ULTIMATELY
UNDEFINABLE By day singer Jake Wood is a humble fast food
manager. But by night he’s dropped the customer-frinedly smile, donned the
guitar and mutated into an equipment-trashing sensei of Bixby Canyon. Formed in
2010, the band has since morphed from schoolboy four-piece down to power trio.
At least now there’s room on the tiny stage for Wood’s rabid PA attacks. The drumming of Fletcher Horne and the bass of
Emma Friday fill the harshness expected from Bixby Canyon’s sound. Their sound
is a result of their many influences crashing together. On first impressions,
the cranked guitar distortion and droning riffs reek of grungy familiarity, but
then progressive song structures, soft vocals and Death Cab for Cutie references
suggest otherwise. The only option is agree to disagree, and try to enjoy the
results.
In the two years Bixby Canyon
has existed, there has been one release; Welcome to Bixby Canyon.
Taking 18 months to complete, all 6 tracks
were recorded live at all-ages venue The Hive. Overall the album sports a plethora of heavy
power-chord attacks. But songs such as Tilt
continue to show different avenues the band can play. The vocals of Wood
are either unusually soft or screaming undefinable words. It’s raunchy, punchy.
And with their new line up, anything could happen.
Listen to: Empty, Lucrid
See
More:
- http://www.facebook.com/bixbycanyonband
