David M Rangel / September 29, 2026 / Review
Phil Merwin is a songwriter who dwells in realty and introspection. The dirtclodfight vocalist/guitarist creates songs that set a scene that dives deep into meditative, existentialist thought and reflection in ways rarely seen in lyricists who play in bands of dirtclodfight’s ilk. The songs are noisy, sludgy and abrasive in this homage to the band’s ex-drummer who passed away. You can hear elements of a number of different sounds mixing into the fold including punk, dark metal and experimental noises often found in genres that bend the line between the two. The overall sound has that certain something that will likely bring favor from listeners of various musical camps, who prefer to genre jump.
Hypnotic musical cadence and imagery that is often put on repeat are outstanding strong suits that define this record. Merwin uses fewer select words in a way that communicates larger overall ideas. He examines subjects such as loss of faith, addiction and other very humanistic things that often “just happen”, at times through a lens that vaguely points to far east religions and philosophies. The depth of the resulting record (which takes its name from Jack Kerouac’s book “The Dharma Bums”- a book overshadowed by his more widely known publication “On the Road”) reveals that Merwin is in fact an experienced wordsmith and published poet. I would have liked to have had accompanying lyrics to what I was hearing through headphones. It took me a few listens to take in everything. It would have enhanced the experience and brought out the full effect of a band that seems to be on a different plane than usual hard rockers of this type.
Opening track, “Amen the Thunderbolt” sets a precedent with relatively minimalist, slowly creeping music with an intriguing talk/sing vocal line that builds and swells. But it reels itself back in by the end and doesn’t go completely over the top, leaving the listener anticipating the less subdued tracks on the record. “Stay With Your Breath” takes on a similar slow burn but comes to life and emits that satisfying musical release before slowing back down to a faded out landing.
Bluesy guitar slides and hypnotic one note repeats build up to in-your-face vocals that sound like some multi platinum rock band making a huge stadium entrance on “The Grinding Wheel’s Song”. The song makes good use of the juxtaposition of aggressive lead vocals working in unison with a more “airy”, harmony-laden vocal line that takes you to multiple places within the same song. “Mr. Mojo Risen” favors more straight ahead metal than is typical of the rest of the six songs on this record, complete with a short but intricate heavy metal guitar solo.
The multitude of musical sounds and influences of this album take you to an eclectic array of different scenes. The cinematic ending that is “In the Dark Void” sends the listener soaring off into forever as it instrumentally glides into finality. Or so it seems. We’re met with one last sonic surprise as Merwin takes us to the end with his recited poetry that has a flavor that hits somewhere between 1950s Beat poets and urban punk poet, Jim Carroll. The poem adds that last bit of aural spice to a record whose sound can’t be pigeonholed and whose atmosphere hits more like a sonic piece of art, rather than typical headbanging or mosh fodder.
