Diablo Swing Orchestra - Pandora's Piñata

Pandora's Piñata has been one of the most difficult albums that I’ve ever had to review. On one hand, I could simply say, ‘You just have to sit down and listen.’ But, that doesn’t do this record any justice. There aren’t enough words to describe the album, but then again, sometimes less is better. Conundrum. Pandora's Piñata is a God damn conundrum. But in all the good ways.

Diablo Swing Orchestra is a band that, intentionally or unintentionally, challenges their listeners. Not in that over-your-head, too-smart-for-their-own-good kind of way that a lot of prog-rock bands will do, but more in that this Swedish outfit effortlessly incorporates sonic delights without it ever feeling forced. The listeners challenge is simply that we sit back and think, ‘How in God’s name did they think of doing that?’ or ‘Why on earth did they do that and how is it possible that it didn’t derail the entire song?’ 

Few bands can seamlessly fuse elements of swing jazz, Latin jazz, classical, heavy metal, noise, a little electronic, and house it all under big top carnival tent. Numerous, almost unrelated stylistic sounds into it and never sounds forced. Diablo Swing Orchestra can and do, and they keep the music heavily emotional, albeit with a little air of Tim Burton goth throughout. In short, Pandora's Piñata is brilliant. In long? How much time have you got? 

From the opening snap of the drums on “Voodoo Mon Amour” to the fading electro-techno drone of the album closer, “Justice For Saint Mary”, Diablo Swing Orchestra satisfy the listening (and dancing) audience with a thrill-a-minute joy ride of musical excesses. The lead track offers up a tremendous burst of trumpet led swing jazz followed up by thunderous and rhythmic heavy metal, and all sung with a juxtaposed female swing and male haunted gothic-ness. The entire track is littered with chaotic ear candy (huh . . . just got it. Pandora's Piñata. Break open the piñata and get all the candy you can consume), such as cello’s, a variety of brass, and drums that are brimming with character.

The band injects a ton of Latin rhythms and brass textures with “Guerilla Laments”, and simply gets this music fan shaking his ass. This song is an amazing groove laden beast, and made constantly compelling with the vocal harmonies. The breakdown near the three minute mark instantly teleports the listen to street party held in a Central American Zócalo, complete with colorful Spanish regalia, string hung lanterns, the smell of pollo, carnitas and carne asada permeating the early evening air. It’s a party we should all be at . . . passing a jug of tequila around the square as we dance our feet bloody!

Things turn suddenly dark and violent with “Kevlar Sweethearts” and things come to a head on “Exit Strategy Of A Wrecking Ball” (quite possibly one of the coolest song titles ever). The drums on the latter track are stunning! Hell . . . the pure dynamics on this track are enough to write a 400-page Manifesto! The tune opens with a maelstrom of heavy metal riffagery that creates images of breaking shit, and while this is all going on, the band manages to incorporate violins into the mix to make everything sound (if possible) even more menacing. Oh . . . they’re not done with mixing shit up . . . then the electronics and horns drop in the create a wondrous background for the vocal talents of Daniel Håkansson to shine. The song rolls all over the damn place, drifting to the serene then back to the utterly dark and violent. The turning point on this track is from the four minute mark on . . . full on serenity with this uneasy tension slowly building, and then Håkansson seems to lose his fuckin’ mind and everything explodes! Absolutely fantastic execution of build and release of tension in music . . . seriously, these guys should teach a class on the subject.

To show that the band isn’t all violence and hard rhythms all the time, they deliver “Aurora” and “Honey Trap Aftermath”. The former sounding like a soundtrack from a Disney Fantasy scene, the latter a smooth, white-boy funk track. The vocals emit that sex appeal, but with an underlying sinister quality. Once I hear the chorus, it’s stuck with me for the rest of the day . . . full on ear candy . . . and delicious! 

The album wraps up with two tracks that bring all of the chaos back to the forefront. “Of Kali Ma Calibre” is an epic journey led by the vocal performance of Annlouice Loegdlund that shifts from a marching beat to a thunderous metallic beat down. Of further note, the drumming on this track is furious and emotional and frenzied and, most of all, just a goddamn good listen! The album closer is a progressive gem . . . “Justice For Saint Mary” might be my favorite individual track on the album simply because of the its sprawling elegance, its diverse moods, and dynamic shifts. The performances of the all of the musicians involved is above stellar, no one overplaying their part and everyone working in unity towards the completion of a brilliant song. 

