Review: Paralyzed ‘Rumble&Roar’

Ever wondered what or why one band can hit the right notes and another band can look great on paper but completely miss the mark? How can there be the ‘perfect’ formula, either on record or live, whereas another band, regardless of talent, can be absolute garbage?

It’s an elusive, liquid quality. Some groups exude it, others just fake it (or try to fake us!), but at the end of the night, the genuine article will still be standing.

Germany’s Paralyzed seem to have a shit-tonne of authentic, old school rock and roll vibes and muscle-car aura. Only a few short years into their existence, they’ve just racked up album number three, the appropriately titled Rumble&Roar. Dirty, rough as guts bluesy riffs and some bombastic vocals with lotsa guitar firework from Michael Binder, a huge rhythmic pummel and some classic-sounding organ by rhythm guitarist (and sometimes organist!) Caterina Böhner just in case… you know! So, there’s plenty to unpack across the nine tracks, and here we go.

Machine With A Soul (unsure what the subject matter is…) is a big, rollicking riffy number that kicks off with some war-drums and ripping guitar before hitting a powerful and catchy rock vibe. Railroad has a similar edge to it, simple chords that work just right for the song. Smoking lead licks colour the riff itself with Binder’s rich and throaty vocals driving it all, and some excellent dynamics from drummer Florian Thiele.

Rumours of The Doors carnivalesque best are abound in Rosies Town, with Caterina’s loosely understated organ coming out to play. Simple but punchy, with a bit of room to breathe after the opening flurry, it’s good to see the guys pull back for a moment.

Dirty, rough as guts bluesy riffs and some bombastic vocals with lotsa guitar firework…

I particularly dig the bass tone on Rumble&Roar. Phatt and dirty, with minimal flourishes but just enough to fill the spaces when required, it’s just how I reckon bass should be played. Heavy Blues is a great showcase of Philipp Engelbrecht’s playing, the hefty vocal growl absolutely fits this song too.

Changing up the pace comes The Myth Of Love, a gentle, melodic song with a twist of medieval minstrel-ing (what with the tune itself and all) slicing right up the guts. I do like this track!

Insistent and throbbing, White Paper drags straight back to the ‘70s after the brief time-warpage of The Myth Of Love. The staccato drumming changes the feel from the earlier four on the floor rockers too. The Witch is some classic power-ballad territory, introspective and replete with gentle organ and a soulful guitar solo.

I thought Truth & Lies was gonna be a cover of Can The Can initially, what with that drumbeat. Instead, I got an epic-length rock song to bookend Rumble&Roar. It’s a slow burn that’s fer sure, but worth the wait too. This one gradually creeps up on you before winding out at a breakneck pace, and the wah pedal put to some damn good use as well.

Upon my first listen, I was mightily impressed by the playing, and a few spins in, I gotta say, they write song great songs too. It’s a fat, ballsy album and their eye for detail goes right down to the wire. Much like my earlier musing on what makes a band good, the sound captured on tape is another slippery point. But the sound on this is fantastic and ably backed up by Tony Reed’s (of Mos Generator and Stone Ax) mastering. All up, I’ll recommend this to anyone with decent musical tastes, and mebbe digs their rock and roll with a solid retro paint job and side pipes!

Label: Ripple Music
Band Links: Facebook | Bandcamp | Spotify | Instagram

Scribed by: El Jefe