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 Post subject: Lo-Pan - Salavador
PostPosted: Tue Feb 15, 2011 3:13 pm 
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For nearly seven years, my measuring stick for Small Stone debuts has been the first, self-titled Sasquatch album, and each new band that’s come along on the label (there have been plenty) since then, I’ve said, “Well, okay, but is it as good as the Sasquatch?” Listening to Lo-Pan’s Salvador – which, admittedly, is their third album following a self-titled and the excellent Sasquanaut which Small Stone re-released late last year – I might have to revise my comparison point. I was fortunate enough to hear rough mixes of Salvador back in December, and even as rough as those tracks were compared to the finished product I’m reviewing now, it was clear that the Columbus, Ohio, band, the label, and anyone who would seek it out to listen, had something formidable on their hands. I don’t want to get lost in hyperbole or overestimate the appeal of the record, but Lo-Pan’s Salvador has all the makings of a classic in the genre.

The single-guitar four-piece present 11 tracks in just under 46 minutes, and nearly each one of them is perfectly memorable (I’m not counting “Intro,” though even the riff to that is catchy), varied in its approach and masterfully written. The guitars of Brian Fristoe are unrepentantly fuzzed out, and his riffs are heavy rock of the highest order, and Jeff Martin’s soulful, wonderfully melodic and inventive vocals cut through the thickness just right, followed by Skot Thompson’s running bass and the center-stage drums of J. Bartz. Having seen them live on more than one occasion, Lo-Pan is one of those bands where each element involved in the making of the songs just works so well, and on Salvador, not only are those elements working, but they’re working together. You can listen to any part of any song on this record and say, “That’s killer,” or you can listen to how the parts interact with each other and say the same thing. It comes down to this: if you’re not coming out of Salvador glad to have heard it, it’s your own fault.

Lo-Pan open uptempo with the duo of “El Dorado” and “Bleeding Out,” the two cuts together totaling a little over six minutes. “El Dorado” is the snap in your face to wake you up, and with “Bleeding Out,” the pattern is established; thick riffs, infectious choruses, soaring, confident vocals, tap-worthy snare. Both track stuff a surprising amount of groove into faster, hurried packages, which undercuts any rushed feeling that might otherwise take away from the material, and the five-minute “Seed” – the first of several Salvador high points; which is saying something considering the bar set here – brings the pace more to ground. Bartz underscores the verses with seamless tom runs while Martin’s vocals set up the chorus, and it seems almost like the song is split in two, as around the three-minute mark, Fristoe moves up a few frets and shows some excellent finger-work (Thompson not missing a beat in the process and giving one of the album’s best bass performances holding down the rhythm to complement a guitar solo). At 3:09, Bartz cuts to half-time on the drums, and it’s one of those “shiver up the spine” moments. Not to be missed.

“Bird of Prey” fades in on a quiet interlude – a moment to catch your breath listening. At 6:34, it’s shorter only than the closer, “Solo,” and a good show of diversity from Lo-Pan, who have up till this point showed only their latter two gears. Of course there’s a build, and the song gets more active than its subdued intro, but there’s still a change in vibe to something darker and more contemplative that “Bird of Prey” signifies, and I think what’s best about it is that it’s still essentially a rock song. The band is working within their stated framework and still managing to evoke a different atmosphere. They didn’t have to rely on any sonic tricks or radical changes; they just wrote a song in another mood. Doesn’t sound like much of a shift, but it’s really hard to do. Fristoe takes another ripping solo toward the end, and I like that when he does, he’s not backed by a second rhythm guitar track that wouldn’t be there in a live situation. Salvador is unquestionably a clean-sounding production – Benny Grotto at Mad Oak being Small Stone’s go-to man at this point – but there was clearly an emphasis on maintaining a natural, live feel as well, and that comes across just about anywhere you want to hear it.

