So what is it? Are we so awash these days in quality heavy psychedelic blues rock that people are to blissed out for me to be hearing about Dead Feathers‘ All is Lost? The Chicago five-piece released their second album just last month through Ripple Music, and I know sometimes these things take a while to properly catch hold of people and I certainly know their label has a busy schedule of releases, but I feel like for what’s on offer throughout the eight-track LP — 10 if you get the CD/DL — it’s one of those records where I should be rolling my eyes at the Bandcamp-review hyperbole as I scroll through thee social medias, and yet I’m not at all overwhelmed by it. I’ve seen some positive words, to be sure, but where’s the hype machine when you need it? Come on, people. Why on earth would you sleep on this?

Dead Feathers was one of those bands caught up in the whole HeviSike Records debacle, as that UK imprint went AWOL amid sundry allegations of improprieties of various stripes, mostly fiscal, and Ripple can only be considered correct for having snagged them ahead of All is Lost. It’s a record that makes every riff count. Every groove has its place and its purpose. To listen to tracks like “With Me” and “Cordova” early on, the tinges of psychedelia that come through after opener “At the Edge” sets the tone for them speak to influences from Jefferson Airplane to Wovenhand, and the side B wallop of “Smoking Gun” and “Not Ours to Own,” each with a sprawl over seven minutes long, make for a conclusion of noteworthy resonance without ever being divorced from its central intention. An energetic burst in “Horse and Sands” is met by the full-on fuzz of the title-track, and in the slow rolling “Darling Sights” and the digi-format exclusive “Night Child,” Dead Feathers dig into moodier progressions, the latter flanked by organ work in its second half, which a string drone and acoustic plucking in the 1:18 finale “Found Caravan” (another bonus-ish cut) answers back in classic spirit.

They flirt with twang but remain organically classic heavy rock in their guitar and bass tones, and with the absolute powerhouse vocal performance of Marissa Allen front and center in the mix and more than able to carry that same kind of natural vibe, All is Lost is a win front to back. I don’t know what Dead Feathers are planning as regards touring, but they just got back from a two-week stint, and if they were kicking around the idea of doing any kind of run again soon hither or yon, they’ve certainly got a worthy cause to support. Get out there. Tell the people.

You can see the premiere of the video for “All is Lost” below, followed by more from the PR wire.

Please enjoy:

Dead Feathers, “All is Lost” official video premiere

Dead Feathers “All is Lost” OUT NOW on Ripple Music

Fronted by the extremely talented Marissa Allen, who’s vocals summon the spirit of Inga Rumpf and Linda Hoyle, Dead Feathers are influenced by rock bands of the 60s and 70s and the modern underground psych of today. Fusing a heavy, early 70s Fairports-via-Affinity vibe with a Dead Meadow and Black Mountain-esque appreciation for big riffs, their live shows are filled with a thunderous energy on stage that puts concert goers under their spell. Combining soulful and emotional songwriting with obscene levels of fuzz and reverb, overflowing bass lines and booming drums, Dead Feathers craft a mood with deft levels of artistry and showmanship.

“All is Lost” is accompanied with the surreal visual stylings of Andrew Arcos and Haley Green’s collaborative documentary project, Love Box. With themes of self-obsession and ego death, Arcos and Green devised a video which explores the darkness of narcissism using elaborate miniature dioramas alongside Third Beacon’s electrifying visual effects.

Co-Directors: Andrew Arcos & Haley Green

Producers: Andrew Arcos & Haley Green

Talent: Marissa Allen, Joey Castanon, Rob Rodak, Tim Snyder, Tony Wold

VFX: Third Beacon

DEAD FEATHERS:

Tony Wold – Guitar

Marissa Allen – Vocals

Tim Snyder – Guitar

Rob Rodak – Bass

Joel Castanon – Drums

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