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“Death On Two Wheels makes rock ’n’ roll dangerous again, with slurry-blurry lyrics, half-cocked dreamspeak of portents and regret, and a formidable guitar attack that recalls the nasty duels Allen Collins waged with Gary Rossington before Skynyrd’s final plane ride. The eccentric bite of vocalist Trae Vedder has the same grit and red clay in his voice that Chris Robinson had before he got famous and complacent. “Bobby Havis,” which shudders with psychedelic anxiety, it’s a song so haunting it could’ve been penned in Rose Hill Cemetery next to Duane Allman’s headstone.”
“Death On Two Wheels, from Atlanta, Georgia, stopped in right around the noon hour and the tone got grittier and less touchy-feely. It started feeding off the rotten parts of romance a little more as frontman Trae Vedder clearly has had some different sorts of interactions with women lately. It’s either that or he’s checking into hotels in the same Southern locales that Patterson Hood has been cultivating his storylines from for years. There are murder ballads - songs where dudes are getting cut in the night by vengeful lovers - and other instances where there’s just nothing good that’s going to come out of any of it. They throw us right into the guts of messes, left and right and we get an earful of red nights and blue and dreary mornings. There are bodies thrown into dumpsters, and for others, there are numbered days and those crawling around on the ground, on the floor, skinning their knees, but getting used to it. The characters in these songs are written as scavengers, nerv”
“Sometimes you need your music a little feisty and ferocious. The self-titled sophomore album from Atlanta’s Death on Two Wheels is exactly that as well as surprising, strafing and stunning. The disc opens with the rattling rocker “Look at the Sound,” a beast of a track with an explosive and shuddering chorus. The grungy “Hey Amariah,” is accented by another top-flight chorus and vocalist Trae Vedder’s craggy growl. The swampy and haunting “Petty Boom” is an organ-driven mashup of both Southern rock and 1970s album rock. Possessing as much attitude and swagger as the previous two songs, “Petty Boom” is an absolute firecracker and the first of many moments in which the band’s endless talent is on full display. The howling ass-kicker “Burn Loretta” follows and kicks and spits with rage and fury. Vedder’s throaty vocals are anything but understated and the passion that pours from him is almost otherworldly. The slow starting “Blamed Your Fri”
“We work in an office, getting in early, staying late, hitting the occasional event and getting to bed on time like the buttoned gentlemen we’ve become. But on the weekend, we kick it with guys like the bros in Death On Two Wheels. You know the ones, the guys that keep the rock dream alive with zero regard for hearing loss and an endless thirst for whiskey. If singer Trae Vedder’s name doesn’t sound enough like a future rock legend, just listen to his early Steven Tyler-meets-Dave Grohl voice. The fellas released their self-titled sophomore album last week and we think it’s one for the history books. We wouldn’t really compare their sound to any one band but we’ll just say that we feel the same way listening to Death On Two Wheels that we did listening to the self-titled Foo debut and Kings of Leon’s Youth & Young Manhood. There’s a real honest, hard-working “get ‘er done” vibe to this record, very necessary for both the times we’re looking to take over the world”
“Atlanta based rocker Death On Two Wheels has a reputation as a scintillating live act and it brings that energy to the studio on its new album.The raucous, self-titled gem is filled with bluesy riffs, pounding drums and swaggering lead vocals from frontman Trae Vedder, who sounds an awful lot like Aerosmith’s Steven Tyler. The one-two punch of “Look At The Sound” and “Hey Amariah” is terrific, and Death On Two Wheels scores with “Burn Loretta,” “Swamp,” “13 Words,” “Blew It Out,” and “Children.” ★★★★☆”