Thompson’s bass on “Deciduous” is monstrous. The song might have Salvador’s biggest payoff chorus, and the interplay between Thompson and Bartz is central to why. The song is shorter, and leads into “Intro” – the centerpiece – but outstanding in both structure and performance. Martin is neither derivative of other stoner rock vocalists nor making any missteps in his approach throughout Salvador, but especially on “Deciduous,” his talent for melody and pushing his voice puts Lo-Pan over the top. Although I’m not coordinated enough to do either, I find I’m singing along even as I’m air-drumming right into the break of “Intro,” which is essentially just that. Fristoe riffs and solos, Bartz gives his snare the business, and Thompson offers completely necessary rumble, and the instruments can absolutely stand alone for the 1:49 they’re asked to, but the purpose of the track isn’t so much to have a hit single as to set up Salvador’s back half. You know, like the title says: “Intro.” Martin gets a rest.

As they opened strong with “El Dorado,” so too does Lo-Pan kick off the second half of Salvador in top form. “Chichen Itza” is every bit as strong as “Deciduous,” except that it’s Fristoe shining in the chorus with Martin, the two working in tandem to affect one of the album’s best builds. Both “Chichen Itza” and “Deciduous” are about three and a half minutes long, but they show what a well-written verse/chorus structure can accomplish, and though I’m loathe to choose because my opinion on it seems to change every time I hear the record, there’s a good chance they make Salvador’s middle movement its most powerful. These riffs. Seriously. These riffs. It’s been a while since I heard stoner rock that sounded fresh. Don’t get me wrong, I hear a lot of it that’s good, and a lot of it that’s decent but forgettable, but Lo-Pan have an energy to what they do that’s invigorating, like the band is saying, “Hey, look what I just came up with right now” as they’re playing through familiarly-hued Orange amps and using decades-established songwriting techniques. Even “Spartacus,” which finds its appeal in tempo changes and dime stops more than the hook itself, is presented with such force that it’s hard not to be taken in by it.

Those start-stops aside, “Spartacus” doesn’t have much different working for it than some of the other Salvador material, which makes the lonely fuzz guitar in the opening seconds of “Struck Match” (is that a touch of Tool’s “Pushit” I hear?) and the return to a slower pace that follows like some kind of spring-loaded pie out of a Looney Tunes cartoon that you probably should have seen coming but didn’t anyway. For what it’s worth, “Spartacus” doesn’t sound like filler, it’s just not any kind of departure or necessarily offering much Lo-Pan hasn’t already shown on other pieces. “Struck Match,” on the other hand, takes the underlying melancholy that showed up on “Bird of Prey” and makes it the focus of the entire song. Martin features during the second verse while Fristoe drops to quiet notes and ambient noises, and is every bit up to the task. The last 1:15 reinforces the mood while also adding to the energy, and it seems that even here, Lo-Pan can’t help but make a quality show of their songcraft, though “Struck Match” serves more purpose than just to show diversity or act as a comedown, since it leads so well into the more energetic “Generations,” which could just as easily have opened Salvador as been the second to last track on it.

That frantic immediacy of “El Dorado” and “Bleeding Out” does indeed show up again on “Generations,” maybe even more so, but placed where it is in the tracklisting, the song is absolutely a highlight (there’s that word again), with another landmark chorus and vibrancy running through it. Like a lot of what Salvador presents, it’s just what the moment calls for – a boost in adrenaline right when you were maybe brought down a notch in terms of energy (not quality) – and it sets up seven-minute closer “Solo” as though you had just put the record on. There’s no sense of fatigue. “Solo,” which rocks at a mid-pace until nearly two minutes in when it fades to an extended break during with Thompson keeps the rhythm while Bartz hits cymbal washes and Fristoe dives deep into the mix with some noise, is suitable to finish Salvador, and not just for the hugeness of the sound once Martin’s vocals lead everyone back into the song at 3:55. Fristoe’s more languid riffing and the general tidal pull of the rhythm lend a concluding aspect, and it’s hard to imagine anything coming past the hits and ring-outs that fade the track down except the silence that follows. Once again, just right for the moment.

