Los Angeles power-pop balladeers Crash Kings have a blurb on their AbsolutePunk profile that begins, “Crash Kings sound like nothing you’ve heard before.” It’s not true at all. Crash Kings sound like Ben Folds and Jack White joined CK bros Weezer in a Queen tribute band. Look at “Mountain Man,” for example. Dead-on White Stripes lead vocals, theatrical piano-driven back-up (hello, Ben Folds) and epic guitar crunch a la Weezer emulating Queen. “1985″ is more funk than rock, emphasizing the Ben Folds angle only to quickly rule it out with harmony so tight it sounds like a clever snake is singing both parts in one supernatural voice. It sounds diabolical. Surely you’ve heard a few diabolical things by now. So anyway, Crash Kings don’t sound like nothing you’ve heard before. In fact, they sound a lot like plenty. But here’s a thought: Suppose you were to eat a sandwich made of tuna fish, peanut butter, and caramel. BUT suppose it was delicious. It wouldn’t be out of line for you to exclaim, “This is like nothing I’ve ever tasted before,” when in fact, it is exactly the same as three things you’ve had regularly since you were a kid (four, with the bread). It’s the unexpected combination of things that you already like, that gets you shouting. Crash Kings are like that. Try them. Shout a little.
Out of the blue, this band hits me in face. From LA, Crash Kings is the love child of Cold War Kids and The White Stripes. They’ve actually been knocked for sounding a little too similar to some bands out there, but you know what, I could think of worse bands to be compared to. They are a piano-driven, heavy bass, hook-ridden rock band with a lead vocalist who could actually replace Nate Willet from Cold War Kids if something ever happens to him. One of the best songs 1985, is a peppy, piano pounding toe -tapper. Mountain Man finds the Kings doing their best version of The White Stripes with a grungy, indie stomp. They’ll be touring with Chris Cornell this spring so check out the tour dates. One of the absolute best bands I’ve come across in a while. All of their songs have a melody that sticks with you. I’m actually excited about hearing more from them. Be sure to look for their debut album May 26th.
Los Angeles- based rockers Crash Kings take the three-man-band concept to their own unique level, with highly tuneful, very aggressive, hard-hitting rock on their latest album Crash Kings, out now on Custard. Tony Beliveau’s vocals soar above the band’s aural grandeur. His brother, bassist Mike Beliveau locks in with Jason Morris’ powerhouse drumming, driving the deeply personal, keyboard born compositions straight to the heart. Though this band lacks a guitar, their impressive sound more than makes up for it.
It is hard to walk away from a Mason Jennings show not liking him. Scruffy, sure! Twang, no doubt. But there is a familiarity in his voice that pretty much pleases everyone. The Crash Kings opened and it was surprising how accessible and yet still interesting they were. With a Ben Folds Five set-up but a Maroon 5 sound, these guys rocked through their set to a small but into-it crowd. Opening bands often suffer the fate of low attendance, but Crash Kings could likely be a band to watch out for. When Mason took the stage, the bevy of girls around the ballroom collectively screamed with excitement and then did a fluttery little sigh. With untamed waves of hair and a plaid shirt with rolled-up sleeves he could have been modeling chainsaws . . . or swooning girls. His back-up band was composed of two gents, each wearing their own man-cardigan. The fashion of the evening laid mostly on the stage which felt unusual for a Portland audience; Mason clearly brings out the adventurers and the lovers. Northface and hiking boots won out over leggings and ankle boots.
What hit hard was the fact that all these 20- and 30-somethings were rocking out to music that undoubtably would have been revered by our grandparents. Never quite too rock, but never quite country, and with plenty of wit and the tart truths of love and loss, Mason is indeed a charmer. Playing a solid mix of old and new song, the crowd delighted in the happy-end revenge fantasy of “Your New Man” and the catchy “Soldier Boy” and “Memphis, Tennessee.” All in all, a night rife with happy sounds and a wish for one last open-road adventure before we succumb to autumn.
