Greg Dully and co. released their comeback album Do to the Beast back in 2014 after almost sixteen years of professional hiatus. I am one of only few people in my surrounding who adored that record from the very first to the last track. If the memory does not deceive me, the album ended up in top 10 of many year-end charts. Luckily, I had a chance to see them live two times that summer, and those concert cemented my overall positive impression of The Afghan Whigs.
Three years after a successful comeback, the guys returned with their eight full-length album In Spades. I waited for it with inordinate anticipation, because I have sensed that the band will not dissapoint me. If the previous album represented a distance from their own 90s discography (with intermittent greetings to their classic releases), then the current one stands as a return to soul and rock of Black Love and Congregation sound. With adequate use of modern influences, we are dealing with fresh and contemporary record that stands as a dignified addition to the abundant discography of the boys from Sinsinatti.
Dulli is a top-notch writer, so he does not lack inspiration when it comes to love themes. His vocal resists the flow of time, and sounds as powerful as ever. I mean, no other conclusion is possible after taking a listen to The Spell or the closing track Into the Flor. Further on, it seems that his passion does not diminish. He is still horny to play as he was in the last two decades of the past century. Alongside Dulli, bassist John Curley is also worthy of praise due to his unstoppoble groove.
The sinle Arabian Nights is an example of Curley’s mastery, while Light as a Feather shows how typical Afghan Whigs song sounds – vocal that creates tension intertwined with melodic funky riffs and feral guitars. One of the major characteristics of their songs is that they are made for air guitars and loud singing in the room. This record is not an exemption. Yes, Demons In Profile, I am looking at you. Previously mentioned The Spell introduces innovations in the form of electronic beats and string arrangements. The passion is deliberately lessened in I Got Lost where piano plays a leading role. Copernicus is unusual track suffused by hard rock riffs, while Oriole and Toy Automatic are exciting and dynamic numbers that I can’t wait to hear live. I really hope that’s going to happen soon.
