Slash feat. Myles Kennedy & The Conspirators - 4

Departing the stigma of two albums per band, Slash signs another chapter in his endeavor with Myles Kennedy and The Conspirators. Under the roof of a new house and with the proposal of bringing a product with the clothes of live music, the supergroup Slash featuring Myles Kennedy & The Conspirators announces 4. Album is the successor of Living The Dream and, as the name suggests, the fourth studio album of the group.

Like a waterfall, Slash's guitar emerges with a clean, linear riff that receives a density through Todd Kerns' bass that is perceived in the background. With a punch in the box, Brent Fitz soon gives way to a low, dirty, aggressively swinging melody immersed in clear grunge molds that embrace the second part of the intro. It is then that with the help of reverb, Myles Kennedy enters the scene with a slightly acidic vocal followed by a bass rhythmic base. Bringing a lyricism that mixes criticism to political extremism, the universe of fake news and the deceitful act employed by both politicians and pharmaceutical industries in relation to convincing those fragile of sense and opinion, the singer manages to mix subtlety and power during the transitions between verses and chorus, moment in which the guitar solo works as jets of light before the gloomy rhythmic base. Spontaneous, The River Is Rising still counts with an energetic and accelerated guitar solo that, divided in two parts, is accompanied by a groove exerted by the drums that recreates that of The Call Of The Wind, single from the supergroup's previous album.

Like feeling the pressure of stones rolling down an abyss, but with a slightly soft speed, the drums are solo, bringing a broken groove that, from the beginning, suggests something swinging and salty. When the bell beeps, as if in warning signal, the listener's pupil dilates, the hairs stand on end, the mind becomes alert, the adrenaline starts its way through the venous channels, and cold sweat starts running down the skin. Pose of alertness. It is then that the guitar solo inserts a lead that indeed brings swing, but a dirty swing that borders on the disgusting, the repulsive. Bringing a sour taste to the melody still under construction, this same riff structure provides aggressiveness to the song. As the first verse begins, both Slash and Frank Sidoris assume a somber posture as if they were a single obsessive character positioned on the prowl, just watching his victim act naturally. Upon reaching its melodic apex, the song takes on an intoxicating smoothness numbing the listener in a way that leaves them droopy-eyed but with a background of revulsion. Whatever Gets You By discusses addiction to cell phones and apps through the lens of an unhealthy, purely sexual relationship. The stanza "I'm fool for your misery. Like a drug lying next to me, I'll consume what you give to get me high", by the way, translates well this symbolism.

With a talkbox, Slash comes with an electronic swing that is suddenly surprised by united strokes between base guitar, bass, and drums that sound more like thunder that startles this initial softness. When the drums single-handedly accelerate their rhythmic line, the listener holds on to his or her chair to prepare for something that promises to be great. Lo and behold, an overly soft and dirty lead is drawn out in front of the listener. It is curious to see that while the guitar solo seems to represent the light of the sun breaking through the dense clouds, the melodic base works the opposite: the dark, the thunder, the pitch that prevents any sense of encouragement from invading its realm of darkness. Then, in the first verse, the sound that jumps to the ears is that of the low, linear bass that works as a melodic guide thirsting for brilliance. Mixing melancholic and dramatic touches in the chorus, the track even manages to have stirring repetitions. Not coincidentally, C'est La Vie has a lyricism that talks about having the strength to keep going. Perseverance and persistence in the face of life's adversities in order to break through the lapses of negativity and derogatory thoughts are also part of the lyrical theme. It is as one of the stanzas of the chorus highlights: "c'est la vie If there's salvation down the road" and "heaven waits for you beyond the hell you've known".

