The first thing that springs to mind when you receive the debut solo album by Kirk Windstein is why he felt the need to release it under his own name? Given that he is principal songwriter in his own band, why not simply release this as the new Crowbar full length? It’s not like he’s lacking in creative control after all.
Once you’ve sat down and digested it though, it makes sense. This isn’t an entirely different beast, but his standalone work diverges enough from his regular job to warrant existing as a separate entity. The results will probably be divisive for his existing fan base, but this is a deeper dive into the psyche of the bearded axe-slinger.
For one thing, even by Crowbar standards, it’s slow. Windstein knows a thing or two about writing a laidback riff, but he really goes to town here. Every song feels drawn out and sluggish, but there’s a distinct lack of the grooving breakdowns he’s made his name with. Plus, rather than growl in that distinct drawl of his, he stretches his vocal-chords and tries a more harmonious approach to singing this time. Go in expecting ten cuts similar to ‘All I Had I Gave’ and you’ll be sorely disappointed.
If you have ample time and patience, ‘Dream In Motion’ does reward repeat listens. It’s a hell of a slog getting to that point though and it’s very noticeable that on the first spins, the most promising moments are also the most Crowbar-ish. ‘Toxic’ dashes any worries of it being a Britney Spears parody with some methodical riffage and a blissed out chorus, while the opening title track is a serious attention grabber. The cover of Jethro Tull’s ‘Aqualung’ that rounds the album off is surprisingly fun too.
For the rest of the material though, our Kirk is in a far more sombre mood. Instrumental track ‘The Healing’ for instance is a lethargic stumble through the slower end of Sabbath territory. It threatens to explode into life repeatedly, but never does. Every time it sets itself up for a massive onslaught of power chords, it holds fire and instead gets ever more grinding. It’s a tough listen, but it’s also atmospheric and feels like being wrapped in a suffocating cloak fashioned from fibres of total despair.
Things don’t get any more jovial when he sings either. ‘Hollow Dying Man’ has him crying “all your hope is gone” over thundering blasts of melancholy, while ‘Once Again’ is four minutes of aching hopelessness that feels three times as long as it actually is. Take ‘Everybody Hurts’ by R.E.M, filter it through doom metal and chances are it would end up sounding like this.
While it has left us worrying for his mental state, it still makes for a worthwhile listen, providing you’re in the right frame of mind. If you happen to be going through a particularly difficult puberty right now, stay well away, but if you’re prepared to take a trip into the audio equivalent of an IMAX screening of ‘Requiem For A Dream,’ it can be enthralling. He flexes his blues muscles, winds the pace right down and manages to make ‘Odd Fellows Rest’ seem like a party album in comparison. Approach with caution; ‘Dream In Motion’ is worth investing in, but don’t have any razor blades in reach when you do.
- ‘Dream In Motion’ is out now. You can get your copy HERE.
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