Stone Blind State – release self titled debut album + focus track ‘Red Sky’

At the heart of Stone Blind State is the undeniable chemistry between guitarist Mick McDonagh and frontman Martin Furlong. With both responsible for song writing, the band’s sound far exceeds the sum of its parts. It’s this unmistakable chemistry we hear on Stone Blind State’s new self-titled album. The album comes following the release of the highly successful singles ‘There She Goes’ and ‘Electric Lady’, which caught the ears of industry tastemakers such as Hot Press, Pure M Zine, The Beat.ie, Blackmarket Playlists, The Otherside Reviews, Ragged Cast, IMRO and The Sounds Won’t Stop.  Over the albums 12 tracks the band cover a vast amount of territory from distortion dimed to 11 heads down assaults, to country/Americana rockers, to blues rock and heartfelt acoustic tracks. The band take all their influences, roll them up and put them through the Stone Blind State grinder, in doing so they produce something entirely in their own voice. Authenticity is the keystone for Stone Blind State, striving at all times to create music that is honest and real. When it comes to writing the pair are careful not to force songs, preferring to let feel and emotion be their divining rods.

Stone Blind State began in 2019 with Mick as the founding member, releasing the successful EP ‘Alive’ the same year, but lineup changes and the pandemic forced the band into hiatus. It wasn’t until Mick approached Martin with a handful of songs that the band sparked back to life again. This connection spawned more than 30 songs which the pair began whittling down into a more manageable chunk, focusing on the songs that ignited something in them. Their new self-titled album is the fruit of the pair’s labor from these sessions.

Opening with the second single to be taken from the album, ‘Electric Lady’ comes out of the gate swinging, clocking in at under 3 minutes there is absolutely no time wasted in getting their point across. The syncopated guitar and vocals add an instant hook in the verses, with distortion pedals dimed to 11 and wailing lead guitars the song oozes attitude. The chorus hits and brings a STP swagger to proceedings as Martin calls out ‘Electric Lady’. A blistering solo from Mick follows, as Brendan’s drums propel the song forward. As they track come hurtling towards its end, there’s some Slash by the way of Velvet Revolver wah guitar work that add an unhinged energy to the final bars.

One of the oldest songs in the bands songbook ‘Wake Up’ showcases another side of the band as they delve into their blues and Americana influences, with a decidedly more laid back attitude than the previous track. The saturated Marshall leads against the acoustic guitar pull you into a hundred different beer soaked rooms, that somehow end up all being the same. Martin sings of hearing the band play one last song, as he feels the effects to more than one too many drinks and trying to pull himself out of the spinning abyss he’s drank himself into. 

First single taken from the album, ‘There She Goes’ is up next. From the first note of the track the Americana blues influence is clear, from the unmistakable tone of a Les Paul into Marshall to the wailing slide guitar helps create instant atmosphere, and sets the scene for the smokey bar scene painted in the lyrics. The song speaks of falling in love across the bar with someone who appears and just as quickly is gone, lost to the night and the haze of smoke. The song writing keeps melody and a good hook as its focus, with the guiding hand of the great storytellers, Springsteen and Vedder felt in the lyrical approach.

‘Monotramp’ kicks the album back into high gear. A wailing wah-pedal guitar part sits atop of the mix, reminiscent of some early Alice In Chains before they fell for ‘dirt’. Brendan McCarthy’s drums control the ebb and flow of track, pushing forward for choruses and tightening up for verses. As the middle section hits and Martin intones “I’m just a tramp with a 50-watt amp”, he says “Monotramp is about asking someone what is it that you see in me that I can’t. Finding that weakness in the armour of bravado.”

‘Red Sky’ keeps the energy up, coming in at 3 minutes on the dot, it wastes absolutely no time in making it’s point. All crunchy guitars, rumbling bass and thunderous drums, the production is perfect as it translates the energy on the track. Lyrically the track is about a toxic couple, both feeding off each other’s negativity and pushing each other in ways that aren’t to either parties’ benefit.

At the halfway point ‘Gravitate’ allows to take a breath with an acoustic driven track. Born of unexpected origin, Mick had an acoustic guitar in the car and lifted it to pass the time while he waited for his attending a Nelly concert. Nelly will never know he is responsible for the ballad on the Stone Blind State album. An E-bow through an oscillating delay ripples out across the track, which also benefits from some piano accompaniment, adding another colour to the album’s palette. Understated drums provide a heartbeat to the track, while some restrained leads add subtle energy to help close out the song. 

Track 7 on any album tends to be one of the more bombastic tracks on an album, perhaps as it would’ve always followed a more acoustic number to close out one side of the vinyl. ‘Stain’ lives up to the track numbers reputation as it comes ripping out of the speakers from the off. A flurry of notes from Mick dance over the wash of cymbals, while Martin sings a cautionary tale of self-sabotage, pain and anger. He says ‘A love song that’s all wrapped up in aggressive rock guitars’. Already a live favourite, it pairs well with the next track, ‘Rocket Girl’. Another high-octane rocker that has a red thread (or should that be line) of Sunset Strip Guns N’ Roses running through it. The song is a lesson in attitude and swagger.

‘Stay With Me’ pulls back the tempo, but only slightly, while turning up the vibe. A stadium sized up-tempo ballad that begs to have thousands of lighters thrust into the air. Bass takes a more forward position in the mix here, helping provide energy to the restrained verses, giving Martin’s vocals a melodic counterpart as Mick picks out a melody to float along. In the studio the song grew from a acoustic track into the behemoth we hear today, as Martin and Mick pushed each other into new territory the song provides an entirely different flavour for the album. 

Track 10, ‘Payphone’ was Martin’s brainchild, an idea born out of imagining a Faustian bargain. The band set about writing a track to reflect this dubious deal. Taking time and allowing themselves space for experimentation on the track the band layered in guitars and samples help create a wall of noise, encapsulating the tumult of the trade. The track stands alone on the album in mood and approach.

Penultimate track ‘You and I’ offers a more hopeful tone that the rest of the album. There’s a more optimistic outlook on show here compared to some of the darker offerings that preceded it. Martin says, “The song is about wanting to escape to somewhere with the one you’re closest to, to lean on each other and not give up’. Layering up keys against the distortion soaked guitars with acoustics provides sonic depth.

‘Empty’ draws the album to a close a stripped back acoustic song with a simple melody and accompanying harmonica. Written as an ode to love, imaging love as a physical entity or person. Martin says, ‘Empty’ is a story of life and love and how the two co-exist. A simple song we thought the album needed and something to bring it to a close.’

When it came time to record the album, they decamped to The Orchard Recording Studio in Enniscorthy Co. Wexford. With Brendan at the helm for production duties as well as laying down drums for the track.  

A self-assured debut from Stone Blind State that allows the band to go forward into any sonic territory they chose from here.