Blower corners the market on Television references, right down to actually lifting riffs from Marquee Moon on "Absolute Zero", the lead track from their album Dead Language. The band's dual-guitar attack immediately brings to mind The way Richard Lloyd and Tom Verlaine obliterated the line between lead and rhythm with intertwining complexity. The Chicago band pulls it off well, though, and the energy they bring to the process is definitely worth checking out for fans of punk and post-punk mastery.

Fans of lo-fi garage rock eccentricity will find a lot to like in A Band Called Blower. Their CD, Dead Language, is chock full of fuzzy guitars, distorted organ, and dissonant vocals, all without turning into punk. They have a strong classic rock influence as well as a touch of surfiness, which is always welcome. Their sound is unusual and endearing at once, and that hardly ever happens

Each of the last three decades ended with the tastemakers of their respective hour loudly declaring the death of rock music. It started when punk failed to ignite commercially (and was outsold by disco) in the late 70s. Ten years later, raves were replacing concert festivals as the preferred method for losing a couple of days. And by the end of the 90s, any kid with a laptop could soundtrack every bedroom minute and burn the results for his friends. Of course, these tail ends failed to critically wound the beast—if anything, rock and roll groups like Talking Heads, Primal Scream and Radiohead simply incorporated elements of disco, acid house and i.d.m. into their guitar-driven sounds as new decades dawned. Chicago’s ABCB takes an equally interesting route, proudly celebrating the twin guitar attack. Taking their cues from Television’s Richard Lloyd and Tom Verlaine, guitarists Matt Fontaine and Dan Worland inventively blur the distinctions between conventional lead and rhythm playing, as textured lines blend, do battle and ultimately burst in colourful displays of give and take. The band’s debut lacks the focus of a ‘take notice’ first record, but the highlights are especially strong: “Absolute Zero” is the back alley missing link between Television and The Jon Spencer Blues Explosion; “Carpetbomb” drops with kamikaze urgency; “Tokyo Olympiad” comes on more gently, recalling the organic energy of The Feelies. As further evidence of the staying power of guitar rock, Dead Language shows real promise. Long live A Band Called Blower. - 7/10

Emo bands notwithstanding, having a self-admitted "tone deaf" singer isn't usually a plus for a band. Fortunately for A Band Called Blower, Dan Worland's desperate vocals mesh well with Dead Languages' fuzzy lo-fi production. The urgency of ABCB's twin-guitar attack reminded me of Television, and their raw garage-rock sound, consistent if not overly polished, gives off a melodic sense of urgency rarely heard these days. "Carpetbomb" is an awkward rant with mis-matched melodies and unpredictable vocals that shouldn't work, but do. "Hangnail" throws us back to the '60s with florid Doors-style keyboards, and "Little Wire"'s feel-good surf-rock is well suited to the no-frills production. Dead Languages isn't good background music; in order to notice its charms, you really have to listen attentively. If you're otherwise engaged, you'll miss the goodies that make the record unique -- a sneaky distorted organ riff, a weird vocal effect or an unmistakable guitar twang. ABCB display considerable versatility without sacrificing sonic consistency -- not an easy trick. Their unusual breed of "avant-garage" is a well orchestrated, thoughtful blend of aggression and melody. If you give them a chance, they'll get you dancing.