The high-pitched sound of friction between the drumsticks counting down the time instigates curiosity. The guitar comes in with a mixture of softness and acidity with its introductory riff. An energetic crescendo begins while, in the background, Kennedy is babbling almost inaudible vowels, but which already indicate a great change in aesthetics. Just as the climax of this crescendo is reached, The Path Less Followed comes with a numbing joy that carries with it melancholic and intoxicating notes. With a 4x4 groove, Fitz provides the song with a transitional aesthetic from the 70s to the 80s that, at several moments, sounds like the soundtrack to a council. And not for nothing, after all, the song seems to be related to Boulevard Of Broken Hearts, a song present on Living The Dream. Following in the footsteps of its older sister, what The Path Less Followed offers is a storyline that works, in fact, as advice between friends that says to follow your heart and not do it because it must be done. The desire for fame, in this case, should be secondary to the desire to make music. As happens in countless cases, the protective and friendly voice of consolation will always be present in the moments when failure disappoints the goal of success. This is what the antagonist of the song says in a way that echoes through the protagonist's unconscious: "but you should know I'm only trying to help you out".

The riff is stunning. The sensation emanated is of nausea, but curiously, a nausea good to be felt. With a more presentable swing, the song gains a cheerful air that easily infects the listener with its hard rock from the seventies. The melody, inclusive, brings in its aesthetics a similarity to the song Roller, single by April Wine, but also with the sloppy and softened swing of Love Me Two Times, single by The Doors. Actions Speak Louder Than Words is perhaps the most literally and denotatively titled song of 4, after all, it carries with it a visible critique of politics, which relies on promises that ensnare the most fragile minds and souls in the achievement of trust and votes, but which, in the end, do little about what was sworn to. It is a song that cries out for true intentions to be shown, for, as the name already says, actions speak louder than words. And what remains to be remembered for being striking are the provocative verses that emanate threatening scents of "so if you please just show a sign" and "your true intentions, well they better be pure".

The guitar builds an Arabic sonority that sets the whole atmosphere of the song. There are, in such melody, traces of a latent and instigating mysticism. The listener becomes attentive and curious as the evidence takes shape and announces itself. The bass is the instrument that appears like a growing ray giving body and a constant linearity to the sonority. With the attacking cymbals being sounded with increasing strokes, Spiritual Love finally has the culmination of its introduction with a ghostly instrumental. With a darker identity, the song itself has a lyricism that portrays a plot based on the ultraromantic aesthetics of authors such as Álvares de Azevedo. This is because the main character finds himself in a romantic relationship with a female spirit and questions, several times, whether this is in fact real. And in the end, it turns out that he, too, is dead, which makes it possible for such an extracorporeal relationship to take place.

It is like seeing sunlight under a thin layer of rain that reflects the rainbow. There is a mix of sensations provided by the guitar's velvet, ranging from comfort, warmth, caring, and reaching to protection. It is almost like a tight, nostalgic hug. With a contagious delicacy and subtlety, Slash pronounces himself with a linear riff accompanied by a soft base while Kennedy solves sounds that, synchronically to the beginning of the melody, transmit care. The shrill bass present in the first verse doesn't detract from the delicacy, but rather highlights the soft sensibility built between Frank Sidoris' base guitar, Fitz's drums and Slash's lead guitar. Complete with lyrical lines that seem to bring a romantic plot between people, Fill My World is an experiment in which Kennedy put into word form how Mozart, his dog, felt during storms passed through without his master's support. Verses like "and when the silence comes It breaks my heart. When I'm lonely, I always fall apart", "thе wind is screaming out. I pace the floor and I wondеr: will I see your face once more?" and "you were always here to save me like a sentinel in the dark as the thunder keeps on rolling through my heart" make this realization evident. Emotional and with a bluesy solo, Fill My World never fails to be a declaration of love. Presence, when done willingly, always creates strong bonds of togetherness and companionship. 

The guitar sound brings in a comic and debauched tone that receives sudden explosions that amplify the weight of the melody in formation. Swinging, provocative, and even sexy. The cynical softness of the guitar during the introductory instrumental even forms good-natured singing smiles that communicate not romantic courtship, but something saucy and unsettling. Penetrating, the melody wins over the listener without difficulty with its swagger of Californian identity. April Fool is a fun song that illustrates the person who takes on the role of being the funny one, or in other words, being the pave uncle who makes everyone laugh with loose, simple jokes. 

