It’s hard to take something as raw as the blues and make it sparkle with unadulterated sheen but on Where the Bees Come to Die, Boy From the Crowd manages rather effortlessly over a mere handful of tracks. The sound never strays far from its initial source leaving the sting of the scraped soulful rock throbbing throughout the EP. Rather they find their corner in the garage, stomp it to their liking, then settle in for the long haul.
“Revelator” introduces us to the garage punk gutter glam that saturates Boy From the Crowd’s sound with vocals ranging from guttural growls to snide and snotty whining sneers. Pummeling rock elements occasionally relent, getting stuck on moments that keep the track interesting, unpredictable, and difficult to pin while sounding initially straightforward. Distorted guitars grate like grinding gears spitting clouds of rust on “All I Need” while frontman Vinny Piana’s gravelly voice drags across jagged diamond blues. A warbling chorus batters against any and all barriers like a bloody fist, leaving stains of vicious emotion. The latter part of the song finds additional support in black blankets of funereal organ. Wood block beats add to the rustic vibe of nimble blues riffs that start us down “The Road” before plunging into fist pumping glam rock anthem-ism. This is balanced by the titular track, a sprawling work that finds contemplative, pretty guitar noodling punctuated by a cumbersome dirge of organs and lithe guitar work bolstered by distortion. A single edit of “All I Need” pads the EP out, though the full track doesn’t outstay its welcome.
Boy From the Crowd turn glass shards to diamond dust and vice versa across the brief duration of Where the Bees Come to Die. No new vistas of sound are explored yet the oddly glamorous punks still manage to find a sound all their own.