Bass Drum Of Death Can Rip This

When Bass Drum Of Death (BDoD) originally put out GB City several years ago, the whole of it was recorded by John Barrett using whatever instruments he had on hand and a few USB microphones. He produced it all and promoted it too. And, he might have stuck with his original arrangement — touring with a guitar and bass drum — had Colin Sneed not stepped in to assist with big bad drum beats.

The band then added Trent Choteau to make it all the more noisy for their self-titled full length. Since then, however, Barrett has changed up the lineup to include collaborator Len Clark. The newly formed duo quickly went to work on new material while touring with the Unknown Mortal Orchestra.

They even convinced Unknown Mortal Orchestra bassist Jake Portrait to produce their third album. With a few rough demos in tow, the three of them banged out Rip This over two weeks at Prairies Sun Studios in Sonoma County. The idea was to make a progression. They doubled down instead.

Rip This fires up more garage buzz rock from BDoD. 

If there is anything to listen for it is the effort Barrett has put into making the music more accessible. The goal here seems to be bringing heavier hook-laiden guitars, kinetic drums, and dorm room swagger back into the mainstream. The title says it all. Don't overthink it. Just let it rip.

On the best tracks, Barrett and Clark make their case. Most of it is made up of crunchy trash rock with big blues influences. For Blood begs to be blasted for its early punk punch. Never mind that it's about a hangover and Barrett wanted to sneak in a quiet-loud-quiet track amongst the usual loud-loud-loud.

For something more searing, turn up Left For Dead. The tune and accompanying video is especially fitting for the new label location in Los Angeles. The Tarantino treatment and nip and tuck theme rips along nicely.


So does Sin Is In 10, which drops the treble for a heavier rock throb that's only broken by the guitar screeches and solos. The track has a smoky groove about it, leaving Barrett plenty of room to bellow about the circumstance.

From that midpoint in the album, BDoD drifts through influences that include an assortment of garage rock pioneers and greats. None of them are knockoffs per se. Barrett tends to make his music on the fly, settling into grooves not because he remembers them but because  he feels them well up in his veins.

Some standouts include the fuzzed-up and woozy Black Don't Glow and the amped up alternative Lose My Mind, a stripped-back near ballad that may give a nod to a songwriter on the other side of the pond.  Combined, it seems BDoD is looking to capture some new listeners from a smattering of other niche rock audiences.

Even if the band has suggested a desire to tap into something more mainstream, it's won't be made up of the typical masses but rather many niche parts to make up a new one. In much the same way BDoD were introduced to NASCAR fans and Grand Theft Auto players on previous albums, the band will certainly add fans as it crosses the country on tour.

Rip This By Bass Drum Of Death Roars 8.1 On The Liquid Hip Richter Scale. 

If someone is to find any criticism in the album, it might be that even the standout tracks sometimes sound as just more of the same. Others are more inclined to hang onto the nuances of great music and find a suitably diverse album with ten great tracks. Sure, none of them necessarily stand out from each other, but it still beats those days when bands crafted two solid songs to sell a set on disc.

You can find Rip This by Bass Drum of Death on Amazon. The album can also be downloaded from iTunes. You can also find the Bass Drum Of Death at Barnes & Noble or at a discount at FYE.

Hanni El Khatib Digs Deep In The Dirt

It has been a few years since the Hanni El Khatib had cobbled together enough tracks to put out an album. With the help of producer Dan Auerbach (The Black Keys), he rolled up his sleeves and finally did it. Head In The Dirt punks up Americana with a little more fullness, smoothness, and variety.

While some reviewers think of his material as a bit of schtick, it's only because they haven't seen the sometimes guileless but genuine musician lay down some chords in person. Khatib isn't an act. The San Francisco-born, Los Angeles-based singer-songwriter has an obsession with Americana, circa 50s and 60s.

Head In The Dirt digs deep into punked up and stripped down rock. 

As the former creative director for a skateboard fashion line, Khatib has thrown himself all into his music. And sometimes that confuses people, who think the stories he sings about are necessarily about him.

Maybe that's even more true of Head In The Dirt compared to other outings. The sophomore album is clearly crafted as opposed to someone with his head firmly planted in the past. For me, that's perfectly fine. If there was one thing that was holding Khatib back from a broader audience, it was the singularity of his original sound.

On Head In The Dirt, Khatib breaks out of the rut that dominated his performances and tries on a smoother cool in between his usual grit and wildness. Family makes the case well enough. The video is a whacked out Japanese motorcycle fantasy that shows off how much Khatib thinks he missed by being born a couple of decades too late.


