DEAD TOOTH – S/T

If you’ve been searching for something engaging, NY might not be the first thing you think of. While there may be surprises now and again, as of late, it isn’t what it once was. The rest of the country, and the world for that matter, has been making up for it exponentially. While for many of us, NY has been home for decades but it hasn’t been the center of the musical universe for quite some time.

But, and there’s always a “but,” occasionally things happen and we get more than what we may have bargained for. Enter: Dead Tooth, and while I’m no stranger to the group led by Zach Ellis, the band delivers a variety of emotion and interesting musical interactions within its collection of songs on its self-titled (Trash Casual) release. The band, also featuring lead guitarist Taylor Mitchell, EWI/sax player John Stanesco, bassist James Duncan, and drummer Ginno Tacsiat, makes the most out of its compositions. The group does come across as a garage band with more than just a few intricacies, and “Song Of The Weak” can attest. The band’s post-punk ethos is obviously present within its applied chord and note progressions while offering a figurative guttural sound. What do I mean here because I’m sure that didn’t come out the right way… Dead Tooth is a filthy rock outfit that controls things with loads of melody and scuzzy riffs. That just might be the appeal of its third long-player. But we get much more of a sense of it within “Surf’s Up,” as the rhythm section, with its fuzzed-out bass and steady percussion, stirs up dirt-filled guitar notes as Ellis sings and howls across that landscape of sound. It’s all met with disjointed notes and Mitchell’s wild saxophone. This one is probably the best representation of the band, as well as giving us all a clear idea of the group’s demented & creative identity that’s as bad ass as it gets. Mind you, it’s only the 2^nd track of the album!

Dead Tooth has its way throughout the album, reeling in each instrument to play its role in a very distinct way or manner. “Bad For You” is interestingly pieced together, with its quick-paced rhythm, and clever chorus with both guitar and sax playing in unison. The way it all comes together is as unique as can be. It all seems as if it will fall apart, but it never does. “Bad For You” comes across a bit disjointed, but there’s method to the madness, as instruments play against Ellis’ vocals, and congeal all around it. It’s a bit artsy as it draws nearer to the end, a quick free-jazz interplay before returning to its original form. 12 songs in, and the band never relinquishes its control to squeeze out every ounce of blood from guitars and other instruments utilized. With “Chuckin’ and Wingin’ It,” you get a sense the band isn’t wingin’ it, instead offering up an easy flowing spacey rocker of sorts. You get a sense of Ellis’ bluesy influence in his inflections, as it’s prevalent in other tracks as well.

For its 3^rd full-length endeavor, Dead Tooth brings the noise, brings the pain, brings the fury. While it may be gruff, the musicianship is quite elegant and mysterious. There’s a sense of intrigue and who knows, the sky is the limit for the group because it doesn’t fit neatly as just one thing, while fitting neatly as multiple things. Am I making sense?