Indeed, the same could be said about Salvador as a whole. In 2011, nearly 20 years removed from the beginnings of what’s commonly thought of as “modern stoner rock” (circa 1992-1994), a band like Lo-Pan comes along and not only shows that there’s life left in the form, but that it’s worth investigating what can be done with it after all this time. These songs are immaculate. If you’ve ever enjoyed riff rock, or whatever variation on the style you want to use, and you miss out on Salvador, you’ve really lost. I don’t know what higher praise I can give it than I already have, but if you’re still reading, you should know that as of now, this is my album to beat for this year and maybe beyond. The proverbial bar has been raised, and if they can keep up this level of performance and songwriting across their next few offerings, Lo-Pan could easily stand as one of the most important bands of their generation in the genre. Yes, they’re that good, and yes, you really, really need to hear this album.

- H.P. Taskmaster

February 15th, 2011
http://theobelisk.net/obelisk/2011/02/15/lopanreview-2/


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Tue Feb 15, 2011 6:53 pm 

Joined: Sun Dec 05, 2010 12:22 pm
Posts: 318
Nice write up! Thanks for digging in track to track-its a good one overall but thats true reviewing. The surprise/relief for me was hearing the production let the power of the band breath and the vocals soar. I realllly wanna get these fuckers in front of the masses. I don't have any prejudice against success or doing what you need to do as long as the music isn't compromised- put'm on with Disturbed! Why not? Dear Yerp; they got passports and aren't scared to use'm. :)

Hey who's with me trying to convince'm to do DUSTS, "suicide", for the next Shit kickin' in the 70's comp. ?

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Tue Feb 15, 2011 11:01 pm 
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So psyched on this record!

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Wed Feb 16, 2011 12:41 pm 
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It is a damn good one!


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Thu Feb 17, 2011 8:21 am 

Joined: Wed Dec 08, 2010 9:43 pm
Posts: 49
It's already on i-tunes.


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Thu Feb 17, 2011 11:07 am 
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Cause that is how we roll... The cd version also now at the plant.


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Thu Feb 17, 2011 5:32 pm 

Joined: Sun Dec 05, 2010 12:22 pm
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IF you have any freinds that like the heavy liquid roll drawing from classic Sabbath, 'n' Kyuss cut with kickassicus and are kinda off put by abstract "extreme" stuff, (no insult just trying to hit some folks out side of that stuff). steer'm this way. The small kit inventiveness of J. tightens the arrangements and keeps'm in line while the lock step bass provides constant aggressive groove pressure letting the guitar roam when necessary. The vocals are just that-singing with a classic hard rock burr under the saddle.

Put'm on a mix tape with early Tool, Only Living Witness, Dozer, Kyuss, Dust, We're All Gonna Die, Roachpowder, Music Hates You, 1.3, sHeavy, Disengage and Trouble. Oh, and Greatdayforup.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Fri Feb 18, 2011 11:36 pm 
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I'm having trouble waiting for the cd (iTune's siren call beckons...) as usual.
I've been spinning "Sasquanaut" since the original version came out and picked up the re-master and fell in love with it again.
I really connected with these guys musically so this has been on my most wanted list since I first heard about it.


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sat Feb 19, 2011 9:50 pm 

Joined: Wed Dec 08, 2010 9:43 pm
Posts: 49
Struck Match!


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sat Feb 26, 2011 1:48 am 
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They put on a hell of a show too. I can't wait until they head back north ways.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sat Apr 23, 2011 11:04 am 

Joined: Wed Jan 26, 2011 2:01 pm
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This is quickly turning into one of my favorite albums, I haven't listened to much anything else in two days. Its refreshing and like HP said, almost every section is memorable in some way or another. I hope it gets pressed on vinyl soon, its one of the few albums I'd readily shell out the cash for in that format. I'm not a fan of the artwork despite the cleverness but either way, this is going to be a sure classic for years to come. Great job guys.

I'm really hoping they get out of their usual tour of the east and run through Denver on their way to the west coast. Every time they release tour dates, I've been supremely disappointed because I've wanted to see them when they first released Sasquanaut.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sat Apr 23, 2011 12:39 pm 
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The vinyl version of this album will be coming in July or August.


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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sun Apr 24, 2011 8:32 am 
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This album's good enough that I'm likely to get the vinyl.

