Dax Riggs: If This is Hell, Then I’m LuckyA Classic Re-Issued:
A Review of If This is Hell, Then I’m Lucky
Patrick Sullivan
Black Oak Presents
Spring 2008

Crawling out of the sludgy ashes of cult metal heroes Acid Bath, frontman Dax Riggs has forged an impressive repertoire of music that explores a haunting lyrical and visual tumult rarely seen today. The Indiana-born Riggs, who has spent most of his recording career in Louisiana, has cultivated a steady following through his imaginative, soulful, and often overwhelmingly haunting songs.

Even though Acid Bath wasn’t formally disbanded until the tragic death of Bassist Audie Pitre in 1997, Dax
Riggs was already plotting his own musical route by following a less-metallic and more melodic direction. With a fresh start and a strong musical vision, Deadboy and the Elephantmen was founded. This band took many of the psychedelic aspects that Dax infused into Acid Bath and kicked them into overdrive, all while retain-ing the edge that made Acid Bath so effective.

The group’s first album, If This is Hell, Then I’m Lucky, was originally released in 2002. Recorded as a four-piece group, the album sprawls and paces slower than expected for music that comes across as so heavy and dynamic. The opener, “Strange Television,” sets the pace right away as it plods and builds to a high tempo finish that is the album’s heaviest, most primal point. The album settles in after this with the semi-acoustic “Waking Up Insane” and the symphonic-rocker “Song With No Name.” The folksy-ballad “Other Worldly Dreamer” is the album’s first truly great track.

Riggs’ greatest strength as a vocalist is his ability to vocalize the unflinching darkness of the world. Shakiness and imbalance alongside psych-edelic leanings make Riggs the closest thing there has been to a Syd Barrett for this generation.

As the album moves forward, the songs fall deeper and deeper into a dark psychedelic trance. The tracks don’t seem to end or begin, but merely shift and meld in an aqueous palette of purples and blacks and reds. Never at any point, though, does it fall prey to any clichéd or stagnant feel. It retains its genuine intent throughout.

So, it comes as quite a surprise with the opening bars of the eighth track that we are introduced to a balmier, relaxed acoustic tune that is light, airy, and ultimately the height of the album. This is the eerily euphonious while slightly off-kilter “Heart of Green.” This song, which began so unassumingly, ends in such a spine tingling burst of aural intoxication it immediately pulls you right out of the darkness. The final track is the perfect summation of the album. It combines elements seen in all the previous songs and, despite its length, never drags.

Although Deadboy and the Elephantmen have since morphed into Dax Riggs’ solo project and moved to a leaner rock & roll outfit, If This is Hell… remains a true masterpiece of hard rock. On February 5th, after years of being out of print, Fat Possum Records is re-releasing the album under the banner of Dax Riggs while including demos of 8 of the album’s ten tracks. These demos show the genius of an artist that can add his unique aura to any composition performed in any style. I highly recommend getting a hold of this album before it is once again lost to the muddy swamps.

Patrick Sullivan is fidgety, thinks too much, and can never relax. He lives on Chicago's north side and enjoys ice cream. Sometimes he writes music reviews for Black Oak Presents.

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