Send "All The Saints " Ringtones to your Cell 
| Paste Magazine |
 Noise rules on local-via-Alabama band's debutThis Ben H. Allen-produced debut hits upon a few rock touchstones du jour: squall, feedback, sharp edges so muddled by sonic ballast they blur, warp and peel like paint succumbing to humidity. But unlike many of their contemporaries, All the Saints' use of noise is more an exception than the rule. Only the album's brief, velvet-clad intro piece, “Shadow, Shadow,” suggests the band is no more than the latest act to re-discover My Bloody Valentine's Loveless. But bleeding into the swirling, psychedelic stomp-and-howl of “Sheffield,” the opening minute of peace and haze is nullified entirely. The trio relocated from Alabama to Atlanta, and Fire On Corridor X is heavy with Southern, small-town angst (with lyrics like “empty your church for a while”) and the feel of hot, sweaty summers-- particularly on the unhinged and unstoppable title track....full text |
| Almost Cool |
| All The Saints Fire In Corridor X (Killer Pimp / Killer Pimp) For a label that only put out a couple electronic noise releases in their first couple years, Killer Pimp has now had a pretty solid twelve months. Last year, they helped introduce A Place To Bury Strangers to the world with their excellent self-titled debut, and now the label presents the debut from the Atlanta-based trio All The Saints. In keeping with their distortion-friendly docket, Fire In Corridor X is another healthy dose of massive fuzzed-out rock, and it's yet another winner for the small label. Like A Place To Bury Strangers, All The Saints make a lot of noise for only three people, relying on an array of pedals and a powerful rhythm section to let the feedback flow. Under the fuzz, the group is remarkably straightforward, with a clear and keen sense of songwriting and arrangement that's remarkably accessible. There's a touch of shoe-gazing sheen that coats an almost grunge sound at times, and all the while the group nearly spirals out of control with a dense psych aesthetic. It's straightforward, but effective, and after a short instrumental opener, they blast off the doors with "Sheffield," a powering rock song that has become one of my favorites of the year so far. "Farmacia" is just as good, with rumbling tom tom drums and woozy guitars that move through alternately stomping and spaced-out passages. It sounds something like "London Calling" by The Clash ran through distortion pedals then dropped into a cave opening. Keeping a good balance of full-on rock and textural, spaced-out moments, the group drifts between Stone Roses-esque mellow-scapes and loud blowouts on "Hornett," and even tries their hand at a loping, country-inspired bar-room sing-along on "Leeds."...full text |
| Delusions of Adequacy |
| All the Saints pound out lumbering hard rock. And it sounds good. Their new LP, Fire On Corridor X, is a commanding synthesis of the band's deafening influences, including shoe gaze, psychedelic, doom, and grunge. Too many ingredients often makes for a muddy mix, but not this time. All the Saints keep form and function simple. Each track lurches forward, amassing tension in volume. The weighty sound threatens to self-destruct, to collapse into the noise of hopelessness and tired aggression. But this 3 piece hold it together, pacing themselves with rhythm - their terminal discipline. Ben H. Allen's ace production doesn't hurt, either. Booming bass looms below the foundation. Quasi-tribal drums steady the ship, countering rock with rolling beats. Simple guitar riffs probe more lows than highs as the occasional feedback pushes through. Guitarist and vocalist Matt Lambert's distant and reedy vocal bears traces of Scott Weiland's tenor register. Lambert's timbre is a good match for the riffing's subterranean dirge. The no nonsense songwriting and perfect track lengths on Fire On Corridor X harness all of the influences. There aren't many frills. After a lulling introduction, “Sheffield” crashes in, unveiling the tight rhythm section. This is just the first of several lovely wall rattlers. “Regal Regalia” grinds ahead and “Papering Fix” is the winner for best groove. Title track “Fire On Corridor X” barely contains the expanding sound; this track is a great mix of power, pacing, volume, and energy....full text |
| All Music Guide |
| It's not surprising that a new band might have some of the sense of epic reach as prime Jane's Addiction, say, but it's all the more interesting to hear a newer group exploring some of the sonic choices of bands that had initially followed in that band's wake, like the still underrated God Machine and the more obscure Pusherman -- or even, at a stretch, the earliest work by Verve. Thus the feeling of All the Saints, whose Fire on Corridor X reconnects dots from arena-scaled riffs and amplifiers to an almost dreamy, lost-in-it-all singing approach, not too far removed from the equal number of hordes trying to clone Spacemen 3 but not simply aiming to rewrite Playing with Fire, either. At its strongest, with songs like the archly titled "Regal Regalia" and "Papering Fix," the band kicks up a huge sounding storm while still providing space for the almost preternaturally clean singing boring through the mix -- not as an artificially high volume element, more like serenity in the midst of a storm. Perhaps rightfully, the title track, with its imagery of destruction and near-science-fiction sensibilities, is the most successful take on this approach....full text |
All The Saints lyrics
|
| ||||