds a tiny
bit like Sepultura or Soulfly - as in hardcore. There is a reason
for this. I happened to catch the reference to . . .the more
I, I cry/ Soulfly, bye bye. . ., because I live in Phoenix and
am familiar with the death of Max Cavelaras son caused by a drunk
driver. Max, formerly of Sepultura, and founder of Soulfly, has
been a Phoenix resident for quite some time. His son was a good
friend of Matts, and this song partially dedicated to him. The
lyrics are very dark and pessimistic, and the music totally matches
them. Wailing guitars, heavy percussion and bass line all add
to the feeling. Next up is Dominant Red, another musical interlude
thats very much the opposite of the previous song. The instrumentals
are light and airy, and you can hear voices echoing in the background,
but you cant quite catch what theyre saying. A very stark contrast
to other songs on the album.
Closing out the album is Funk and Petry,
back into the super-heavy groove again. The instrumental intro
and bridges are super metal/funk, while the backing instrumentals
keep the beat for the sing-song/rap of the lyrics. I had trouble
catching the lyrics to this song, and its not in the liner notes,
but suffice to say that the whole thing works - in spades! A
long guitar and keyboard (Gilby Clarke again) interlude, with
a light percussion background, finishes out the song, with a
haunting quality that finds its counterpart in the listener.
This is one of the better debut albums
Ive heard, and although I dont usually follow bands live, I like
this band enough to make an effort to get to a live performance
at least every two months (see concert review in this issue).
If youre tired of all the crap being called metal or hard rock
or alternative or even cutting-edge, you MUST invest in this
album. Windigo fits the bill in ALL the above categories, and
restores my faith that there are still bands willing to go where
their talent leads them, instead of trying to please the corporate
part of the music business that dictates what you hear on the
radio. Find the album, find the band when theyre touring, and
enjoy!! |
