Diamond Rugs – Cosmetics (ALBUM REVIEW)

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Labeling Diamond Rugs a “supergroup” is almost too small a concept to hold the explosiveness of what they create together. Though each part of the whole came from an established outfit, as a band they are so cohesive you can easily separate them from anything that came before or co-exists. On their second record Cosmetics, they’re even tighter than 2012’s self-titled debut, and have taken a deep dive into a giddy, more pop-rock-heavy sound.

Made up of Dead Confederate breakout T. Hardy Morris, beloved Deer Tick front man John McCauley and keyboard player Robbie Crowell, Steve Berlin of Los Lobos, Six Finger Satellite’s Bryan Dufresne, and the former guitarist for the Black Lips Ian St. Pé, Diamond Rugs seem almost too good to be true.

There are countless infectious songs on Cosmetics, and each track is so bursting with personality it’s hard to choose favorites. “Blame” is a solid candidate for the best song on the record, with its sly, cheeky lyrics and playful, mischievous guitar melody. It plays like a trippy, honkytonk jukebox song. “Say what you will/But I blame me on you,” they sing, taking turns on verses. A quirky kiss-off to a nagging lover, “Blame” is one that sinks its teeth in and doesn’t let go.

Each member of the band brings something different to their vocals, and notably, McCauley tones down his signature rasp when singing with Diamond Rugs. Of all of them, his voice is the most distinct and familiar, but he shows a different side of it than he does with Deer Tick. It’s mellower and more controlled, especially on “Couldn’t Help It”. This song, like so many on this record, has elements from so many of the classic greats, like The Band and the Beatles.

There are heavy throwback vibes on so many of these songs, giving them a kind of simultaneous retrospective and instant timelessness. This is the case with the smooth and flowing “Ain’t Religion”, the head-banger “Motel Room”, and the slightly bluesy “Meant to Be”.

And just when you’re settling into that nostalgic sound, the guys take you for a spin in a totally different direction with a more punk, garage rock thrash on the excellent standout “Killin’ Time” and the wonderfully messy “So What”. To these songs, there is such an energetic sense of urgency, it’s impossible not to get swept up and taken along for the ride.

Cosmetics is a wild record. It’s big and brash, but with great attention paid to the details, like a warm blast of Berlin’s horn on “Thunk” and “Meant to Be” or a super well-timed vocal transition between two completely different voices, like on “Live and Shout It”. These details are the pieces of Cosmetics that elevate it and act as the gooey glue connecting it all together.

If you were to listen to each song on its own, outside of the context of the record, you might not ever guess they go together. But somehow, they fit perfectly as a bigger picture – one that will make you want to dance like a maniac. Cosmetics is gritty, fun proof that rock and roll brings musicians from all walks of life together. It’s a record made by music lovers for music lovers.