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Sweet Diesel
By Daniel Silk
Wrongville would be a great road album if it didn't exude all the grimy
tedium of rush-hour. Right down to the subway station cover art, Sweet Diesel's
second full-length release alternates between burning with the fierce intent of
a car trying to beat the light, and lurching, frustrated, like a car stuck in
bumper-to-bumper traffic. Vocals stick to the floor like age-old gum or get
buried under the roar of an approaching downtown number one.
Doing justice to the simple sharpness of Sweet Diesel is difficult. In fact,
the band's releases barely hint at the knowing sarcasm Diesel consistently
radiates on stage. Drummer Nick Heller plays hardcore like he's playing chess,
and Zack Kurland's bass lines are as sneaky as the smile that never leaves his
face.
Ben Smith and Nat Murray's guitars sharpen each other like knives, back and
forth and up and down. The first time I saw the Diesel, it took me about half
their set to realize they had to be one of the best bands in New York--in
retrospect, not surprising. In performance, Diesel's intensity deepens like a
curb puddle in a downpour. And it takes several songs for them to drag you into
the filth.
For all of these reasons, each new Diesel release can't help but disappoint
those who have experienced the group live. Granted, Wrongville is as
close as the band has ever come to capturing the subtlety they achieve in their
live shows on record. Songs like "Work So Hard," "Assout," "Holland or
Lincoln," and "Down Again" live up to their titles: they leave you feeling
flattened, but with a light at the end of the sewage tunnel.
"I know what goes around/ It's coming around again...Is this the best it's
been?...I've been to the lost and found/ I didn't like it" sneers Murray in the
album opener, the anti-anthem "Salvage the Chapters." This world-weariness
permeates the entire record; it's effective in establishing a mood, but after
15 songs, the listener is left a little, well, weary. There's only so much
wrong that one can take. (Gypsy Records)
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