The Damnable Cabs - 'All Night Long'

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In this evening’s edition of the Independent Spotlight, we’re going to explore the music of The Damnable Cads, a four-piece rock outfit that describes themselves as a “cadre of arrogants swine who travel the world swilling beer and keeping the neighbors up late.” They acknowledge their tongue-in-cheek style, combining influence from the likes of glam rock icon T. Rex and bands from the turn of the century such as Oasis. They’ve got a handful of new tunes to listen to on SoundCloud. Let’s dig right into them!

The Damnable Cads have one hell of a SoundCloud presence, boasting at least seventy thousand spins on each song. The first of those tunes is ‘Little Dreamer,’ a soft-spoken, melodic song that explores infectious choruses, lo-fi acoustics, and excellent guitar riffs. At times, the vocal mix does fall down into the instrumentation. If I wasn’t in an actual studio, but instead spinning the song in Apple earbuds or the like, this would prove a bit problematic. That said, the lo-fi style of ‘Little Dreamer’ is also chock-full of personality.

‘Drive Me Wild’ continues that trend of reverberated, semi-lo-fi style. I love the comradery with the band - you can hear the other three crooning in the background and the instrumentation bounces around between the performers quite well. There’s a chemistry exhibited beautifully in the middle section of ‘Drive Me Wild.’

‘All Night Long,’ the title track of the record, reminds me heavily of The Clash. The pop-infused handclapping, the punchy vocal delivery, and lyrical rebelliousness are all akin to the early era of punk rock. (‘All Night Long’ is even reminiscent of the Ramones.) I dig how these songs are short, wham, bam, thank you, ma’am tracks. They don’t need to be long with self-indulgent soloing or jamming.

‘She’s A Dreamer’ walks the line between contemporary suaveness and classic musings. It’s the kind of song you’d hear Joe Walsh follow up ‘Rocky Mountain Way’ with in 1974. The best production of the record, ‘C’mon Girl,’ then follows. ‘C’mon Girl’ has a much sharper vocal mix, which is matched by some of the stronger performances on the album, too. Out of the six outings, ‘C’mon Girl’ feels the most complete.

‘Not Yet’ is a fantastic rocker to close out the album, culminating some of the sound quality of ‘C’mon Girl’ and the comradery of ‘Drive Me Wild.’ It’s also got some of the best guitar on the album. Thus, the record exhibits some excellent potential on behalf of The Damnable Cads. They don’t take themselves too seriously, and as a result, the carefree sonic experience that flows out of their record is a memorable one. (Even if some of the vocal mixes do falter. That's the largest issue of the record, but a forgivable one.)

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