Review: Blue Heron ‘Emulations’

Sometimes all you need in life is to kick back, put on some dirty scuzzy tunes, and forget about everything around you. At a time where it appears that the world is well and truly sliding down the toilet, you could do far worse than pick up a copy of the newest Blue Heron release Emulations – a riff-heavy, bass-laden, eight-track sleaze-a-thon guaranteed to turn that frown upside down.

Comprising three covers, four slices from their live session on Albuquerque’s KUNM radio station, and a bonus nugget fresh off the press, this one’s got a little something for everyone.

For those who are unaware of Blue Heron, the quartet is comprised of Jadd Shickler on vocals and Mike Chavez on guitar, holding the front line steady, while Ricardo Sanchez and Steve Schmidlapp assume drum and bass duties accordingly. Between the foursome, a sonic sludge is created, thick and oozing, like a treacle sandwich in your ear holes. It sounds unpolished and feral, and exactly what you would want in your stereo to annoy the neighbours.

Opening with a cover of Fudge Tunnel’s Grey, it’s a revelation to hear such a classic track stripped down and reconstructed in such a filthy way, which is crazy to believe, considering the original, but here we are. The dirgy rumble throughout leaves an uncomfortable ache in the stomach, much as I’m sure is intended. Fudge Tunnel were truly ahead of their time with what they created, and even now, all these years later, it is still an uncomfortable piece to hear. Blue Heron have rejuvenated the intensity, and in doing so managed to make it their own, as much as you can still hear those original vibes throughout.

Marigold, track two, is the new addition to the band’s catalogue and showcases just how tight they are as a unit. Dirty, scuzzy, and unabashedly volatile, they pound the senses with their fuzz-laden filth.

Next up is an interesting take on Clutch’s The House That Peterbilt. It manages to hit that Clutch vibe, but in a darker and sludgier way. Vocally, it’s danker than Neil Fallon’s approach, and I think for me that’s where I didn’t initially recognise it, it wasn’t until the monolithic riffs started throbbing through the speakers that I picked up on what it was. By its climax, I was onboard and really enjoyed this updated rendition.

a riff-heavy, bass-laden, eight-track sleaze-a-thon…

Track four, another of the covers, was the Floor tune Find Away, and the band did a fantastic job of covering it expertly. I didn’t have any real awareness of Floor before hearing this track, and while not being too dissimilar, it’s a cracking cover that embraces the original sound, without deviating at all. It’s a fantastic homage to the band, and the track for sure.

Tracks five through to eight are from the live session, and they capture Blue Heron’s dynamic sonically, without sacrificing any of their raw sound at all.

Featuring two tracks from their 2024 release Everything Fades, Day Of The Comet from their split EP with High Desert Queen, and Futurola from their 2024 debut Ephemeral. They’ve covered all the bases nicely as each track effortlessly rolled from one to the next, giving a real-time overview of exactly what to expect from a live gig experience.

Dirty, sludgy desert rock of the highest order as each member fulfils their commitment to the sleaze gods, and what’s spewed forth is an epic aural majesty. The backline is as dark and menacing as it needs to be while supporting an equally volatile six-string menace, and when those vocals come, boy, do they hit like a punch to the sternum. It’s honest, balls-to-the-wall filth, done to the highest standard, while keeping that authentic southern sleaze, a real trip for sure, and every bit as good as it gets.

If that American scuzz desert rock vibe is your thing, then you really need to get on Blue Heron, because these guys absolutely wail.

Label: Blues Funeral Recordings
Band Links: Facebook | Bandcamp | Spotify | Instagram

Scribed by: Lee Beamish