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‘Chills On Glass’, Dead Rider’s third album, is as distinct from the second album as ‘The Raw Dents’ was from their debut, ‘Mother Of Curses’.
The goal for Dead Rider is always super-heavy and superdriving, with more ‘up’ moments than ever before. ‘Chills On Glass’ moves forward in this tradition, juxtaposing high and low values - serious playing, danceablity, controlledoutcomes and experimentation, thick and thrashing rhythms and expertly manoeuvred tight corners, vocal textures smooth and sandy rubbing together and igniting. Synths tickle the top of one’s spine, guitars piercing like a neural system, the fullness of real drums, vocal layers and masks of all kinds.
This is composition that uses improvisation as an element within a larger structure, the ultimate streamlining of production, where songs are processed on several levels, mirroring and flashing their meanings through tactics and layers, backgrounded by a panorama of yawning, silent, benevolent black velvet. Dead Rider move relentlessly around the borders of their sound, finding new textures throughout, which act as candy to the ears. Self-recorded, produced and mastered in the Dead Rider studio suites, ‘Chills On Glass’ is a self-contained statement.
Todd Rittmann, infamous from his days in US Maple, is a guitar warrior with intensive craft at his fingertips. For the past five years, he’s been furthering his reputation by doing further damage with his instrument and others, and by spreading the carnage wide with Dead Rider (Matthew Espy, Andrea Faught, Thymme Jones and Rittmann for ‘Chills On Glass’).
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