Dead Confederate 'Sugar'

Dead Confederate’s sophomore record, ‘Sugar,’ ditches the murky psychedelic-rock feel of its predecessor for an alternative rock jangle that leaps between flavors like a chameleon changes color. Produced by John Agnello (of Sonic Youth, The Hold Steady, and Dinosaur Jr. fame), ‘Sugar,’ is more refined and polished than Dead Confederate’s debut, the Nirvana-tinged ‘Wrecking Ball.’

This means no more meandering twelve-minute songs; on ‘Sugar,’ the Athens, Georgia-based Dead Confederate has whipped up a tighter, rootsier (think Deer Tick mash-potatoed with the alternative rock of Black Rebel Motor Cycle Club), more purposeful sound, that while steady rocking, at times admittedly feels watered down. This is the case on the fuzzed-out “Mob Scene,” but certainly not on “In The Dark,” ‘Sugar’s’ opening track, which soars into the stratosphere with its swerving organ, white hot guitars, and crashing drums, to reveal the band’s immense potential.

“Run From the Gun,” stands out with androgynous vocals, guitar strumming and an alternative-country hook that is sure to be a crowd favorite. “Father Figure” pulses with a vibe that is reminiscent of early Smashing Pumpkins crossbred with The Silversun Pickups. “By Design” brings the restrained leanings of Black Rebel Motor Cycle Club, borrowing their consistent thump, thump of the bass drum, near falsetto, rockabilly vocals, and shimmering guitar. The song is wonderfully amorphous and at times, specifically during the chorus, sounding like “Naveed”-era Our Lady Peace. The anthemic “Semi-Thought,” with ear-poking piano and drum-roll dominated drums, works well to bridge the record’s first and second half.

On “Giving It All Away,” front man Hardy Morris tackles the country energy of a restrained Jim James (My Morning Jacket) to create a tune that takes flight in a thought-provoking blend of Silverchair, Neil Young, Toad the Wet Sprocket and Radiohead. The song blends in some of the psychedelic guitar work that dominated whole sections of ‘Wrecking Ball,’ but does so in an accessible and condensed fashion. That being said, the very tail end of the song is a tad disappointing, where the bass line and organ seem to hint at more, possibly a section with a bit of a Mo-town bent, but instead, simply dissolves.

The record’s title track “Sugar,” pleases with spooky guitar, intermittent drums, and captivating, saccharine, yet melancholy lyrics with a light bullhorn effect dribbled on top. The creeped-out cocktail builds to an earsplitting thunder of driving guitar, cascading drums, and silky vocals. The song melts into the similarly-paced “Shocked to Realize,” which with its finger-picked glimmer guitar, drum build, and bluesy, Deer Tick influenced vocals, winds tension like an old fly fisherman.

Sadly, for much of ‘Sugar’s,’ run-time, Dead Confederate rehash the sound of their predecessors and in doing so, merely swim downstream, failing to paddle against the sound of these aforementioned bands and play off them in any new, meaningful or artful way.

Rarely do Dead Confederate’s salmon wriggle upstream, against the flow of what has been done before, but when they do, as on the sun-soaked, nasally perfection of “Run From the Gun,” or the rueful power of “Father Figure,” the audience glimpses Dead Confederate’s true potential and folky purpose.

Here is to hoping there is more of this Deer Tick meets Blitzen Trapper feel to be found in the next step of Dead Confederate’s evolution, and perhaps fewer references to other bands in describing their songs. Nonetheless, ‘Sugar,’ stands as a solid record, one more than worth picking up, if only for its handful of delightful grunge rock meets alternative-country songs.

By: William Kyle