Without blinking, the quintet offers a sharp turn to get out of the emotionally softened energy. With a wild swing, the lead guitar parades through acceleratingly linear riffs while the drums, steady and precise, count down the tempo. In the background, Kennedy lets out a scream that works more like a howl, indicating a palpable savagery to be noted in the song. Alongside Frank Sidoris, the melody takes on a commanding, provocative swing that clearly recreates the atmosphere of both the Guns and Roses single It's So Easy and the majority rhythmic base present in the songs on Appocalyptic Love. As the lyrical plot for this scenario, Kennedy presents the tale of a predatory, purposefully aggressive relationship and sexually provocative notes that are translated into sound through Kerns' solo on the bridge. The true power of seduction. That's Call Off The Dogs.

Deep, booming, somber. The introductory melody can be fearful with its denser sound, but it ends in a solo of extreme melancholic drama that holds the listener in his suffering tone. Curiously, this same sound silhouette recreates the melodic aesthetics of Blind Faith, single from Myles Kennedy's solo work. With an ambience that mixes the transcendental, the pacifist, and the psychedelic torpor, Fall Back To Earth is set in the astrological environment in its lyrical narrative that tells the story of a person who grew economically in life, but who, by chance, ended up losing all the laurels previously won. The metaphor on which the title is based is a mention that when you are in trouble, there will always be someone else to reach out.

It is not only the celebration of the fourth album with his new band. It is also the realization of a long lasting relationship, of rigid foundations and intense musical reciprocity. 4 is the record that accounts for the 10 years that Slash, Myles Kennedy and The Conspirators have been making music together.

For Slash, it is a record, perhaps, even more important than Living The Dream. After all, his previous bands Slash's Snakepit and Velvet Revolver released two studio albums. With 4, the guitarist not only reaffirms the competence of his new group, but also reinforces that there is rapport and that the chemistry is not only band chemistry.

For Myles Kennedy, it is another chapter that shows his versatility as a singer and songwriter. The difference in themes and approaches between his compositions with Alter Bridge, Slash and in his solo career is even striking, but both keep his essence and his point of view about the events in the world. With 4, he not only talks about things of the heart, but brings political and social discontent in a way that represents a whole lot of people who feel helpless in the same measure.

For The Conspirators, 4 is the representation of their musicality, their ability to get together, and their open, flexible, and unprejudiced attitude. A group that already knew each other, maintained their friendship, and expanded their circle of common friends.

For Slash feat. Myles Kennedy & The Conspirators, 4 is an album full of swing, smoothness, provocation and reflection. With dirty songs like The River Is Rising, Whatever Gets You By and Call Off The Dogs, the record immerses itself in both the hard rock and grunge realms.

On the other hand, number four in the supergroup discography proves the wisdom and chemistry between Slash and Kennedy in composing soft, sentimental and catchy ballads. After all, since Appocalyptic Love, the duo has composed, in descending order of work, great songs like Fill My World, The One You Loved Is Gone, Battleground and Far And Way.

Structurally speaking, 4 shows a bold move by the supergroup. Leaving aside the longtime partner of both Slash and Kennedy Michael 'Elvis' Baskette, the new work was directed by a mind outside the spectrum of hard rock and heavy metal. Dave Cobb is a well-known country producer who, with his expertise, has managed to deliver another aroma to the lightness of the ballads and the dirt of the more metallic songs. On the other hand, it is Cobb's merit, who was also responsible for the mixing, also the fact that 4 was recorded totally live, with all the musicians capturing their parts in the same room and at the same time, as in a real concert. This made the work sound fresh, alive and original. 

Released on 02/11/2022 via Gibson Records, 4 is a dirty, swinging, groovy record. It is a record that emanates boldness, exudes an aroma of danger, and personalizes the image of competence. On the other hand, what is most evident from 4 is that this is a spontaneous record.