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Dead Zone Boys

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Album Review

David "Moose" Adamson's third full-length release under the Grampall Jookabox (newly shortened to just "Jookabox") moniker covers much of the same ground as its predecessors, amiably mixing the wry, sophomoric, pitch-shifted vocal attack of Pod-era Ween with the white-boy beats of Beck and Har Mar Superstar. Like 2008's Ropechain, Dead Zone Boys revels in the kind of thick, two-dimensional sounds that populate most home-recorded projects, and its to Adamson's credit that the manages to balance the sludge with some truly inspired vocal takes and enough homemade clicks, clangs, and industrial (as in bombed-out machine shops and liquor stores) atmospherics to score an apocalyptic, Indianapolis-based first-person shooter, which is kind of what Dead Zone Boys feels like. Albums like this pretty much ask you right away to either turn it up or throw it out, and there's no denying the polarizing nature of D.I.Y. indie rock, but Jookabox is consistently visceral, darkly funny, and wholly unpredictable enough to warrant more than a cursory spin around the neighborhood.

Biography

Genre: Alternative

Years Active: '00s, '10s

Formerly known as Grampall Jookabox (think "Grandpa Jukebox" as slurred by a three-year-old), Jookabox was formed as an alter ego for Midwest producer/songwriter David Adamson. The Indianapolis native developed a love for hip-hop at a young age, laying down rhymes over boom box beats on a four-track recorder given to him by his uncle. Those jams eventually morphed into an eclectic blend of blues-kissed psychedelic rock reminiscent of bands like Animal Collective, TV on the Radio, and Odelay-era Beck,...
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Dead Zone Boys, Jookabox
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