Album Review: In the Marrow by Dead Confederate

Dead Confederate’s Southern grunge would feel haunted even if they didn’t intend it to, given the eerie echoes of Kurt Cobain in singer Hardy Morris’s pained voice. That’s not to say that Morris is a complete dead-ringer for the iconic Nirvana singer. His voice is softer around the edges, and as befits his Georgian roots, decidedly twangier.

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Dead Confederate don't change their template very much on the group's third full-length, In the Marrow, still favoring dirge-like, guitar-driven, slow-burning grunge epics that blend Pink Floyd atmospherics with Nirvana attitude and maybe a touch of Neil Young's ragged glory, and the group definitely isn't in any kind of hurry to stick a song in heavy rotation anywhere on the radio. That's no doubt a good thing, since nothing in this set caters to the commercial end of things, although that doesn't mean that In the Marrow isn't commercial. It's imminently listenable, even strangely fascinating, and it's an album that isn't in too big of a hurry at all, choosing to unwind at its own pace, with nothing that really tries to guide people to the dancefloor.

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Much like their Georgian brothers Baroness, the Southern rock outfit Dead Confederate knows how to harness the sound of its home state. The vocals of frontman Thomas Hardy Morris may be more akin to early ‘90s Seattle grunge, but the rest of his compatriots in the Dead Confederate name make music that evokes the dark, murky swamps of the American South and all the doom they entail. Tracks like opener “Slow Poisons” and “In the Marrow” are doomy plodders whose distorted guitars inject a lugubrious and at time ominous mood to In the Marrow, the band’s third studio recording, its first for the Spiderbomb label.

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