Once again, the flat country proves how fertile it is when it comes to rock, and worse, goes so far as to deliver a lesson, a real one. Produced by Greg Gordon (who has already worked for System Of A Down, Supergrass and Oasis before the Gallaghers became definitively impossible to be around), this third album by the band has the knack of either annoying or winning you over, because it has everything. Primitive blues-rock, whose tricks the trio has already shown it knows, energy, with the accelerations and adrenaline rushes essential live, and finally melodies effective enough to stick in your ears. All these facets objectively make All This Dancin' Around Triggerfinger’s most ambitious and successful album. With that slow, heavy groove that hits fans of dark, sexy atmospheres head-on, how can you not think of Josh Homme’s crew? Especially when the bass of the imposing Monsieur Paul takes the lead (“Love Lost In Love”, “Let It Ride”). At the crossroads of their compatriots Ginzhu (Mirror Mirror period) and the hardest, dirtiest rock from America, stoner and grunge foremost, you understand when they unleash the beast on “Cherry” how this band, which cut its teeth opening for Iggy Pop, earned its reputation as a live powerhouse. Above all, this trio is modest. Which is rare when you play this kind of music. However much it presents itself simply as a carrier of original and still indispensable rock, it has much more than that. A sound, like a spirit, distilling the “must-haves” of hard rock and metal. With this devilishly successful return to the future, the band opens up a launch path as wide as a boulevard. Fire up the track and the DeLorean, our little finger tells us that Triggerfinger is far from done delivering thrills.