Multi-award winning blues and roots musician Ash Grunwald is undoubtedly one of the most riveting and talented performers on the Australian musical landscape. Still riding the high of 2010’s award-winning album Hot Mama Vibes, sixth studio album Trouble’s Door symbolises a two-year period of change, and a new direction. Ash stated on his website that the album involved “some of my most personal songwriting”, laying the foundations for “his most internal album to date”.

Back in 2004, Ash Grunwald described his sound as “a cross between old delta blues, and hip-hop-ish modern roots”. Oh, how his sound has evolved since then. A slow transition from flying solo in the formative years to collaborating and working with dubstep producer and side project partner Fingers Malone on this record has allowed Ash to further encapsulate his driving dancefloor rhythms, and explore an eclectic range of sounds and influences that transcend typical genre-tagging.

First single off the album, Longtime, is a killer track, with a guitar hook so catchy and infectious, it’s impossible not to feel incredibly happy and upbeat stomping your foot and grooving out to it. Such a funky sound resonates through the song by incorporating many guitar loops, with varying effects and multiple percussive elements. The vocal distortion in the chorus between powerful lyric, “Thought I was high but I was barely alive”, makes it difficult to distinguish between Ash’s hummed voice and guitar, inadvertently creating an incredibly infectious hook (just try and remove it from your mind box). It’s one of many moments on Trouble’s Door that astounds you as to what incredible things Ash can do with his voice.
To further emphasise this, the way in which Ash unleashes his unbelievable range on tracks such as Ramblin’ Man is quite astounding, his vocals rolling from deep baritone to falsetto so effortlessly. He conveys such raw emotion through his rich and deep voice on tracks Demon In Me, his vibrato reverberating in your eardrums long after the song has finished.

Across the record, Ash complements his voice with expert guitar playing that delves in influences of blues and roots, country, and psychedelia. His use of different guitar effects are one of many elements that give each track their own signature feeling and sound, which is impressive considering he uses the same base instruments for each track.

Ash has this unique ability to capture the listener’s attention with his emotive voice or expert guitar finger work, and take them on a personal journey. The introspective journey Ash undergoes on the title track Trouble’s Door is emphasised by meandering verses that take the mind wandering with psychedelic guitar, an atmospheric backing and eerie echoed vocals, “I used to throw stones at trouble’s door, and once again I was cold and alone”. In trademark fashion, Ash snaps the mind back to reality in each chorus, lifting the tempo with hard-hitting, heavy reverb guitar that creates a real four-to-the-floor dance vibe.

Dubstep producer and side project partner Fingers Malone exerts a subtle dance influence on Trouble’s Door. There’s the dubstep tempo and synth backing of opening track The Demon In Me, quirky percussion rhythm of When You Need Em, and heavy synth and hip hop drum fills of Sail (a cover originally by Awolnation). The dance vibe has always been present in Ash’s music, but Fingers gives it that extra kick that will make it irresistible to dance to in a live setting.

Interestingly, the album’s release was funded by fans via Pledge Music. Symbolising a new way that artists fund projects, Pledge Music transformed the production process of Trouble’s Door into a transparent collaborative process between the fans and Ash. The success of this release paves the way for more artists to use Pledge Music as an exciting new way for artists to fund music, with fans involvement. Check it out here.

This album is an example of experimentation that has been pulled off with exceptional results. The album is an introspective work, exploring a range of personal topics through an eclectic range of well-executed musical elements. There is not a single dull moment on this record. As the mood shifts with each song, you are pulled into another experience, and there are many to be had. A refreshing listen from start to finish, each song will have you sitting on the edge of your seat in sheer wonderment as to what he will deliver next.

The full album is available to stream completely free here.

Written for Music Feeds
 
 
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Approaching this album with an open mind and disregarding their discography is a hard task, considering their complete back catalogue is utterly flawless. Just try and find an average song on any of their 6 previous albums! I haven’t! The album begins with a slow tempo tracks If Not Now, When? Promises, Promises and Friends And Lovers. Each song is lacking intensity in the music, and just roll gently, driven solely by Brandon Boyd’s incredible voice, which scales brilliantly on If Not Now, When and turning to intimacy on heartfelt track Friends and Lovers; acting as the sole precursor for building mood with his brilliant vocal range. Thieves opens with a trademark Incubus guitar riff, melodies and hard guitar driven chorus moments. Isadore just comes off as another love song dedication, there are a lot on this album, too many perhaps, I can’t begin to imagine how many girls he went through in the making of this album.

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Switchblade is one of the standouts on the album, where there is constant guitar driven energy, supported by a meandering bass line, but once again it seems like Boyd has avoided hard hitting choruses and break downs in his tracks, to give a more flowing feeling. It takes until track 10 in the form of first single Adolescents, to hear their trademark sound, using delicate guitar melodies, building into big choruses powered by Boyd’s repetition “out of sight, out of mind”. This album was always intended to be different, being six years since their last release of Light Grenades in 2006, on EnjoyIncubus.com Incubus stated: “True to the Incubus legacy, this album is nothing like its predecessor, but still maintains that quintessential Incubus vibe.” However, If Not Now, When? comes off as a Brandon Boyd solo album, the music is lacking the intensity that is ever-present in previous albums, and the songs are solely driven by Brandon Boyd’s incredible voice. Take that away and your left with an album that lacks intensity, energy, any depth and quality in the music, and has very few standouts. Having stated in NME “This new record is different to anything we’ve done. We’re gonna kind of challenge our fans with this one”, I think many fans are, as I have, going to struggle to connect with this one.

Rating: 2/10