Switchblade Jesus & Fuzz Evil, The Second Coming of Heavy – Chapter Seven: Mountains and Cupids

switchblade jesus fuzz evil second coming of heavy chapter seven

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For  Welcome to the Help Victims Of Domestic Violence Essayser UK, a renowned and legitimate company which provides cheap custom writing service online with high-quality standards The Second Coming of Heavy – Chapter Seven, Texas and Arizona trios Switchblade Jesus and Fuzz Evil are added to this esteemed cadre of groups, each one bringing new material to mark the occasion. In the case of Switchblade Jesus, who released their self-titled debut (review here) in 2013, only to have it snagged first in 2014 for vinyl release via Bilocation Records and then a reissue by Ripple in 2015, it’s been somewhat longer than it might seem since they had anything out and they’ve been through enough changes to prove it. For Fuzz Evil, the Sierra Vista, AZ, three-piece made their own self-titled debut (review here) through Battleground Records in the second half of 2016, the turnaround is somewhat quicker, but they too have had a lineup change, bringing in Orgo Martinez, who is at least their third drummer in the last three years.

Those shifts notwithstanding, what is even more remarkable about The Second Coming of Heavy – Chapter Seven, and indeed about the series as a whole, is the diversity of sound between the two groups, both of whom function without question under the umbrella category of “heavy rock.” With three cuts from Switchblade Jesus and four from Fuzz Evil, each band gets about 20 minutes to showcase their wares on a vinyl side, and though the samplings are quick, the point of sonic variety is underscored.

It’s not that they don’t fit together — quite the opposite; they make a surprisingly complementary pair — but that they represent starkly different interpretations of what “heavy” is and does. In “Snakes and Lions,” “Wet Lungs” and the highlight chorus and chug of “Heavy is the Mountain,” Switchblade Jesus present a dudely, burly vision of riff-led semi-metallic vibing, with guitarist Eric Calvert taking over the role of vocalist and proffering an approach very much in the spirit of Orange Goblin‘s Ben Ward.

With bassist Chris Black and drummer Jon Elizondo, what was once a five-piece is now a power trio, and their sound is duly crisp as “Snakes and Lions” (5:17) leans into the forward momentum it will build over the course of its first minute. “Snakes and Lions” is ultimately Switchblade Jesus‘ most straight-ahead inclusion, and “Wet Lungs,” which is the longest track on The Second Coming of Heavy – Chapter Seven at 9:42, begins with samples of, among other things, The Louvin Brothers‘ “Satan is Real,” takes a more patient and rolling route, riding its riff comfortably while relying less on its hook than its immediate predecessor.

switchblade jesus fuzz evil

That leaves “Heavy is the Mountain” (7:38) as the proverbial just-right bowl of riffly porridge, which is just what it turns out to be. Taking the slick, well-paced nod of “Wet Lungs” and giving it just a bit of the energy “Snakes and Lions” brought to bear, as well as the most memorable chorus of the release as a whole — the title-line shouted upward from the mix amid suitable largesse for the subject matter — it’s enough to make one anticipate a future outing from Switchblade Jesus in this incarnation on its own, never mind the album-style flow the band conjures across just these three tracks and the fluidity with which they nestle into that groove.

The Rudell brothers — Wayne (vocals/guitar) and Joseph (bass/vocals/graphics) — who, again, aren’t that far removed from their debut album, continue forward in the spirit of that release across their four tracks, beginning with the post-Songs for the Deaf push of “Better off Alone,” which gives “Heavy is the Mountain” a run for its money in terms of the strength of its hook while also completely revamping the direction of the release overall, pulling away from whiskey-drenched dudery and more toward traditionalist desert fuzz.

But for jammier closer “Flighty Woman,” which reaches over the six-minute mark, Fuzz Evil‘s inclusions are shorter and more upfront in their structures, though still plenty weighted as “Better off Alone” gives way to the bass at the start of “Graves and Cupids.” Some talkbox/wah makes an appearance in Wayne‘s lead as they head toward the midsection and surfaces again in the second half, standing the track out even more than its chorus already did owing to the confidence in its vocal delivery and the flourish of soul emergent there.

Comprising the last 10-plus minutes of the outing between them, “If You Know” and “Flighty Woman” round out with a due focus on songcraft, calling to mind the sense of individually-focused tracks that one found on their self-titled as well — each piece standing out on its own rather than feeding as directly into an overarching whole as, say, Switchblade Jesus do on side A here. That disparity of style is no less a distinction for Switchblade Jesus and Fuzz Evil than the burl vs. the fuzz, but as the insistent rhythm of “If You Know” shifts into the thickened boogie of “Flighty Woman,” Wayne‘s vocals echoing out just a bit in a trippier fashion before the jam really takes hold and Fuzz Evil go exploring, there’s little to argue that either tack doesn’t produce success here.

As has been the case all along with The Second Coming of Heavy, this latest chapter serves this essential function in demonstrating just how far heavy rock and roll has come and the many forms it can take and still find a path to righteousness. With two separate takes, Switchblade Jesus and Fuzz Evil both resound with potential in their songwriting and in the execution of their material, and one is only left hoping it won’t be long before either is heard from again. The mission is accomplished and the mission, no doubt, will continue. Right on.

Switchblade Jesus & Fuzz Evil, The Second Coming of Heavy – Chapter Seven (2017)

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