Compared to his rabble-rousing live shows, the South African’s studio work has sometimes sounded a little polite. It’s a frustration addressed by PerfectionKills, on which Patlansky took a “charmingly rough” production approach, tracking virtually live in the studio and flaying his ’62 Strat with minimal polish. That raw sound suits a writer who is far more imaginative than his ‘bluesman’ tag implies: even songs that set out as route-one barnburners – the high-velocity riff-raff of DogDay, let’s say, or the RATMworthy bombast of TooFarGone – dodge expectations, while there’s not a sniff of the Delta in Mayday’s glassy swoosh. In a ProTooled era, Patlansky’s imperfections thrill.
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