It’s been almost a quarter century on the run for Little King and this guitar based power trio born in El Paso, Texas, looks not only fit but in great shape bringing Occam’s Foil– their sixth work and second EP- to life. Guitarist, singer, arranger and songwriter Ryan Rosoff leads the project and remains as the only permanent member to appear in every incarnation of the band through nearly three decades, but the latest formation sounds cohesive as they have been touring for a long time. Dominican bassist Manny Tejeda adds the necessary groove and contributes with solid vocals while drummer, engineer and co-producer Eddy García provides his priceless experience (having played along Ministry, Pissing Razors, Cowboys From Hell Paso and Overkill) and unique drum skills on his third collaboration with the band.
Every new Little King release surprises both critics and fans, for they know how to mix conceptual lyrics, powerful guitars, catchy melodies and unorthodox time signatures. Occam’s Foil is not an exception and it’s probably their most diverse work so far, even though it consists of only five songs. It is at the same time one of the most accessible records from the band in terms of conceptual direction and scope of the lyrics. The special guests in the backing vocals and string arrangements help to refresh the band’s trademark ageless sound.
Album opener “Heat counter” is the hardest track and has a pulse that suggests Rosoff was quite angry when he wrote the lyrics and composed the music. Heavy electric guitars remind us of some of Faith No More and Clutchs’ darkest material in a rage parade where Rosoff and Tejeda raise their voices at the same time claiming for “love and hope” in the midst of a society that went so far back in time putting kids in cages, a clear complaint on Trump’s aberrant immigration policy.
“The Skin That I’m In” might be the album’s highlight and a very personal view on infidelity. With its slow intro and powerful sections full of harmonies by Rosoff and special guest Monica Gutierrez, the set’s longest song moves forward adding shapes and textures, including beautiful strings provided by violinist Christina Hernandez and cellist David Hamilton. There’s a magnificently epic solo during the last minute and a half to crown the piece.
The next song, “Forgotten Mile”, looks simpler in a way: it describes the thoughts, hopes and fears of a little adventuresome terrapin crossing the highway to return to the sea. But, as every Little King tune, a metaphoric level is available for those who are willing. The sweet guitar and the powerful mix of Rosoff and Tejeda voices allow us to take our mind off the state of the world for a moment, something valuable while we are in the middle of a pandemic struggle.
Gentle groovy ska vibes and heavy guitar riffs are judiciously blended in “The Foil”, the most connected song to the album’s concept, an ode to the human brain dominance. The lyrics are sarcastic, but there’s no fun at all. Addictions, lack of control, guns and vegetarianism are the chosen topics to reveal what seems to be the search of Rosoff and his mates: freedom of mind that never can be found taking the easy way. God is present too, as the recipient of all the pleas which end the track in a note of hope and redemption. Gutierrez provides the vocals again and at this point we can assure that the band made a clear decision by giving more priority to harmonies on this EP than in all the previous works ever before.
The instrumental track “Nerve #8” closes the record. It takes its name from the eighth cranial nerve which transmits sound and balance information from the inner ear to the brain, the sound is therefore connecting body and mind. Centered around a satrianesque rock riff and a polyrhythmic structure, this powerful piece of music will make you headbang at the very least. Drumming is just ridiculous and Eddy García finally has a chance to show off his skills.
Occam’s Razor is a principle of logic attributed to English Franciscan friar William of Ockham which basically states that “the simplest solution is most likely the right one”. Occam’s Foil works for and against that theory at the same time. Its lyrics and concepts tend to privilege the idea of complexity of our decisions and our goals, claiming that feeding our intellect is the best way to develop peace in both an individual and collective way. By contrast, musically this is the band’s “simplest” record so far in terms of musical complexity, achieving a compelling and adventurous album that sounds polished and sometimes immersive without ever elongating any song unnecessarily as a final result. Even though Little King doesn’t seem to be looking for commercial success and remains true to its sonic essence, the direction taken on this record could lead them to that path.
I’m Music Magazine Contributing Writer Emiliano Doldan
