The Sadies bid Dallas Good a fitting farewell with 'Colder Streams,' their 11th studio album. Read MrPatKing's review:
Some writers are lucky enough to find a lane in which they thrive. John Prine’s superpower was his ability to place unthinkable catastrophes and faults of the human condition on the sameplaying field as tiny, humorous miscommunications of the heart. Anthony Kiedis … well, he can scat-rap his way through a scenario where his character, “Sir Psycho Sexy,” gets pulled over by an attractive female police officer and enacts a steamy story fit for a decent porno.
With Dallas’ tragic passing earlier this year from heart complications, it was unclear if the band would ever record again. Their 2017 releasefelt like a perfect culmination of decades spent on the road engaging with a form of traditional American music that was designed to be conversational, pointing towards the past, but never scared to engage with the present.
For those uninitiated into the immersive world of The Sadies, an abridged primer on the band: Since birth, Dallas and his brother Travis Good had been vessels for a kind of Americana music that can only be presented with absolute authenticity.
Then there’s the songs, which are perhaps the strongest collection both Dallas and Travis have assembled since their 2010 masterpiece. The majority of the material here finds the band playing in their muscular, gothic mod-garage mode, with the two brothers singing in perfect, spectral harmony.
The blistering rocker “Better Yet” is a reminder of the band’s ties to the punk world. Belitsky puts on a display behind the kit with Keith Moon-style drum fills, and the song’s feverish pace makes way for a fuzzed-out solo from Dallas that would make Neil Young curious about the settings on his amp, while Spencer shows up to offer his own twisted guitar manipulations on “No One’s Listening.
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