Album Review: Crobot

“The legend of the spaceborne killer/ Made the front page today/ Nobody knows where he came from/ Why he’s here, or what he’ll do to you,” screams Crobot’s very own Brandon Yeagley as his piercing delivery legitimately reignites my sense of hope for the future of rock music.

During a warm summer night in the borough of Manhattan, I took a trip down to Webster Hall where I covered a small rock show and witnessed four young musicians embody the riff-rattling chord progressions of early Aerosmith, the soul-bearing funk of Stevie Wonder, and the 90s heaviness of Rage Against The Machine. Straight up, this Pennsylvania act known as Crobot performed in front of a small crowd in New York City like they were Queen headlining Wembley Stadium. Dressed in vintage attire such as vests and bell-bottoms, Crobot’s ability to merge the exhilarating thrills of vintage and modern rock demonstrated something euphoric and transcendent that is severely missing in music nowadays. In fact, I will shamefully admit that I never listened to Crobot before the middle of May 2014. Just one week before my college graduation, this band’s scholarly brilliance in the confines of a live stage served as a key reminder why I chose to pursue journalism as my major.

Talk about winning an audience over, I attended the same show two nights later at The Saint in Asbury Park, New Jersey. I’m not even joking; the energy level of the second night somehow topped the first performance. Once Yeagley yelled “Whatchya know about that Chupcabra,” he wailed away like Steven Tyler and moved across the stage like a primetime Elvis Presley. Think about how many bands would mail in a performance by the shear sight of a small audience, meanwhile, Crobot proceeded to jam away as if the apocalypse were bound to occur tomorrow. On behalf of Pop-Break, we witnessed Crobot’s growth from the beginning whether it was opening up our site’s small showcase or signing a recording contract with Wind-Up Records. Crobot’s debut LP Something Supernatural which dropped this week and we received an exclusive opportunity to explore this album in-depth.

Truth be told, I’m already quite familiar with Something Supernatural thanks to the sweet combination of hearing Crobot’s self-titled EP on Spotify and watching this YouTube playlist featuring footage from the band’s performance in Atlanta, Georgia. Ever since I attended those two shows, these videos were crucial in holding me over until Something Supernatural’s release. In terms of accurately describing Crobot’s live sound, the rhythm section comprised of brother’s Paul and Jake Figueroa stampede at level’s reminiscent of Masters of Reality era Black Sabbath while Chris Bishop’s orange amplifiers summon a healthy mix between Hendrix-infused blues and Badmotorfinger era Soundgarden. The most difficult challenge for young bands is capturing the essence of their live sound on record. Nowadays, technology continues to plague all genres by removing the human element from a performance perspective. If I had any qualms or concerns leading into this album, I didn’t want to see Crobot fall victim to this trend. Instead, the boys from Pennsylvania pushed their own envelope by teaming with renowned producer “Machine.” If you aren’t familiar with Machine’s work, he owns a recording studio in North Jersey and is currently one of the music industry’s most in-demand producers. Take a quick look at his resume and recognize how he’s worked with Gym Class Heroes, Lamb of God, and Clutch. Notice how none of those group’s sound anything alike? To Machine’s credit, he understood the full spectrum of Crobot’s tastes and resorted to old school techniques in order to preserve the magnitude of their live identity.

Starting off with “Legend of the Spaceborne Killer,” this track’s upbeat delivery kicks off Something Supernatural on the highest possible note and should garner frequent airplay on rock radio. In the vein of a group like Led Zeppelin, each respective musician deserves equal credit for adding a pulsating flavor to the mix as all four instrument’s hit the listener like a freight train coming at full speed. This track’s nonstop assault of infectious grooves recalls the hard-hitting nature of Rage Against The Machine while Bishop’s guitar flirts with Hendrix note selection and Tom Morello phaser techniques in the chorus and bridge. While I’ll throw comparisons to other acts in this review, make no mistake; Crobot is not following the same path as Wolfmother or The Darkness in trying to relive the glory days of the ’70s. “Legend of the Spaceborne Killer” sounds like the continuation of a rock n’ roll blueprint established in the 70s, revived in the early ’90s, and recently dusted off for reconstruction. In my humble opinion, Crobot holds a unique ability to attract different generations of rock audiences. Whether it’s appealing to fans of Cream, Black Sabbath, Jane’s Addiction, or Foo Fighters, Crobot formulates its own identity by drawing inspiration from a sonic range of different genres.

The album’s second track “Nowhere to Hide” sounds like Crobot is literally performing right before your eyes. To Machine’s credit, the looseness of “Nowhere To Hide’s” production allows the band to get funky along the lines of old Red Hot Chili Peppers. We hear little nuances like Yeagely shifting between notes and displaying proper vocal technique by singing through his diaphragm. In today’s world of auto-tunage, it’s so refreshing to hear a vocalist of Yeagley’s caliber through open filters while the guitars effectively bounce away underneath this contagious chorus. Within a timeframe of three-minutes, we hear such flawless transitions between gigantic funk-infused riffs and wah-pedal leads where the listener feels the grittiness of the grooves. “The Necromancer” screams old-school heavy metal as Yeagley’s harmonica creates the image of a veteran blues act performing in the middle of Robert Johnson’s crossroads. The sporadic moments of Tony Iommi inspired riffery builds into one of the most epic conclusions off Something Supernatural where the entire band proceeds to rip away at Motorhead levels of speed and aggression. “La Mana de Lucifer,” slows down the pace at the opportune time as Yeagley summons a huge vocal range reminiscent of Chris Cornell. While Bishop invokes some complex guitar riffs and periodical chord strumming, Figueroa’s bass lines shine brightest as the slower pace allows the low-end strings to rumble at spine-tingling levels of jazzy proportions.

