TO REVIEW TRACER’S “L.A.?” OR REVIEW A TRACER LIVE SHOW
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L.A.? review - dB Magazine

Local power trio Tracer formed in 2005 and 'L.A.?' is their sophomore release following on from the 2007 debut EP 'Into The Night'. Brothers Michael (guitar and vocals) and Leigh (bass and vocals) Brown and drummer Andre Wise have successfully combined elements of classic Seventies rock, the desert rock sounds of Nebula and Fu Manchu and their own distinctive and blues-influenced style to deliver seven pristine tracks of pure, powerful heavy rock.

I must own up to being a sucker for this style of music, particularly when it is played this well and this passionately. Most of the vocals are handled by Michael Brown, whose raw, powerful and soulful voice suits the music perfectly. The band apparently spent a considerable period in pre-production before recording, time well spent as 'L.A.?' has a very clear and crisp sound. There are no dud tracks to be found here; the driving and insistent End Of The Samurai grabs your attention immediately; Don't Forget My Name is a straight-ahead rocker; Wrecking Ball adds a grungy vibe to the classic rock template, while the lumbering Get Free is full of monolithic, bluesy riffs. The epic closer Sleep By The Fire features great guitar solos backed by subtle keyboards and a superb rhythm section.

Tracer head off to Europe for several months later this year. Given the quality of this release and the current popularity of classic and retro influenced rock'n'roll over there (consider The Answer, Black Stone Cherry, Airbourne to name but a few) it would not surprise if greater acclaim awaits them.
James McKenzie - dB Magazine, February 2009

 

L.A.? review - thedwarf.com.au

As a long time fan of stoner rock and grunge, I knew from the opening track End of the Samurai I was going to fucking love this album. Tracer’s debut album L.A.? has found a permanent home in my stereo. I swear I have listened to this from start to finish at least five times and am yet to hear one part that doesn’t make me play air guitar while leaping off my lounge. This is a flawless, perfectly executed half hour pummelling full of complex, melodic riffs and relentless, uncompromising vocals.

Musically, the first six songs are an even blend of the stoner riffs reminiscent of early Queens of the Stone Age and an 80’s metal crunch that almost verges on Black Sabbath. The seventh track, Sleep by the Fire, is nothing short of an electric guitar masterpiece. I can only assume guitarist Michael Brown is the original creator of the instrument, and has in fact been secretly laying down riffs and solos for every band I have loved for the past two decades. Seriously, this reviewer had creamed himself by about the fourth or fifth solo on this album. Epic.

Vocals by brothers Leigh and Michael Brown are nothing short of brutal. Think of a more raspy and masculine Chris Cornell of early Soundgarden, then double it. I have no doubt this album captures the raw intensity of each singer’s vocal style, and am disbelief that the vocals could get any better when performed live.

Normally at this point in a review I would list some stand out tracks and tell you why. Not for Tracer, the entire album stands by itself and needs no single track to hold it together. If you do want to get a feel for their sound, I do recommend playing lead single Wrecking Ball, as it is the only song falling under four minutes and wil probably be the track that will makes it way to the radio.

Lastly, this reviewer feels the need to draw attention to the exceptional album production for this unsigned Adelaide trio. I can honestly say I haven’t heard such a slick, professional sounding recording for a debut album for quite some time. Complete respect to Tracer, and everyone who has supported them on this record. See you at your next gig.
Nick Kays - thedwarf.com.au, February 2009

Live set review - dB Magazine

Young lads Tracer quite simply blew the audience away with their grandiose sound with influences from AC/DC to Queens Of The Stone Age. Their set was as intriguing as their party tricks (guitars played behind heads and drums played backwards), which received much praise along with the frontman's fierce guitar work and the band's perfect amount of likeable arrogance. For three people, they certainly made an impression and a racket.
Db Magazine, September 2007