Bigbang - From Acid To Zen Review

Posted by JR Simmang on 09.09.2008

Never before have I heard such perfect Norwegian names than the singer/drummer/guitartists for Bigbang. If you’ve heard Train, Radiohead, or someone that plays along those lines, then you’ve probably already heard these guys.

Track List:
1. Early December
2. Wild Bird
3. The One
4. Saturn Freeway
5. Hurrican Boy
6. My First Time
7. Savior Soul
8. From A Distance
9. Wherever You Are
10. From Acid To Zen
11. When The World Comes To An End

Bigbang claims to be a part of a group that plays in the style of “retro- rock.” If you ask me, From Acid to Zen borders on a mix between the good old days of Led Zeppelin and Allman Brothers Band and the upbeat tempos of the late 90’s. It’s an interesting album, one that redefines the Norwegian’s hold on the American pop scene. There is more than that going for this group, though. Apparently, and I’ve read over this many a time and still don’t know who said it, Bigbang is “Norway’s best live band.” Listening to the album, it’s probably right.

I don’t know. I like the guys. The band plays well together. There’s a definite synergy between the musicians. However, the first song, “Early December” introduces the world to an animalistic approach to a Tom Petty a la Echos off- tune vocalism. However, there is some definite old- school power chord strumming. The drum effects are essential to the style, typical hard snare and rhythmic bass. The bass line here, like most of the songs on the album, follows the melody during the body of the song and counters during the bridge and chorus. The lead singer, Oystein Greni (told you it was one of the best Norwegian names out there), catches up with the rest of the group halfway through the song, sounding more like Pat Monahan. He maintains that timbre through the rest of the album.

Don’t get too cozy with the first song because Bigbang throws no bones in “Wild Bird.” They hark back to some Kansas melancholy and upper treble guitar plucking. They put you in the front line of a purple haze filled mezzanine in the late 70’s. It’s one of the best on the album. Greni even, through not any fault of his own I’m sure, sinks into a perfect backwoods southern drawl. There is one disappointment in the song. Otherwise, it’s perfectly acceptable toe- tapping. I don’t fancy myself a singer that includes where he’s from in a song. Exceptions are: “Hotel California,” “Sweet Home Alabama,” and “Stairway to Heaven.” So, when Greni utters “…hung up Norwegian- style,” I kind of lost interest. However, it speaks volumes of a group that can do that and get away with it. The harmony during the chorus more than made up for it.

The best song on the album, “Saturn Freeway,” despite the fact that it’s right out of a Pat Monahan songbook, is a frolicking romp through the early disco days. There’s a constant beat on the hi hat, the guitar strums on to oblivion, and there are genuine Bee Gees falsetto harmonies on the bridge and chorus. I love me some Bee Gees at any time of day. The song never relaxes and is short lived so don’t blink. Except on the occasion that your eyes dry out. “Hurricane Boy” sounds like it could have been written by Thom York himself. He probably would pull it off a little better, but all things considered, Bigbang does okay. “My First Time” is a perfect reminder of music history. Pure, unadulterated Stevie Ray Vaugh guitar solos with Led Zeppelin chords and Billy Joelesque lyrics. However, it’s not nearly as fantastic as the acid rock ballad “Savior Soul.” I just didn’t care for the vocals. And “From A Distance” utilizes some intricate Guns ‘N’ Roses method playing.

This is one instance that I think the title track, “From Acid to Zen,” was the most poorly written song on the album. It sticks out like a sore thumb. The vocals don’t mesh with the mini- thrash on the lead. There’s a theme going on here. ‘Hi, we’re Bigbang and we like classic rock, can you tell? We’re going to play the title track. Listen.’ And the audience is like, what the hell just happened. I thought we were going to hear some Eagles. Plus, they call themselves “idiots with electric guitars.” I just threw up.

Overall, this is one great toe- tapper. For someone like me that grew up with this stuff, and not because of my age but because of my aging parents, it’s right up my alley. The layout is acceptable. There’s a good mix of hot-n-heavy and tepid-n-limp. It’s not as well balanced as I like. A record should be ups and downs, not one straight out into the horizon. Greni doesn’t seem to embody the genre, but he scrapes by on the seat of his pants. The backing vocals and rest of the band is where the real talent lies. “When the World Ends” is as perfect a last song as the group could have hoped. It’s right out of Houses of the Holy, complete with guitar solo and haunting backgrounds. The lyrics for the rest of the album match the 70’s drug- induced hypno- hysteria.

The 411: No doubt a fun romp through the remainder of the last days of the 1970’s, Bigbang makes the whole idea of remembering the heydays quite fantastic. Not that I was there, but it makes it all easier to imagine since there’s a band that mimics the sound and the fire that was once ignited by Led Zeppelin, Tom Petty, and Allman Brothers Band. It’s not quite there, but it’s a start in the right direction. They’re musicians, you can tell, who are in it for the musicianship. The lead singer’s a little shaky, but he has the voice for it. Bigbang is alright in my books.

Final Score:  7.0   [ Good ]