ON THE RECORD: A full review of Sufferin’ Moses’ debut, King of All the Sad Things

by Brennan Clark February 4, 2020

Editor’s note: On the Record is a new series of reviews on local releases. If you have a new album out, email heath@charlestoncitypaper.com.

On Jan. 9, Sufferin’ Moses, the Charleston (via Ohio) roots-rock three-piece, released their debut album, King of All the Sad Things. The LP’s 38-minute runtime is divided into 12 tracks that feature a blend of blues, Southern rock, and a healthy dose of late ’90s alternative.

The album’s opening song, “We Suffer,” is a short, inoffensive blues tune. Its two and a half minutes feel a bit like a dad-rock mad lib; the track’s platitudinous guitar work and cliched lyricism are almost indiscernible from its influences in the blues canon. King of All the Sad Things’ brand of just-add-water blues is found on several other tracks as well (“One Day at a Time,” “Dirty Work”). But despite their tedium, the vocal and instrumental performances are technically brilliant, and showcase the 10 years the band spent honing their musicianship as a group.

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The album isn’t all blues though. On many of the tracks, Sufferin’ Moses utilizes refreshingly nostalgic alt-rock sensibilities. King of All the Sad Things’ eponymous third track is a particularly expressive vocal performance from frontman Zach Quillen, and the chorus is catchy enough to rub shoulders with any of the late ‘90s pop-rock heavyweights. Similarly, the buoyant groove and charmingly honest lyrics on “Small Talk” offer a more tasteful nod to their influences. They’re a welcome respite from some of the album’s often tacky blues-inspired songs.
[content-1] Where this album really distinguishes itself, though, is in the production. Even on some of the least-inspired tracks, King of All the Sad Things is phenomenally mixed. The soundscapes are multidimensional, with each instrument meticulously placed where they’re at once unobtrusive and perceptible. “That’s Not Me At All” showcases a relatively intricate arrangement, where keys sit neatly beneath a picked rhythm guitar and provide a cozy bed for layers of vocal harmonies. Conversely, the verses on “Dreams Are Free” come off restrained and sparse, with bass and drums to underscore Quillen’s emotive vocals. The track’s competent performances and squeaky-clean mix make it feel as vibrant as the album’s more-densely arranged moments, despite its simplicity. It also reveals a maturity and discipline on the part of the band that may have saved some more-stale songs on the album.

As a whole, King of All the Sad Things is dynamic, with high highs and low lows. At their best, Sufferin’ Moses offers fans a cleverly crafted batch of songs that evoke their influences without appropriating them. At its worst, the album is an unremarkable take on the blues tradition. While still a strong outing for a debut LP, Sufferin’ Moses may still have a bit of fat to trim before they find their place among the pantheon of blues legends they so conspicuously emulate on this release.

Feedback File, Music+Clubs

ON THE RECORD: A full review of Sufferin' Moses' debut, King of All the Sad Things

by City Paper Staff February 4, 2020August 26, 2020

Editor's note: On the Record is a new series of reviews on local releases. If you have a new album out, email heath@charlestoncitypaper.com.

On Jan. 9, Sufferin’ Moses, the Charleston (via Ohio) roots-rock three-piece, released their debut album, King of All the Sad Things. The LP’s 38-minute runtime is divided into 12 tracks that feature a blend of blues, Southern rock, and a healthy dose of late '90s alternative.

[embed-1]
The album isn’t all blues though. On many of the tracks, Sufferin’ Moses utilizes refreshingly nostalgic alt-rock sensibilities. King of All the Sad Things’ eponymous third track is a particularly expressive vocal performance from frontman Zach Quillen, and the chorus is catchy enough to rub shoulders with any of the late ‘90s pop-rock heavyweights. Similarly, the buoyant groove and charmingly honest lyrics on “Small Talk” offer a more tasteful nod to their influences. They're a welcome respite from some of the album’s often tacky blues-inspired songs.
[content-1] Where this album really distinguishes itself, though, is in the production. Even on some of the least-inspired tracks, King of All the Sad Things is phenomenally mixed. The soundscapes are multidimensional, with each instrument meticulously placed where they’re at once unobtrusive and perceptible. “That’s Not Me At All” showcases a relatively intricate arrangement, where keys sit neatly beneath a picked rhythm guitar and provide a cozy bed for layers of vocal harmonies. Conversely, the verses on “Dreams Are Free” come off restrained and sparse, with bass and drums to underscore Quillen's emotive vocals. The track’s competent performances and squeaky-clean mix make it feel as vibrant as the album’s more-densely arranged moments, despite its simplicity. It also reveals a maturity and discipline on the part of the band that may have saved some more-stale songs on the album.