When I first heard Crobot perform “Skull of Geronimo,” the amplifiers literally raised my adrenaline to peak levels of intensity. Yeagley’s high-pitched scream allows the guitar, bass, and drums to unleash the heaviest riffs and rhythms off Something Supernatural without losing its quintessential hook. For a majority of modern metal acts, here’s a 101-crash course in properly utilizing the full dynamics of the rhythm section. Crobot joins exclusive company along the likes of Faith No More in merging funk and heavy metal like a match made in heaven. As I mentioned Chris Cornell in the previous paragraph, this particular track is heavily influenced by Soundgarden’s Superunknown ambience during the verses and Rage Against The Machine relentless angst during the choruses. Honestly, Crobot cracked a formula Audioslave set out to achieve but never mastered.

“Cloud Filler” features one of the album’s most distinguishing melodies as Yeagley utilizes his falsetto over a clap-along instrumental interlude that practically screams audience participation. Halfway through, the band’s funk-laden influence completely shifts into this colossal passage where Paul Figueroa’s drums ignite a commanding back-beat layered in doom. “Fly on the Wall,” continues to follow a darker path where the emotional essence of the blues is on full display through painful moments of reflection. As Yeagley yells into the microphone during the bridge, he confronts the personal subject of his lyrical content. “Night of the Sacrifice” further explores Something Supernatural’s range of mythological and witchcraft inspired storytelling. When Yeagley sings, “Now you’re going to die/ Step right up/ But don’t be shy,” it creates the aura of witnessing a voodoo ritual in the heart of Louisiana.

Speaking of legendary tales, “Chupacabra” features one of my personal favorite riffs before the music comes to sudden halt as Yeagley yells “Ohhhhhh.” Bishop’s short but sweet guitar solo utilizes some tasty whammy pedal pitches that heighten his note expression. The lyrical utterances of “Down by the river,” sound haunting through an early Ozzy Osbourne style lyrical scope. On “Wizards,” Yeagley summons his inner Bruce Dickinson [Iron Maiden] through the grandiosity of his high-pitched vocal delivery. While this song doesn’t resemble Iron Maiden musically, the rhythm section gallops at slower tempos in the vein of ZZ Top before the chord progressions morph into these headbanging passages of metallic riffery.

“Queen of the Night,” might be the quintessential ballad off Something Supernatural but don’t mistake this song for being ‘delicate.’ Looking back at my previous observations, this song summons eerie tones through a slow tempo before transitioning into this monstrous riff that allows Bishop to unleash his arsenal of guitar effects. Also, major props to Jake Figueroa for infusing a distorted bass line underneath Bishop’s guitar solo. It’s been a long time since I heard a young guitar and bass combination sound completely in synch with one another. This dynamic carriers over onto the LP’s final track “Tap Dancin’ on a Tight Rope” where Bishop and the Figueroa brothers bounce off each by pushing the barriers of their capabilities. The final minute concludes this album on the highest note by grooving away at ear shattering velocity as if cannon’s were firing off in a colonial battlefield.

Observing the overall spectrum of Something Supernatural, this album offers a variety of songwriting styles ranging from ambitious epics to straightforward rockers. Let’s take a second and evaluate the modern music scene for a second; has-beens like Gene Simmons are causing controversy by claming “rock is dead” to high profile magazines. For those who believe in this hypocrisy, Crobot is the middle finger to the naysayers. Personally speaking, I’m only twenty-four years old and I witnessed heavy metal evolve while modern rock struggled to find an identity. For the young rockers out there like myself, how many times have we heard our fathers, uncles, or elders brag about growing up with bands like Led Zeppelin and the original Kiss? How many times have we heard, ‘music today sucks and there’s no longer any good bands out there?’ Well, I’m proud to say that our generation finally has our own great rock n’ roll band.

Here’s what makes Something Supernatural special, these four musicians share a genuine vision and recognize how each performer respectively adds an irreplaceable element to the fold. Unlike most bands pursuing a music career for superficial reasons, Crobot is cut from the same cloth as Black Sabbath whose gracious personalities and love for the blues helped them achieve global recognition. When writers like myself stand in a room of 20 or 30 people and listen to unsuspecting opening acts, it’s an open testament to how you never know who might be watching. I speak on behalf of Pop-Break, a few of us have interacted with the band over the years and we not only recognize their special talents but we also appreciate them for being class acts. When a band travels nearly three hours in the freezing cold, plays in front of 10 people for 20 bucks, and concludes the show dripping in sweat, that’s the textbook meaning for dedication.

In my opinion, Something Supernatural deserves serious consideration for rock record of the year. What constitutes the criteria for a perfect release? In my eyes, I never once felt the need to skip over to the next track. The nonstop assault of riff-laden grooves might not satisfy everyone’s tastes but I come from the school of Black Sabbath, Soundgarden, and Pantera and my fellow indie rock and death metal music acquaintances also heard something in this band unlike anything we’ve come across. To Machine’s credit, he encouraged this group to strengthen their melodies without sacrificing the looseness of their instrumental section. Whether you’re a fan of Bruce Springsteen, Taking Back Sunday, Alice In Chains, or Stevie Wonder, Crobot’s charisma pours through the speakers because there’s life, hunger, and soul. Just listen to this album’s range of influences and hear hints of everyone from Deep Purple to Primus. The sky is the limit for this group creatively as they could go in a hundred different directions on future releases. If you never listened to Crobot beforehand, drop whatever is that you’re doing and find this record. Trusting in the laws of attraction, I’m confident this band’s dedication to their craft will eventually lead them to the promised land of a massive fanbase.

Rating: 10/10

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