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Homebrew

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The Holland twins are back, and the songs here work in much the same territory as 1999's I Need You; country-tinged blues rock painted with a thin wash of reverb and echo. The template could be generalized as Dylan during his period with The Band, with the same allegiance given to both Delta bottleneck players and their offspring like some British dudes who not-so-neatly lifted their riffs and made them rock. The songwriting credits are split between Mark and Michael Holland, respectively, and each number takes its time getting to its Spanish Moss-encrusted destination, hovering between four and eight minutes each. The overall feel of the record as a whole is more laid back and riffing than rocking, the band content to ramble on a few chords, bark out a couple of lines, and let it ride, as on the title cut "Peas and Collards." This song plays a lot with "money, god damn the money lovers, money loves money," etc. Coupled with the satirical cover art, featuring one brother in an Uncle Sam outfit armed with an M-16, the other outfitted with police uniform and pistol, a batch of greens and peas sitting aside a reel to reel tape machine and mixing board, there's a wry, if over-the-top, comment on the current state of affairs in our world being made here. Not all songs are clearly in that same thematic vein, but some are paced so similarly that they run together. "Clear Tone Blues" is an exercise in the muddy trenches of blues territory that morphs into a droned-out head-trip, ditto for "I'm on the Run," while "Listen to My Wave" casts a ghostly spell with whispered vocals. This is a record with some of Jennyanykind's best basement jams. Few of the rock bands around here dig deep enough to get to that spiritual, netherworld sound of the Southern mystique than these guys at their best.

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