Westing – Future (2023)

Listening to Future opener “Back in the Twenties,” the message comes through clear (and loud) that however much Westing’s foundations might be in ‘70s styles, the moment that matters is now. It’s the future we’re living in, not the future that was.

Two years ago rock band Slow Season announced they’d become WESTING, and that Ben McLeod was now in the four-piece on lead guitar alongside guitarist, vocalist and keyboardist Daniel Story Rice, bassist Hayden Doyel and drummer/recording engineer Cody Tarbell.
Their new LP, ”Future”, is not coincidentally titled. So the story of Westing, and of ”Future”, is about change, but the music makes itself so immediately familiar, it’s so welcoming, that it hardly matters.
For about 10 years, the Visalia, California, outfit wandered the Earth representing a new generational interpretation of classic heavy rock. The tones, warm. The melodies, sweet. The boogie, infectious.
”Future” is one of the most heavily Led Zeppelin-influenced records we heard in recent time. Westing not only seem to have tapped into Zeppelin, and to be fair, assorted other ‘classic’ rock bands from the Seventies DNA, but they have deftly captured both Zeppelin’s tone and energy throughout Future’s nine tracks.

The tone and flow on opener Back In The Twenties instantly conjure up the ‘70s behemoth’s vibe, as both guitars from Daniel Story Rice and McLeod offer up some perfect Zep-tone circa Physical Graffiti, as McLeod’s Page-like shred compliments drummer/engineer Cody Tarbell’s Bohnam-esque thwack, and thud.
Rice, while sounding nothing like Robert Plant, at least here, is a more than capable singer in his own right, and his biting lyrics on Back In The Twenties more than speak to the times we are all mutually enduring.

Nothing New presents some killer fuzzed-out riffery, before the band soars into a mid-tempo, blues-rock stomp. Once again, Tarbell’s drumming evokes the stylings of Bonham, as his groove, and thump really anchor Westing’s sound.
Things get trippy with Lost Riders Intro, again evoking Zeppelin, as in the intro to No Quarter, before Lost Riders unfolds into a full-on Houses Of The Holy style romp, complete with all sorts of guitar histrionics, Tarbell’s ever-present thwack, while Rice’s vocal approach is both melodic and soaring.

Just when you thought things couldn’t get any more Zeppelin-esque, Big Trouble (In The City Of Love) instantly comes off as a homage, if not a direct bite of Zeppelin’s Custard Pie. From the guitar riffs and lead work invoking Page, to Tarbell’s completely Bonham-style drumming, bassist Hayden Doyle’s nimble playing to even Rice going for a full-on Plant wail in places, Big Trouble (In The City Of Love) is one of the most Zeppelin-style songs I’ve encountered in all my years of listening to rock and roll.
In fact, I spun both Houses Of The Holy and Physical Graffiti to make sure I wasn’t overstating the comparisons, but no, Westing have captured Zeppelin’s mid-period sound like lightning in a bottle.

”Future” isn’t all Zep-worship all the time, as Westing dip a bit into Pink Floyd’s early ‘70s vortex but as if it was written and recorded in the California desert with Artemisia Coming Down, a slow-burn, psychedelic song with a bit of a western vibe, featuring many movements, and some wicked lead-shred from McLeod.
The Pink Floyd influence continues on Silent Shout featuring some Animals style acoustic guitar, that’s accentuated by Floydian effects throughout. We’re back to the rock on the penultimate track Stanley Wu that’s a rocking, Zeppelin-style, blues stomper, complete with slide-guitar action that serves as a nice sonic palette cleanser after the Floydian vibe that occupies the mid-section of ”Future”.

The closing number, Coming Back to Me, however, is a shuffling desert blues riffer that, while eliciting early ‘70s rock vibes, is also its own entity, meaning that I cannot call this completely Led Zeppelin-influenced as I can with so much of ”Future”. I find it interesting that so much of what we know as ‘stoner rock’ or ‘desert rock’ over the last two-plus decades can be traced directly to bands like Black Sabbath, The Stooges, Blur Cheer and Hawkwind. And while Led Zeppelin’s influence can be heard throughout the genre, it’s been my experience that not many bands are as directly influenced by them, as say Sabbath.

Well, Westing, throws that idea right out the window and this band captures not only Zeppelin’s sound, but their mid-period energy as well as any band I’ve encountered.
Additionally, Westing shows throughout ”Future”, that they are excellent songwriters, as all the material throughout the album is well-written, well-performed, and well-recorded.

I don’t mean to make ”Future”, and Westing in general, out to be mere Zeppelin-clones, they are completely their own band, but I’ve yet to hear anyone capture the Zepp energy and vibe as deftly as they have.
This is excellent, ‘70s style hard rock, performed by musicians who obviously know what they’re doing.
A great album. Highly Recommended

01. Back In The Twenties (03:52)
02. Nothing New (06:08)
03. Lost Riders Intro (02:12)
04. Lost Riders (05:17)
05. Big Trouble (In The City Of Love) (03:42)
06. Artemisia Coming Down (06:01)
07. Silent Shout (03:31)
08. Stanley Wu (04:33)
09. Coming Back To Me (04:43)

Link for download Westing – Future (2023) : turbo

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More Information

Trotz neuem Namen und neuem Gitarristen bleiben Westing, die früher als Slow Season bekannt waren, in der Led-Zeppelin-Sackgasse stecken.

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Late in 2021, Slow Season announced they'd become Westing, and that Ben McLeod (also of Nashville's All Them Witches) was now in the four-piece on lead guitar alongside guitarist, vocalist and keyboardist Daniel Story Rice, bassist Hayden Doyel and drummer/recording engineer Cody Tarbell.

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