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Blue Daven’s Code – Self-Titled – Album Review

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Blue Daven’s Code – Self-Titled – Album Review

Blue Daven's Code - Self-Titled

Blue Daven’s Code – Self-Titled

Style: Rock/Alt-Rock/Stoner Rock/Country
Release Date: September 23rd 2014
Edited, mixed and recorded: ATF Productions (Quebec City)
Produced: Brendan Duffey of Norcal Studios in Sao Paulo, Brazil

Track List:

1)   Only One
2)   Standing
3)   Bad Seeds
4)   Alive
5)   Trouble in Paradise

It’s not often that you come across a band you can’t quite place. I spent a solid week mulling over what the different influences of Blue Daven’s Code are, and it was one of the toughest challenges I faced. This band blends in so many different sounds, that it’s hard to imagine that a three-piece band created this album. From the start, there is a sense of familiarity in Vocalist/Bassist’s Mathieu Giroux’s voice, giving a familiar shiver down your spine when it kicks in. Blending in an intricate combination of Eddie Vedder, Chris Cornell, Layne Staley and Jon Harvey (Monster Truck), it has a power that all three vocalists combine so well. It also blends the Vedder lows and the Cornell mids that fans of that genre of music know so well. On the other hand, the highs fell a little short, especially in the opening track, The Only One. There are moments where they lacked a little strength in the falsettos.  Overall though, the combination of Vedder and Staley is quite noteworthy, as it’s not a style often used anymore. Jesse Mercier’s guitar is absolutely up to par, giving a kick in the teeth with driving rock, and then mellowing out at all the right places. It’s as if his fingers have an attitude of their own, giving a kick in the teeth when the heavier sounds kick in and gently caressing us when they slow down. The driving rock is easily comparable to Monster Truck, meaning that Blue Daven’s Code has fullness in their sound that has been lost to a lot of rock bands. What’s even more impressive is that in some songs, such as their single Standing, it sounds as though there are two guitars playing together. And as far as drummers go, Juan Parenty delivers a smacking wallop, combining intricate beats to some simple formulas (in this case, simple is not a bad thing. Sometimes less is more!). For instance, in Bad Seeds, Parenty will vary from a very simple beat and then switch seamlessly to an intricate combination of drumbeats. 

Overall, the EP feels full, and as though there was almost an inadvertent tribute to some artists. There is a definite nod to Nick Cave, and his post-punk band The Birthday Party, in the song Bad Seeds, where the lyrics are “We are the Bad Seeds, the roots of hell”. In context, The Birthday Party were a notoriously violent post-punk/alternative/avant-guarde band in which the members called themselves The Bad Seeds (now Nick Cave and The Bad Seeds), so a nod to those legends is a definite plus. It is easy to draw comparisons with bands like Monster Truck, Steppenwolf, T-Rex and many older bands, but Blue Daven’s Code stands out as a band who does their own thing, and does it right. This is not only obvious in the various shows that they’ve played (including the Festival d’Ete du Quebec, which we talk about on a yearly basis), but also in the overall feel of this entire album. A noteworthy band that’s going places, these guys are definitely worth taking the time to get to know.

And if you wanna check them out, see below for their video of “Standing”, of the EP.

[youtube id=”1kas7_oC1eM” width=”620″ height=”360″]

Written by Andrej Ivanov


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