The campy naivety and reckless abandon of the track illustrates how Khatib isn't trying to make himself a character as much as he wants to sing about characters from a glorified and glamorized cinematic perception of two very cool decades. He blends in some real life experiences too, making it a mystery.

All along, Khatib has said he isn't interested in creating concept music as much as he likes to create a mood or a feeling. Sometimes it's wild. Other times it's exciting. But all the time it's simple and classic.

The title track, Head In The Dirt, leads off with all the expectant fuzz and funk you might expect. But by the time you break into the third track, Skinny Little Girl, it becomes much more clear that Khatib wants to expand his repertoire. The track is a more relaxed attempt at storytelling.

He used a similarly relaxed harmonic on Penny, which not only shows that Khatib can lay down solid lyrics but also how much influence The Black Keys have been since they've toured together. Khatib is clearly the kind of opener they want, even if we lean toward his more fiery work.

On Head In The Dirt, those type of powerful and primal step tracks are far and few between. Even the few that exist are tamer then pervious outings. Check out Save Me, Sinking In The Sand, and Nobody Move. House Of Fire is more restrained too, but Khatib comes across as if it takes a real effort to keep the lid on it.

Head In The Dirt By Khatib Hurts 5.8 On The Liquid Hip Richter Scale. 

The first time I covered Khatib a few years ago, I made a note of mentioning that he is an artist by nature. Head In The Dirt proves Khatib still is, even if Auerbach seems to be whispering in his ear the whole time. On the plus side, the 11-track album breaks up Khatib's previous singular pace even if it might not be as raw as some fans have come to expect. It still rocks.

Head in the Dirt by Hanni El Khatib is available on Amazon. You can also order the album from Barnes & Noble or download it from iTunes. Khatib has a full touring schedule through the summer. For show listings and upcoming concerts, visit his Facebook page.

Hanni El Khatib Punks Up Americana Rock In California

Hanni El Khatib strips down everything to such a degree that some people say he isn't even indie friendly. His music is battered, written only for those who have only been shot or hit by a train. There's nothing nice to say about any of it.

His style of rawness mocks garage rock with more punk stylings. When he is live, he plays faster and more furious until the crowd starts to get it to the point they're ready to shrug off anybody else who might come on stage. No apoligies, just addictive.

Khatib might make his home in Los Angeles, but he grew up in San Francisco. If there is any throwback sentiment to his music, it probably comes from his self-desecribed obsession with the 50s and 60s brand of Americana culture. His influences tell it all no matter who reviewers try to compare him to — they include Johnny Burnette, Sam Cooke, and Johnny Cash.

His primitive, punk-infused Americana rock comes from the street skate culture.

Known for the specificity of his guitar tone and the fuzziness of his amp, Khatib keeps his mistakes in and dares you not to care. He doesn't. All you get is a little pop and hiss with EPs being dripped out as he works toward a full album without any release date. It does have a title though. The full-length album is called Will The Guns Come Out.

Some of the music, like You Rascal You, are covers. But Khatib has his own flashes of brilliance as a singer, songwriter, and instrumentalist. He also worked as a creative director for HUF. It almost doesn't matter if he still does. But in Los Angeles, he packs.

Most people don't appreciate that Hanni El Khatib approaches music much like design. He doesn't create work with a specific theme or concept in mind. He shoots for a look or a feeling. He likes simple. He likes classic. He likes timeless. Captured from an interview in another life...

"You can’t really control other people’s opinion of what you're doing," he said. "So I think it’s best for us to just keep our heads down and make things that we’re stoked on."

Count me among the we. Here's a live cover of the B-side, Loved One, to his new single. Check out the video from You Rascal You to get a better feel for his voice.


As good as Loved One is, it's Build. Destroy. Rebuild. that keeps me up and awake. That's not to say one is better than the other. They belong together.

Last night he destroyed at the Echo in Los Angeles. Tonight he will rebuild at the Hemlock Tavern in San Francisco. After that, he doesn't know. He'll just do whatever feels right.

Hanni El Khatib Builds, Destroys, Rebuilds With A 7.8 On The Liquid Hip Richter Scale.

Khatib is one of those guys who is an artist by nature. He has diverse interests and gets deeply involved in whatever pursuit he is chasing after. Add him to your watch list. Add his label too. Innovative Leisure.

The keeper, Build. Destroy. Rebuild., is on iTunes. Pick up Loved One too. Build. Destroy. Rebuild. - 7 inch [Explicit] can also be found on Amazon.