Welcome Another Dimension of alternative romp.  Terracotta Pigeons has strummed a chord at the core of what made 90s rock so mesmerizing, fusing it with new frenetic style and creative exploration.  The music is seemingly constructed for the purpose of making whatever activity more intense, boundary dissolving bliss.  From paranoia to acceptance, inability morphs into the secret lessons of life disguised in front man (and drummer, that’s right) Steven Smith’s raw tripped out vocals.  The sound is so big; it is difficult to believe this is a studio album.  The roar of the bass and drums thunder like ten-thousand fans in a stadium roaring, making evident Terracotta’s experience with other great touring bands, this music is made to be turned up loud and shake the venue down to its very foundation.  This is one guy?  Surely not, it sounds like the real Terracotta Warriors are banging at the doors, fully armed in heavy Samurai chain mail, spears and katana, deceptively fast and overwhelmingly strong!

A reoccurring theme of breaking pop-culture reality screams through in gritty real scenario of lyrics.  The pounding music perfectly painting the scenes, like portraits of the homeless from Dostoevsky, nothing dumbed down or smoothed over, giving imagery that’s shaking to the core.  Inspiring for the courageous, perhaps intimidating or dangerous if one finds themselves caught up as one of Smith’s characters.  Metaphors are specific enough that they communicate a real empathy for the common person, yet loose enough that they are applicable to all walks of life. 

Terracotta has a familiar sort of grunge feel.  Nicely distorted guitar is met by warm bass throughout.  This forms a sort of musical playground for Smith’s vocals, which are quite versatile, if a bit nasal at times, are reminiscent of Scott Weiland from Stone Temple Pilots for a verse perhaps, as on Truth, then a coarse filter warps his voice and a quick rap more like Zach de la Rocha of Rage Against the Machine.  Still other times, all together, it feels like a more precise Alice in Chains.  Smith is forging his own style by combining so many classic alternative elements, yet still paying homage to the genre.  Sometimes intensity reaches to metal and industrial, never losing the fundamentals, yet with lead guitar solos and filters that always fall pleasantly on the ears, even when the intensity crescendos into beautiful musical destruction.  Bridge is one hell of a sick drum solo that deserves to intro an amazing song live, like the title track or possibly Lips are Burning played loud and insane.

The adaptability of Terracotta Pigeons seems fit for the world.  One must wonder how well the band performs live, as it seems virtuoso Smith has his hands full producing, if the band lives up to the studio sessions these shows must be incredible.  This is a sound we’re missing on American music media and I believe the Pacific Northwest especially would appreciate this sort of heavy yet clever vibe.  Another perhaps unlikely audience is perhaps Japan, as the J-rock scene at this time is really into alternative nostalgia with a new sound twist.  This ability to create musical fusion is getting lots of attention, and it is something the pigeons have down.  With the right energy and publicity, there are few places that Terracotta Pigeons will find their sense of music goes unappreciated.  I would be most interested to know what this would imply to the Chinese culture especially, and how the name would effect the cultural perception of the music.

Ever-Forever-Never is a deep, complex delve into a brilliantly crafted studio project that rocks harder then anything out there on the airwaves. We desperately need Terracotta Pigeons ferocity in out wavering American alterna-rock music scene.  The multicultural mish-mash of the Northern Territory in Australia comes through in meaningful lyrics and soul felt instrumental.  Good things are happening Darwin.  Let’s hope it’s contagious. 

Reviewed By Julian Gorman

Julian Gorman, Reviews Ever Forever, Never, Terracotta Pigeons