A lot of bands claim to be “rock and roll” these days, to the point where the phrase is being watered down to simply anyone who picks up the standard rock instrument faire. This being said, The Orwells play rock and roll. They aren’t doing anything groundbreaking or crazy here. Garage rock has been revived plenty of times by now. However, that doesn’t make this album any less enjoyable to listen to. What we have here is a really solid album, albeit not very risk taking.
I’ve seen The Orwells twice in the past few years. First, when they were just a few high schoolers from Chicago opening for FIDLAR. Since then they’ve been on Letterman, Jools Holland, heck I even saw this very album being advertised on YouTube yesterday. Their live act is where they thrive most, driven by a tall pale frontman who shares a namesake with New York’s 52nd governor and dons long wavy blonde locks that will make your girlfriend jealous. The lead singer channels classic frontmen such as Iggy Pop as he romps his way through the stage and into the crowd. The Orwells have garnered a reputation for causing a bit of ruckus wherever they go and on TV performances. This is (at least, from me) highly welcome. They’re kids. They want to act like rock stars. I fully condone their debauchery.
You’ll mostly find yourself focusing on the guitar and vocals through this album. They’re both equally reverberated and dirty and blend into each nicely. You have gritty growling guitars coming at you, just as you’d expect from a garage rock band. The vocals are very strong on this album. Lead singer, Mario Cuomo, spits out vocals with an uncaring attitude on verses and shows his true power belting out choruses. The rhythm section is bare bones. The drums and bass keep their place silently nested in the back of most songs, holding tempo and the sound together. No one here is really amazing at their instruments, but they play in a genre where virtuosity isn’t demanded. As mentioned before, they aren’t really taking risks here, but it’s still some damn fine punk rock and roll.
Song themes basically cover booze, babes, and detachment from a supposed meaningless world. They just got out of high school, so this album really appeals to one’s inner teenager. The album title, a play on words from the famed Elvis Estate and the album art, a simple suburban home, broadcasts their message quite obviously. One needs to realize that these guys are 20ish years old and they’re just going to “let it burn.” This band has the benefit of starting early. This is their second release after 2012’s “Remember When.” The Orwells still have plenty of time to grow, mature and work on their songwriting and instrumentation. They’re becoming more solid by the day, so keep your eyes on these Chi-Town rockers. I recommend wrapping your ears around “Dirty Sheets” and “Who Needs You,” two standout tracks on the album.
Disgraceland is best enjoyed on a skateboard, provided you can fit those ear buds through your long, greasy hair.
