Vinyl Floor - Vaudeville

Vinyl Floor 

Vaudeville
self-released; 2014

3.9 out of 5

By Ethan Skelton

 

Vinyl Floor takes a piece of Led Zeppelin, deepens the pocket and then goes ground and pound like Queens of the Stone Age. In the abstract, there’s full movement and swinging rock anthems but if you dig deep Vaudeville is sometimes merely folk hiding in the armor of modern rock process.

There are a few surprises instrumentally and I’m all for it. Strings make some spotty guest appearances as well as a very tinny guitar lead that would normally render the song cheap but it works somehow. The acoustic never really leaves but the booming drums heard early on don’t quite resurface. I had to dock a few points there. “Change The Song” sets a great tone for the album and yet the next few tracks play out like filler when you factor in the whole menu. It immediately establishes the unique yet accessible vocal qualities of the lead singer. His commanding voice is the focal center that is supported by gritty guitars, robust bass and drums. The song contains a technically impressive guitar solo before closing out a cappella. Picture a spark that has a fuse three tracks average in length. It ignites simultaneously giving birth to a new spark that is destined for the next hit. 

Which brings us to “Just A Shadow.” It starts with a progression in the form of waning overtones and it couldn’t be a better lead in for the entrancing entrance of full band. This track gave off a quick response of, “Hey, I like what’s going on here.” When I think that way, the band always wins. 

And here goes the fuse again, blazing a trail that can’t help but explode all over “Sensational Freedom Country Estate.” It’s a churning, chugging powder keg of classic rock, wrapped up hooks and poppy cadences. There’s also a mean little nod to Eddie Vedder before things hit the ceiling with a roundhouse kick of half time. I played that section back right away. And then again.

Alas, “Fallen Leaves” is a softer piano laden mark and it simply dips at the wrong time. Keep the movement going my friends. However, all is forgiven because “Basket of Kisses” takes a left turn into a century slip like no other. The vocals take center stage and move on each other in homophonic unison, sparkling like a Gregorian chant never could. Is it fitting? You be the judge. Is it enjoyable? You bet.

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