The Big Sleep, Son of the Tiger
The Big Sleep is the rock “kick” that the 21st century was looking for. As the decade begins to roll around into the teens hopefully the Son of the Tiger—released in 2006 and an expansion of their EP: You Today, Me Tomorrow—wont be the only sample of their perfect persuasion of instrumental genius to hold our hand through the next few years.
Son of the Tiger is a breakthrough in meshing full-length instrumental tracks with an occasional vocal performance and most importantly utilizing bassist/vocalist Sonya Balchandani’s voice as a well-tuned instrument of its own—harmonizing and socializing with the tempo and melody of the music rather than attempting to out-shine it; and, similar to the majority of modern “alternative” bands, market busty lyrics without consideration of musical quality.
Members Gabe Rhodes, Sonya Balchandani, and Danny Barria are also distinctly creative—touching on a slightly psychedelic application, as well as upholding a powerful rock edge. Unlike other groups roped into the rock genre—the trio’s tracks are endlessly entertaining—every instrument is equally represented, without any quirky and unnecessary inserts of sound, and its progressive quality is both thoughtful (for those who chose to slip in the CD and meditate) and paced appropriately high and low to match varying attitudes throughout the day (for others who run, skip, drive, and breathe accompanied by music).
The premier track—Brown Beauty—establishes a steady incline of tone and aggression before bleeding into the single Murder: an incredibly well produced succession of Sonya’s steady intonation coupled with a catchy combination of instrumental variety. The core of the album is expressive of the same industrialization of sound; however, the individuality of each song is infinite.
In all, the Son of the Tiger is a musical manifestation of life itself, and it will be exciting to see where the future of the Big Sleep takes us next.
Review: Karoline Anderson