The Rock Pit - Hard rock, Metal and Blues Interviews, news & reviews from Australia and around the world

The Rock Pit - Hard rock, Metal and Blues Interviews, news & reviews from Australia and around the world




MAY 2 2014



San Diego’s Little Hurricane is a band that walks in that ‘very cool’ retro territory using vintage equipment and having ‘authentic’ leanings. Now while some of that of course is just talking the talk and bandwagon-jumping with little real substance, you tend to think that for Little Hurricane it really means something more than a frame of mind.


As a duo, for a start they make a lot of noise: creating a real dirty blues with real menace and on this their second album they seem to have ‘found themselves’ or at least found their sound. Hipster dreams aside, this is actually some fine music worthy of a wider and less shoe-gazing beardy, pseudo-intellectual audience than you might expect.


Opening track ‘Summer Air’ is awash with the kind of bluesy slide guitar that adds weight to the band’s mellow indie leanings, rather like the White Stripes on downers, it’s a different kind of soulfulness which relies more on stealth than primal scream before ‘Upside of Down’ strips things further back to give an even mellower vibe. The sound is further distilled to present the even lower-key ‘Sheep in Wolf’s Clothing’ that has a dreamlike quality to its stripped back insistence.        


After a few songs that, to be honest, leave you wondering about whether Little Hurricane can lift themselves from the indie masses, comes the gentle persistence of ‘Breathe’: a song that has an Americana twang augmented by complimentary male and female vocals which reinforce the initial narrative and an underlying harmonica and guitar twang that is both beautiful and essential. It’s the song that makes the album.


With that new life ‘Con Man’s’ rawness cuts deep while ‘Sorry Son’ introduces intrigue to the mix, adding as it does a real  emotion against the strings, before flowering into an explosive hard-rocking crescendo. The second half of the album certainly has the life blood flowing with the stuttering riff and more aggressive vocal of ‘Superblues’ which sports a fine solo. ‘Gold Fever’ the title track is even better: reintroducing Spina’s vocals into a lilting blues replete with hand claps and crunching guitar. Keeping the momentum going closer ‘Grand Canyon’ treads similar territory before building to a wonderful ‘harp’ solo.


This is an album of wonderful electric Americana and Blues with a real sense of place and purpose, and brimful of life. This may start out rather tentatively but at the end you realise that this is real music – oh to see these guys live…



by Mark Diggins