Thinning the Herd Tempt the Rising Ocean
Posted in Reviews on April 21st, 2011 by JJ KoczanNew York City is always wanting for bullshit-free rock and roll, and joining the thin ranks of those trafficking in it is the trio Thinning the Herd, whose debut full-length, Oceans Rise, is a quick eight tracks of sans-frills doom rock. Led by guitarist/vocalist Gavin Spielman – who seems as ready at any given moment to unleash a killer riff as he is to rip a solo – Thinning the Herd transcend the C.O.C.-isms that made up so much of their prior Devil Mask EP, keeping the groove but putting a more individual stamp on it. Bassist Nick Lee throws exceptional fills in to complement Spielman’s playing, and drummer Ben Proudman lands heavy on his snare to ground the material and keep the pacing fluid. As a trio, they work well together across the album, and at a quick 34-plus minutes, Oceans Rise (released via St. Mark’s Records) has a few standout tracks of which anyone hungering for a break from the onslaught of hipstamatic Big Apple indie rockers calling themselves psychedelic should be aware.
There’s a darker edge in Spielman’s guitar tone, not so much fuzz, and it’s mostly for that reason that I hesitate to call Thinning the Herd a stoner band, but there’s no mistaking that they’re both heavy and riff-led – which is more than enough for many to make the designation. Oceans Rise launches with its title-track, a slower, doomier number that hints some at the band’s songwriting prowess. Lee gives one of several really strong bass performances (he also proves his abilities as a member of tech-weirdos Exemption), and Spielman’s gruff-but-clean vocals set a pattern that continues throughout the ensuing cuts. It’d be easy to liken it to Deliverance or Wiseblood-era Pepper Keenan, but even comparing Oceans Rise to Devil Mask, it’s clear he’s growing into his voice and becoming more of his own singer. Doubtless confidence is a part of that and he’ll continue to develop over future Thinning the Herd releases, but there’s plenty engaging about his work on the catchy “Look Behind” and the even-riffier “Defiler,” which is a highlight not only for Spielman’s layering, but Lee’s running lines as well and the conviction that seems to be in Proudman’s mashing of his hi-hat. As “Chill in the Air” wraps the first half of Oceans Rise, it’s with more strong rhythm section interplay and another well-crafted chorus.