Carrying the torch of rock

With crunchy Nord piano riffs, plucky, reverberating vocals and a rock-hard rhythm section, Charlottesville’s The Nice Jenkins are on the frontier of rock and roll. What we see with their late October release, “Elephant Twisters,” is a diverse representation of the directions this classic genre can go.

The album begins with “So What 2,” a driving, medium-tempo tune featuring sweet electronic effects. A tribal drum beat keeps the mood up during the minimal parts, resulting in a constant flow of energy from the band. The lyrics are definitely memorable and cadence nicely with the ebb and flow of the music. “Love on the brain. Whisper to your heart or you will change.” “You are insane. You’re fueled by the bourbon in your veins.”

Track two, “Ladies,” features a heavy vibrato synthesizer intro courtesy of Dana Radclifffe over top of steady, calm drum rim beats a la Adam Brock. The counter line to the lyrical melody sounds a little bare when compared to the lush effects placed on the lead vocals. The futuristic and Latin interludes throughout the song are both ominous and interesting and blend seamlessly with the various moods of “Ladies.”

Because of a hard swinging piano intro, “Foreboding Love” immediately brings to mind a Fiona Apple or Elton John number. Bluesy and pulsating, the mood is one of torment, talking of change, the future and painful company. “We have not hallucinated in almost five years. The days of breaking skin are over.” The climax of the song is enhanced by stripped down piano solos, guitar interludes and electronic sequencers.

“So What 1” is not at all similar to “So What 2” but includes a cathartic melody that makes you want to belt out meaningless syllables in your car or living room. The melodica intro brought me to chuckling as the abrasive drum beat came in and blew it out of the water.

“Needs” starts off with a terrific lyrical melody and gives way to low-pitched organ lines and soulful back-up harmonies. The Nice Jenkins show masterful use of modulation and tension to take the song to surprising planes of space and stability while still making you want to jump around a bit.

Bringing the tempo and energy of the album down a bit, “When the Morning Comes” is a beautiful number featuring a standard “boom-chik, boom-boom-chik” rhythm. The song has a dreamy longing feel and the lyrics reflect this. “There’ll be no talkin’ of yesterday. No time to wonder if I’ll be here again when the morning comes.”

Like a disoriented ex-lover stumbling out of the bar drunk at 2 a.m., “Cowboy” is a swinging 6/8 meter lament about a man looking for answers. “I’m crying just to cry. Mama. Mama why? Tell me why is your love gone and I’m alone?” The name and feel of the song certainly lend themselves to a certain hot and dry part of the continental United States. This is the first song on the album where electronic effects seem to not play as much of a prominent role.

“Ordinary Life,” a wonderfully chiming, major keyed tune with slick rock elements, is like reading a rock and roll history book of the past decade. Elements of the Postal Service, Modest Mouse, Elliot Smith and Franz Ferdinand can all be picked out and appreciated.

The conclusion of the album “Down the Well” features an intro with a bizarre, almost unsettling melody. The calm is maintained by the gentle guitar chords and sustained into the body of the song with help from the melodic back-up vocals and trickling piano lines. As the song develops into another anthem, the singer’s voice strengthens with the drums and consistency of the chorus. The sequencers return to leave a landscape of grey for the listener to contemplate where rock and roll will move next.

Grade: A

Download (don’t steal): “Ordinary Life” by The Nice Jenkins.