The psychedelic and blues genres often go hand in hand, a fact that goes back to Jimi Hendrix in the 60s and has continued until modern times. Today we will discuss a band that is carrying on that tradition, an Austrian-based band named Dead Gallery.
About Dead Gallery
Dead Gallery is a power trio from Tyrol, Austria. They combine “heavy blues riffs with psychedelic jams, the sound reminiscent of moaning amps first heard in the late sixties,” and their debut full-length, Dead Man’s Theme, was released on June 1, 2023.
From the first song to the last, you’ll hear the fingerprints of legendary guitarists like Stevie Ray Vaughn and Jimi Hendrix, who were crucial influences on guitarist/vocalist Tom Neuner. Then add in that Simon (drums) is, as Tom tells me, “a huge John Bonham (Led Zeppelin) fan, but also very inspired by the more jazzy approach of Mitch Mitchell (The Jimi Hendrix Experience) as well as more modern progressive drummers like Jojo Mayer. Joshua (bass) is also a huge Led Zeppelin fan and pretty much knows every John Paul Jones line, but is also more into the more contemporary stoner rock genre.”
Based on that, you can already imagine the type of stellar playing you’ll be hearing across Dead Man’s Theme, and what you’re thinking is exactly what you’ll get with this album. So without any further ado, let’s jump into the album.
The Songs
1. Hide In The Shadows (07:06)
You will judge an album based on the first track alone if you’re anything like me. Dead Gallery is aware of that, as their choice of the album’s opener is one of the strongest tracks on Dead Man’s Theme. Displaying a superior knowledge of blues rock guitar playing, “Hide In My Shadows” will grab you by the short and curlies, demanding your full attention. Luckily for us, this track deserves our focus, as it is a rockin’ example of what Dead Gallery is all about, just don’t expect every song to sound exactly like this one, as this band has a vast depth of musical capability. They aren’t afraid to utilize that to the fullest extent.
2. Dead Man’s Theme (11:56)
With a daunting runtime of almost twelve minutes, “Dead Man’s Theme” may seem intimidating to casual listeners. However, Dead Gallery makes fine use of every second while taking influence from my all-time favorite guitarist, the inimitable Stevie Ray Vaughn. They also introduce a bit of Hendrix and David Gilmour (Pink Floyd) into the mix, taking their blues-based sound into the psychedelic rock realm, and the results are explosive. The vocals, and everything else, are performed with all of the power and precision you’d expect based on their influences. Tom’s guitar playing is superb, making me want to burn my guitar and never pick up another one.
3. Tearin’ Myself Apart (06:06)
There’s a definite nod to SRV in the guitar playing, as Tom takes cues from the way Stevie phrased his parts, but he injects it with his style. No one wants to hear an exact duplicate of a band’s influences, we want to hear an homage with a fresh twist, and that’s what we get here. The intro and outro sections are both incredible, but the heavy blues at the beginning sets the tone and gets my blood pumping. The verse parts are sung nicely and have a bit of Eric Clapton within the guitar playing and tone. The leads sizzle and burn brightly, exhibiting the prowess that only years of diligence and studious dedication can bring.
4. Everything You Do (08:27)
When I thought I knew what Dead Gallery was about, they threw this song at me, and all my preconceptions were smashed. The band reaches its fingers into a Middle Eastern scale and pulls out excellence, providing us with the most psych-leaning song up to this point.
Some of the riffs are deep and stoner based, eventually morphing into lighter versions of themselves to allow the vocals to shine, and the leads are super slick, exploring the entire fretboard to take the song to new heights. There’s a section that repeats a few times and reminds me of something that was in the television show Sons of Anarchy, and it’s one of my favorite parts of the track; for reference, the first lyrics of that section are “Now can’t you see I’m dying.”
5. Always On The Run (03:23)
The shortest song so far isn’t short on driving blues rock power. Its brief runtime will appeal to listeners who aren’t keen on longer tracks and serves as a reprieve after the first four lengthy songs. The guitar solos are well put together, excellently played, and some of the best examples of what a dedicated player can do.
6. Get Me Down (06:04)
This one starts with a bit of Billy Gibbons (ZZ Top) flavor, something I’m totally down for. That continues into the verses, which also contain a bit of stoner magic. The first solo ups the intensity with its spicy licks and blues flair before settling back into the main riff with a beautiful transition between them. What I love about the song is that it is still introducing new sides to Dead Gallery, showing that they are well-versed in many areas and aren’t going to be put into one box.
7. Bottom Of My Soul (05:48)
I got chills and goosebumps as soon as this instrumental song began, a sign that what I’m hearing is hitting every sweet spot that is possible. Think of “Little Wing,” initially by Hendrix but perfected by SRV, with the tone and playing that rides the line between both men’s styles. Then add some of the most soulful, dynamic guitar work you can imagine, and you have what this track is. It’s utterly perfect and the most incredible song on this record.
8. Still I’m Here With The Blues (08:50)
The last of the long tracks and yet another example of what Dead Gallery is all about. The intro pulls in so many blues influences, including but not limited to Stevie Ray Vaughn, Jimi Hendrix, Eric Clapton, BB King, etc.
Dead Gallery creates an incredible atmosphere by honing in on the slower tempo that is a staple of the blues, executing this style as well as they do the faster and more rock-oriented music that has been prevalent up to this point. Tom once again provides us with tasteful yet powerful solo spots, nailing the soulful bends and inflections of the genre and shredding fiery licks that any blues connoisseur would love to hear.
9. Can’t Get Away (03:34)
Energy is the name of the game here, with the band pulling off a 180° turn after the slow burn of “Still I’m Here With The Blues.” I hear more of a blues rock approach, which, along with the tempo, is where that energetic feel comes from. As always, all three men contribute phenomenal performances from beginning to end.
10. Evil Woman (03:55)
This song follows the formula of “Can’t Get Away” with much energy, fantastic songwriting, and amazing musicianship. I wouldn’t say it’s my favorite or the best song on the album, but it is a solid track that people will enjoy.
11. Gotta Roll On (03:20)
If you have to end an album on a high note, this is a wise choice. I hear a rockabilly back-beat, which I hadn’t heard yet. The band keeps things moving but utilizes a bit of space that makes the busier sections sound all the better. The guys give great performances, closing this album with style and panache.
Final Thoughts
This album is solid from its first notes to its last. Dead Gallery takes blues, rock, and psych and mixes them until it’s an amalgamation of them, never genuinely falling into any box but always bringing music fans the best in guitar playing, songwriting, and overall sound. I highly urge you all to give Dead Gallery your time; it’s worth it for anyone, especially those who play an instrument, as it will inspire you to play more with its musical prowess and technique.
Support Dead Gallery by finding them on Bandcamp or social media (Facebook, Instagram).
This review was written by Tom Hanno, who has been writing reviews for the last 7 years but has been sharing his love of music for the majority of his life. Originally starting out at the now-defunct Chimera Magazine, he is currently contributing to Doomed and Stoned, The Sleeping Shaman, The Doom Charts, Tom’s Reviews, and The Third Eye. Read more of Tom’s reviews by checking out his Linktree.
Parting words: “I actually wanted to be a drummer, but I didn’t have any drums.” – Stevie Ray Vaughan
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