Quickie review, killing time:

I liked Lo-Pan's last album, but I liked it the same way I liked all those third and fourth generation Swedish stoner rock bands. You put it on, rock out, and then forget about it. But with the Ohio band's official Small Stone debut, Salvador, they're firing on all cylinders. The usual trick for writing reviews is picking out three songs that really stand out, but that's more trouble than its worth with this one. All the songs are killer (okay, "Seed" is really killer). For those wholly unfamiliar with the band, it's gut punching riff rock highlighted by a vocalist who can belt out with clarity and conviction. No growls or guttural howling here. This is a rock band, and a damn fine one at that. Recommended.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sun May 22, 2011 8:10 am 
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Go see them live.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sun May 22, 2011 11:45 am 

Joined: Mon Dec 06, 2010 10:48 am
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They rule live. Definitely go see them. I've had the pleasure of playing with them once, and seeing them twice.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sun May 22, 2011 4:31 pm 

Joined: Thu Apr 28, 2011 5:04 pm
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Location: Houston, TX
Couldn't agree more. Seen them twice this year already and I can't wait to see them again next week.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Fri May 27, 2011 8:12 pm 

Joined: Sun Dec 05, 2010 12:22 pm
Posts: 318
Well i'm a homer with these guys so I may "care" more than I do for other stuff. I mean a couple I know just gave me 12 DVD's FULL of music and told me, "bring a hard drive over next time". While I think this is wonderful in a, "now i get all the stuff I sold, lost, couldn't buy/find", way-- it...well doesn't signify as that meaningful purchase; the event of buying and riding home with it. Yeah, this is nostalgia but it has a consumerist function; when you bought 1 tape a week you listened to the fuck outa that thing- and thats kinda the way I approach SALVADOR.*

While the quick scan was stoner classique listening to "salvador" and seeing the guys play during its germination made me rethink the width of the "stoner" thing. It kinda reminds me of Rockabilly- its signifying sound is so specific as to shrugged on/off immediately. BUT what went into the guys that formulated that stuff was a percolating brew of r&b, country, western-swing, folk, doo-wop- classic vocal pop and the fucking yawp of diving into the void.

"Stoner", in this sense is similar. LO PAN has a big rock singer, a drummer who'se chops and focus were honed in the small trap attack of post hardcore, (Quicksand, Fugazi, Helmet, Hansome, Disen-fucking-gage), ROCK. A bass player whose tone and attack would fill out any unit snuggled up to classic AM -REP or T&G stuff, (yes I mean you Big Business, Acid Ape, Fight Amp and KEN Mode), and a guitar guy who floats thru a fluid continuum from Blue Cheer/Randy Holden and the tons of early 70's slingers who helped define hard rock thru Faith No More Kyuss/Man Chu,Dozer, Clutch, Tool and the bent liquid howl that runs thru much of the Small Stone stuff we all love.

...and it wouldn't mean a thing if it didn'rt have that swing. The tunes are there-check the concise chop and build of lead off cut, "El Dorado"; vocals soar, the rhythm stay rock solid and the guitar circles and riffs, riffs and circles building pressure and tension only letting up when the next tune kicks in. Fantastic.


*I've seen Sal-he is their long suffering Dolly; carting and hauling day after day living over there in the Dude Locker. They did take him to the beach for a photo shoot tho.

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 Post subject: Re: Lo-Pan - Salavador
PostPosted: Sun Jun 26, 2011 1:08 pm 

Joined: Sat Dec 11, 2010 12:27 am
Posts: 802
Location: Brooklyn, NY
I thought their first one (old singer) was ok- nothing special.
I liked Sasquanaut a lot, and they were great live.
Salvador took a while to sink in (although, I don't know why, since all the songs are pretty direct- must be me that's flawed). Anyway, after many spins I like it the best of their releases. And, so far, this is looking to rank pretty high in my top 10 of the year.

Great album! (Disclaimer: I didn't read all the reviews in this thread- too lazy. Plus, my post isn't a review; I just wanted to say that it's a great album and should not be overlooked.)

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