Out of the indie punk bomb shelters of Birmingham, AL beheld the inevitable union of local heroes The Ohms and Verbena. Purveyors of hero status records that just about every Southeastern kid worth his snot in rocknroll would give a nod to as an influence in one way or another. Originally coined as Wes McDonald and The Fizz, the quartet featured Verbena’s drummer and later guitarist, Lester Nuby III, the formidable backline of Keelan Parrish on the low end with Jake Waitzman keeping time behind the drumkit, with front man Wes McDonald aka Terry Ohms of The Ohms holding court lyrically and playing rhythm and lead guitar. They were simply too well-versed to not be tagged as a cohesive unit, a dream of a vulture eating a whale by Nuby birthed a new creative vehicle and a band was formed.Vulture Whale’s 2007 freshmen self-titled effort, released on Nuby’s Ol’ Elegante stamp, was a nearly perfect southern indie rock record — tapping the same vein as remarkable debut records by McDonald’s Ohms and Nuby’s Verbena in 2000 and 1997, respectively. McDonald’s vocal stylings straddle the gap between The Jam’s Paul Weller and Philadelphia’s G.Love, a slight nod to Mick Jagger, and a shit ton of Wes McDonald. Nuby and McDonald trade guitar work and form an impervious front with Parrish and Waitzman, each upholding their end like a jack stud supporting a header in a stick framed house. Each member bringing their own paint to the proverbial canvas, the ship calmly steered by McDonald and his musical genius come bar stool comedian take on songwriting –equally drenched in Parliament Funkadelic , Marc Bolan and T.Rex, as the Ramones. That’s been the “plam” from day one, take it everywhere and nowhere at the same time. They’re better than steroids were for baseball and OJ was for Ford Broncos, beautifully exotic yet weaving the basket between perfect indie pop and obtuse punk funk. Ever entertaining and genre bending, Vulture Whale is a cornucopia of styles and permutations, draped in the critically acclaimed shroud of indie rock and its rags. 2016 sees the band’s 5th release, Aluminium, and first on the newly revamped Cornelius Chapel Records imprint headed up by Dexateens frontman Elliott McPherson. Aluminium is locked and loaded with brain clinging heady rock numbers, dramatic buildups and genuine American rocknroll of the southern persuasion with ample crunch and face melting riffs piled up with false euro bravado. Crafty rocknroll proving yet again why Birmingham is forever a spot on the indie rock map, as deep in talent as it is cultural history. Aluminium’s release finds it just in time for that early Alabama spring and yet another to add to their near sixpack of critically definitive indie rock offerings. Maybe we can get another one out of them before the year is through.