Devil Love’s Broken Things album proves this Boston band can deliver the goods with their own brand of hard pop. Combing the live wire charge of hard rock with some of the emotive sensibilities of 90’s pop rock, Devil Love offer a fresh sound by fusing older ones. It’s sort of 1970s classic rock by way of 1990s alternative rock recorded by mature musicians in a 2021 manner.
Opening cut “Everywhere Leads The Sounds” pushes its way forward with a forceful rhythm section and an aggressive chord progression. Every verse is punctuated by a hard hitting wallop of guitar, bass, and drum. Lead vocalist Peter Buzzelle sings in a mellower approach here than he does in the remainder of this album, making the music part the Red Sea to let his coaxing voice come through loud and clear. While there is not much melodic phrasing in this piece, it’s chugging presence makes a strong impression.
“We Can Leave Tonight” leaves out the heavy handed bombast of the previous track while still staking out a solid place on this album. Buzzelle’s vocal, more plaintive here, gets more breathing room. Lead guitarist Ken Rothman keeps his jittery phrase restrained, strikingly good, but safely beneath the lead vocal, its spikes impressing without overwhelming.
“Gold Currency” makes the most of Rothman’s sensitive lead guitar line, a crusty melody that fits perfectly among the tightly woven parts of this song. That lead guitar presence feels like a close friend coming along for a difficult mission with its almost whistling touch. Buzzelle manages to rise up vocally to a lofty place in this song, his voice hovering in just the right place in this sonic landscape. He and Rothman also open enough space for the listener to discern more of the rhythm section’s clean, lilting groove.
Title track “Broken Things” weaves perfectly the Buzzelle vocal plaintiveness, Rothman sensitive lead playing, bass player Jason Raffi’s firm control, and drummer Chuck Ferreira’s steady rudder. This piece moves with a grace that reminds of a cloud moving through a sunny sky at its own pace in its own space. Each band seems to sprinkle onto the floor his part while miraculously landing the sprinkles closely together enough to work.
A forlorn, moody lead guitar line brings us into “The Owl,” a power rock ballad complete with the aforementioned spaghetti thing guitar lines, a fuzzy second guitar, and an understated concise rhythm section. Buzzelle gently lets his feelings show as Rothman presses out a sensitive guitar line that, despite its sensitivity, hits its emotive mark sharply, bull’s eye. The band’s combined cleverness results in a song that is greater than its individual parts.
“Soul Clinic Bible School (redux)” is in a class all by itself. Its smacking rhythmic action opens up a lot of space, making the tune feel like a banner anthem for a major event. Yet, Buzzelle’s unique voice, like its seeking something the singer lacks, lands in a right place in this tune’s layer of atmospheres. Once Rothman’s lead guitar erupts onto the scene, it feel like a torch has been lit and is lighting up the night with a blazing light. There is a lot of slow boiling tensions going and the guitar’s sudden chime lets everything finds its own place to shine in contrast.
A bouncy, jumpy pop- rock song, “Better Better” gets its sense of fun from its sudden movements. Dynamic shifts. Tempo shifts. Each switch emphasizing the emotion of the song with a hearty rhythm, a song of growth that supports its theme while not taking itself too seriously. Rothman grinds out a seriously sharp lead guitar phrase before supporting the catchy chorus. It’s all good team work here, folks.
“I Won’t Go Down Without A Fight” maintains a low key consistency in groove, chord progression, and vocal finesse. This whole piece plays simply but feels large. Roth’s ringing guitar line is the only thing that jumps out of this piece. Yet, each band member does his own part to keep this song feeling lifted and meaningful.
“Blues Devils” Bumps, kicks, and grinds its way forward. It’s got a concise but pushy groove that keeps each motion brief while impacting hard. The beauty of it is it keeps a strong sense of motion while never ever letting anyone forget that this is a very strident band with forceful messages.
Close out track “Carelessly Comfort” is one of those quiet goodbye songs. Within its low key delivery, each band member serves up a fine vocal or instrumental portion in this sad, forlorn, rainy day song. Keyboardist Josh Cohen places an organ swirl beneath the guitar and voice and his mid-stratum is as tasteful here as it is through out this album.
Devil Love not only have a clever band name. They also have an album of clever music. Their bright melodies, clever hooks, and engaging melodies will take them as far as the six state region. Recorded by Benny Grotto at Mad Oak Studios in Boston, Massachusetts and at Revolution Sound Studio in Charlestown, Massachusetts, Broken Wings sounds good in all of its nuanced pop.
