Houston, we have liftoff! Adriel O'Dell is on fire!

A Fire-breathing Breath of Fresh Air—A Review of the Music of Adriel

If you have never experienced the music of Adriel, you are in for a real treat. I have to warn you that Adriel’s music is dangerously addictive. I found myself listening over and over and still do. I already know that I will be a fan for life. The demo CD of this young man from Washington State shows a range and versatility that is usually lacking in much of today’s rock. The spectrum of feelings and emotions he evokes and his evident mastery of lyrics are refreshing. One moment you are experiencing an extremely wild musical chase, being lovingly pounded with exotic phrases or instruments that you never thought could fit into rock music. The next, you are disturbed that you have been so accurately pegged by the lyrics and are deeply moved by words that strangely seem to be your own. This young man is already writing classics, I assure you. He strives to intentionally evoke emotion in his listeners. This is no ordinary rock. This is Adriel’s rock. He has managed to blaze a trail, open up new territories and stake his claims far ahead of others.

From the first note to the last, the songs captivate you in a way that few of today’s radio hits do. Adriel’s approach is totally different, completely unique. Ethnic influences, unusual instruments, strange blends of wording, phrasing and scales, etc.—all adding up to songs that grab you and don’t let go—ever. His lyrics seem beyond his years and experience, but they manage to be quite poignant and touch a wide spectrum of listener ages. The songs speak for themselves. Though it is of course my purpose to write a review, these songs are of such quality that no one need speak for them—not even me.

What Went Wrong

Like a giant metallic gong, this song literally explodes with a surprising ferocity that astounds and delights. Both the unleashed guitar fury and the seemingly understated, but powerfully sharp political commentary of the lyrics hit you like a sledgehammer, but with great skill and finesse.

Musically, imagine a body slam. This full frontal sonic assault somehow manages to make you a more-than-willing victim, coming back repeatedly to be bulldozed again and again. His use of oriental scales is intriguing in this exotic rock masterpiece. East meets Best in what must be the shortest five minutes in rock history. The subtleties and detailing of Mike Stone’s hand percussion and Jeremy Lightfoot’s bass set the instrumental bridge in this song apart from any I have ever heard. Kudos to these gentlemen, as well.

Lyrically, I am somewhat shocked that such apparently “stripped down” wording can be so bluntly effective, as in this example: Laws founded on truth—now fiction to our youth. No hope that it can be saved. Or this one—Freed with the muzzle of a gun—now enslaved with a pen. What went wrong? No pablum-soft, namby-pamby phrases here. Adriel knows what he wants to say and he goes directly after it via the shortest route. Overall, this is a high-pressure atomic blast that I intend to hear again and again.

• Think: being inside Big Ben at the critical moment.


• Think: a million angry bees flying in perfect formation.


• Think: a mega-dose of adrenaline-infused aural caffeine.


• Think outside the box—this is Adriel.

The Beast (Within)

Ominous, brooding and threatening, yet immediately identifiable to the average man, who may even see himself in it. A strange whirling blend, drawing visions of mental imbalance trying desperately to mesh gears and right itself, but narrowly missing with each attempt.

The odd guitar patterns set an almost evil feel, right from the start, and lyrics like these reinforce the effect of dark corners: His intentions are made clear. On my fear he intends to feast.

Adriel again employs odd-sounding scales and breaks away from the “conventional wisdom” with his lyrical style. Each successive verse becomes less structured and less rhyming, yet the listener finds this unusually appealing and strangely natural. The interplay of layered guitar tracks only seem to be in complete cooperation, but the tension created in this song is surprising in that it makes you like it, rather than making you uncomfortable. Again, Mike Stone and Jeremy Lightfoot provide admirable support. Worth many joyous replays.


Time

This piece sneaks up on you and lulls you at first with a false sense of calm and security in the opening strains, then draws you into its masterful and spellbinding lyrics, reinforced by the haunting atmosphere created in Lori Goldston’s cello phrases, which resonate in your heart and mind for hours afterward. The feelings provoked by this piece will be of a quite personal nature, but if you are left untouched then you have no heart at all. Note that Lori has been featured on recordings with Nirvana, Bush, Nancy Wilson, Presidents of the United States of America and numerous soundtracks. This song is an instant classic and Lori’s contribution is as memorable as it is beautiful.

Again, think outside the box as you listen. All hype aside, I believe Adriel is here to stay and, after hearing these demo “teasers”, I am extremely anxious to see what a full-length CD will bring. The wait will certainly be worth it. My recommendation: Turn it on, turn it up—loud—and enjoy.

For bio information and streaming song samples from his demo CD, go to talentmatch.com/adrielodell and click the ‘media’ link button.

UPDATE: Talentmatch.com has been blocked by Google as an attack site for malicious software. You may check out his music at http://broadjam.com/artists/songs.php?artistID=24973&mediaID=186232 (where he rated #1 in the hard rock category for What Went Wrong) and at myspace.com/adrielodell, where he has posted all of his demo CD for your considerable enjoyment.


Steven Gregory
Independent reviewer