Leadbetter Band Gets All The Way Down on Howl

By Deuce

It really is something truly astounding—and captivating—what one can do with an electric bass and electric guitar. Granted, factors such as song structure, composition, tonality and, don’t forget, the good ol’ drums, of course, should never be taken for granted in their impact on a moving piece of music.

But the electric bass and the electric guitar, however, simply can’t be topped. Anyone willing to argue with such a theory should please, hurry up and cop Leadbetter Band’s Howl album, all 11 tracks’ worth of some of the nastiest, rudest, stankiest bass lines and guitar riffs that have ever been complied in sequential order on one set.

All credit is due to Patrick Pearsall on the bass and Eric Leadbetter on those wonderful (predominantly) electric guitars. They’ve got a chemistry, a synergy, that’s the backbone of some groovalicious music that would be ideal to rap over, sing to, or even just listen to as instrumentals.

Slight digression here—that’s exactly what they do for the first minute and a half of “Time Waits”, which all but belies everything written above, save for the tight coupling of the guitar and the bass. These moments are transcendent, transporting…a slow, ethereal melody in which time seemingly halts and nothing moves except for the wavering of the highly effected tubed guitars, a slight growl of the bass, and evanescent keyboard work (furnished by Mark Johnson).

They eventually get to bumping again when they’re joined by Dylan Bernal on the drums and Leadbetter (who, as the band’s name suggests, handles the vocals) begins to sing. Nonetheless, listeners will simply go wild over the nastiness of the bass on tracks like “Feedin the Landlords”, which provides fertile grounds for Leadbetter to do his thang on top with the electric guitar. On other outings it seems as though this formula is reversed and it’s the wah wah guitars forcing the pace on tunes like “Waterdogs”, while Pearsall backs them up with some hard hitting, curvy bass lines.

However it goes, these two simply work wonders together, getting down and outright dusty on their riffs, grooves, and manner of speaking with each other, with the necessary assistance from the rest of the fellas, too. Again, this album is a testament to the sonic incantations one can cast with those two instruments—when they’re simply played the right way.

Share this post:

Leave a Reply