In a modern musical scenario often saturated with synthetic polish, the raw, unfiltered grit of Rick Shaffer stands as a defiant and captivating force. The veteran guitarist, songwriter, and vocalist, and founding member of the legendary band The Reds, returns with his thirteenth solo album, “Rites and Stories”. A compelling continuation of the sonic exploration he began on his previous release Sleeping Dog, this new work plunges even deeper into the “Berlin Period” production sound of Iggy Pop and David Bowie, forging a dense, angular, and ultimately hypnotic proto-garage rock masterpiece.
The album’s title is an immediate invitation into its dual nature. The “Rites” are the foundational elements of Shaffer’s sound—the visceral, almost ritualistic practice of creating atmospheric textures and guitar treatments that lay a unique sonic bedrock. The “Stories,” meanwhile, are the narratives that rise from this environment: tales of late-night hedonism, menacing situations, and the deep introspection that follows bad decisions. Shaffer’s vocal delivery is the vessel for these stories, a desperate and passionate tone that channels the primal energy of Iggy Pop and Jim Morrison, yet possesses a distinct quality of its own—raw and compelling. This is an album for the survivors, the figures scattered on Jim Morrison’s “Dawn’s Highway,” rocking hard and laying down a power that is both hypnotic and relentless.
The journey begins with “Standing in the Shadow,” a track that immediately establishes the album’s sharp, formidable sound. It’s a song with a peppy, ethereal vibe, where ghostly echoes and vocal overtones create a moodiness that is at once mesmerizing and difficult to define. The lyricism is powerful, simple yet blending seamlessly with the arrangement to set the stage for the sonic innovations to come.
Next is “True Religion,” which enters with unapologetic energy. A distorted but ethereal quality washes over you as the jagged guitars create a captivating atmosphere. There’s an underlying aggression that makes the track emotionally rich, a controlled burn that favors mood and weight over sheer speed. This is a song that lets you feel the tension, a testament to Shaffer’s ability to craft complex emotional landscapes within a lean, proto-garage framework.
“Walks Behind You” follows, a formidable track that further strengthens the album’s sonic identity. Driven by sharp riffs and a cavernous percussive beat, it carries a sense of forward momentum while being steeped in a dark, echo-drenched atmosphere. It’s a journey into the murkier corners of the human psyche, where every beat and every guitar chord feels deliberate and unsettling.
One of the album’s emotional anchors is “Pleasure.” A darker, more hypnotic track, it is propelled by a steady, mid-tempo beat. Jagged guitar riffs cut through the mix with a glassy, eerie shimmer, creating a tension that never quite resolves. The song digs into the themes of temptation and consequence, evoking that moment where indulgence blurs into regret. Shaffer’s voice, soaked in grit, feels desperate yet controlled, like a secret confession whispered through clenched teeth. It’s a track that leaves an uneasy shadow, lingering long after it ends.
“Get it Wrong” pushes the album’s rhythmic ethos to a new level. The song is a relentless attack of tight, twisted, razor-sharp guitars and ominous bass lines. Its cavernous percussive beats and fragmented intensity make it feel both chaotic and well-rounded, a prime example of Shaffer’s production approach that values texture over polish, allowing the imperfections to become part of the experience.
The mid-tempo aggression continues with “Dark Disguise,” a track that builds its atmosphere with patient, almost trance-like jangling guitars. Like “True Religion,” it has an ethereal quality, but it feels more like a live performance, with the sparse lyrics giving the instrumentation room to truly shine. The bass line broods beneath the surface, giving the track a depth that is both rhythmic and deeply felt.
“Pressure Point” is a tight, rhythmic, and intensely psychedelic track. It utilizes loops and distortions to build a world of its own, an unsettling and edgy performance that showcases the album’s raw emotional core. This is not for the light-hearted; it’s for those who want to be moved and amazed by the power of unfiltered, good music.
The album’s sharp sound returns on “Run To It.” Like “Standing in the Shadow,” it’s driven by sharp riffs and a palpable sense of urgency. The track surges forward, propelled by its formidable guitar work and a relentless, driving beat, embodying the defiant spirit of the album.
“Cry For Justice” is another standout with a sharp sound. Its echo-drenched riffs and cavernous percussion create an expansive, formidable landscape. It’s a track that develops and strengthens the sonic innovation of the album, pushing the boundaries of proto-garage rock into a more atmospheric and reflective space.
The album closes with “Slow Days,” a song that takes a creative trajectory and shifts the album into a different realm. The guitars create an intrigue not heard elsewhere, and Shaffer’s vocals, with their creative nuances, hold the key to the track’s character. It’s a masterclass in artistry, a song that showcases the quiet intensity and deliberate construction that underpins the entire album.
“Rites and Stories” out via Tarock Music is not about nostalgia. It’s a work of endurance, taking the raw materials of proto-garage rock and rebuilding them into something darker, more weathered, and steeped in reflection. Rick Shaffer remains defiantly alive, and on this album, his “stories” are fragmented, and his “rites” are unsteady, but the music itself bleeds with emotion, excitement, and the undeniable power of an artist at the peak of his craft.
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