Corsair - One Eyed Horse (2015) (Full Album)

Charlottesville, Virginia's Corsair is a band simply not of this time. They are really a band from the early 70s that discovered H.G. Wells' Time Machine in a forgotten grotto and beamed into the modern era with knowledge of every quality hard rock band, every dual guitar team and every alchemical songwriting trick written about in the elder tomes.

Corsair – One Eyed Horse

by | Aug 18, 2016 | Articles | 0 comments

Charlottesville, Virginia’s Corsair is a band simply not of this time. They are really a band from the early 70s that discovered H.G. Wells’ Time Machine in a forgotten grotto and beamed into the modern era with knowledge of every quality hard rock band, every dual guitar team and every alchemical songwriting trick written about in the elder tomes.

Their sound is hard-hitting, driving, riff-y and progressive, but a magical feel presents itself that puts them in a league of their own. The quartet’s second long-player One Eyed Horse is the guitar harmony brigade’s roughest ride through barren lands to date. The first moments of opener “Shadows from Breath” are all cool cascades of spring water, the smooth rush of guitarists Marie Landragin and Paul Sebring delaying, echoing and flickering in a dreamy Gilmour/Göttsching sexual mingle.

It doesn’t take long for these melodies to shapeshift into astute harmonies which rock without going full-bore heavy, leaving the weight on the back of bassist Jordan Brunk’s deep, well-footed groove and new drummer Wade Warfield’s cracking snare. A mythical beast of distorted riffage emerges from Corasair’s cave lair; deadly and hungry enough to scare your pants off yonder while Brunk’s vocals herd your trousers back to basecamp in a clear, somber croon. His vocals ascend nicely in the chorus, and occasionally are doused in watery FX for a heady, tripped-out feel. Wade’s percussion crashes and pounds a bit harder in these segments, as Sebring and Landragin weave their lines together seamlessly. A shake of the rhythmic reigns at 4:10 sends the guitar work into a marauding attack of solo trades backed with a few bonebreaking volleys of snare fillage and jazzy tom/cymbal flux making for some well-concocted, yet tightly controlled madness.

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