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Looking at the CD for Bedlam Nights one would expect the music to be one of those ‘thundering herd’ releases, bands that play hard and loud with a lead singer who doesn’t sing but screams into a microphone. Brian Grosz is a clean shaved lead vocalist and creative force. According to the liner notes, he does almost all of the music on the release. Sporting fingerless gloves and a slight goatee, the photographs are back lit black and white, giving the impression of rough and tumble attitude. There is even the advisory sticker on the front. The inside gatefold has the definition of bedlam giving the origin from the Hospital of Saint Mary of Bethlehem from ages ago. It gives the definition of the word as ‘a scene or state of wild uproar and confusion’, or ‘an insane asylum or madhouse’.
I was expecting to have my speakers blown from the walls. So imagine my surprise when I pushed the play button and found a much more acoustic offering. Brian Grosz offers eleven tracks that offer a unique vision that is beyond bleak. The work opens with “Can’t let me go” a track softer than expected and stronger in a vocal performance.
“Someone’s Gonna Swing” gives of the feeling of industrial music, not that cousin of techno but the song sounds like it was made with heavy industrial machines. The swooshing back beat, as if a giant press were in the band, gives the impression Brian is the piper for the industrial revolution—meaning that industry has taken over humanity. Like a forgotten track from a NIN session, “Sick of Your Sh*t” pretty much is summed up in the title. “King James Blues” does the thunder of heavy music, but does it a bit lighter than most. In “Little Lady” our narrator begs forgiveness on breaking her heart, but the apology runs a bit insincere. It has some nice guitar work and vocal touches. “Roads” is basically an acoustic song and drives along alone until it picks up a background singing hitchhiker or two. A solid LP track that carries sadness. The recording ends with “Tell Me Why” which features backing strings. It is more of a song about love and forgiveness that puts a happy face on the exit.
If I had to describe the experience of Bedlam Nights it would be an extended version of the song “Everybody Knows” from Pump of the Volume. I’m not referring to the cover on the CD by Concrete Blonde but the actual song on the soundtrack. If you are looking for something depressing and driven, Bedlam Nights is your disc.