Pandora's Piñata is right up there at the top of my Album’s of the Year. No question. It’s an album that I can’t stop listening to (hence the delay in writing this review) and one that I don’t want to stop listening to. I listen to this album so much that I almost feel guilty that I’m not paying attention to some of the other fantastic releases in my collection. Hey . . . it’s not an album for everybody coz’ not everyone gets the operatic vocals and the horns mixed with heavy metal, or the tempo changes, or the weirdness that is Diablo Swing Orchestra. That’s fine. I can live with that, but y’all should at least take a moment to listen to the album, turn off any preconceived notion that music has to be kept in a box, and enjoy the bombast. 

That’s enough from me . . . I gotta’ go find an affordable copy of the vinyl edition. I have serious work to do!

Pope

http://www.diabloswing.com/

http://www.facebook.com/pages/Diablo-Swing-Orchestra/61680950315

Wo Fat - The Black Code

Up until about a month ago, I had never heard Wo Fat. I was familiar with their name, and quite honestly, I was intimidated. I’ve already explained this to Kent Stump (guitars/vocals) of the band, so we’re all good there. I had some weird, preconceived notion that if I listened to Wo Fat, well . . . something violent would happen within my head, something unforeseen would damage my already damaged psyche and my personal End of Days would be right around the corner.

Actually, after having spent some time with the Wo Fatcatalog, I can’t dispute any of the above mentioned possibilities are out of the question.

Enough babble . . . on with The Black Code!

The latest Wo Fat release, as found on Small Stone Records, is a devastatingly heavy album. Where the previous album, Noche Del Chupacabra, was a heavy beast of a record, The Black Code up’s the game and redefines the word “heavy”. The production is a little crisper, and that adds a greater definition of the variety of tones that the band uses to convey their menace. The greater definition makes the cleaner portions of the music cleaner, therefore, when the heavy portions drop, it feels even more overwhelming than before. But none of the knob twiddling and sound engineering knowledge would mean shit if the music wasn’t up to par . . . and folks, The Black Code beyond par . . . it’s a hole-in-one, if you really want to follow a golf analogy!

The songs, while at times are marathon in length, they’re so well conceived and executed that they don’t feel like they’re as long as they are. The individual performances from the trio of musicians is top notch and, while the focus may be on the guitar heroics of Stump, the rhythm section of Tim Wilson (bass) and Mike Walter (drums) keeps this sludge-y, doom-y, Lords of All That Is Heavy sound moving in the right direction. Grok . . . to listen to the rhythm section alone is a lesson that every bassist and drummer should enroll in. This tandem kills it . . . every minute of every song . . . which allows Stump’s guitar work to soar to the heavens when he’s not following along the trail that’s being blazed ahead of him.

Opening the album with “The Lost Highway”, I was originally surprised that with the subtle injections of blues mixed in with groove. By no means was it a “bad” surprise, it just wasn’t what I was expecting and it was a welcome change from those preconceived notions that I had going into this record. The riffs follow aplenty and savagery of the rhythms make the body roll with the groove. Brutally heavy music, but done with class. It’s not heavy just for the sake of posturing and knuckle dragging Neanderthalic music fans . . . it’s heavy with a purpose and as a way of life. What could get lost if one’s not paying attention on this particular gem, is the bridge leading to the wah-ed out guitar solo. There’s a dynamic there, a building tension, and when that sucker breaks, it’s like dam busting open and getting caught up in the oncoming rush of water. Try to cling to the guitar solo for some buoyancy, but beware . . . the thundering crash of the rhythm section will try to break your grasp. Fucking great song!

The title track follows next, and for over ten minutes, you will be bombarded with a tune so finely crafted in the ways of the Heavy that it may go down as the blueprint for those who follow. The tone that Stump gets out of his rig is awesome, and I don’t mean the overused meaning of the word . . . you will truly find yourself sitting in front of your speakers with mouth agape and staring in wild wonder at how such a heft can come from an instrument . . . you will be in awe, ergo . . . his tone is awesome. Once the band kicks in and the trio is riffing in unison, damn, it’s an example of the fierceness that these guys can seemingly whip out without a thought. It feels natural and organic, nothing is forced, almost as if these guys are connected by the strain of DNA and they have become a living, breathing, riffing single entity. Again, the Wilson/Walter tandem hold a great groove in the mid-portion of the song while Stump goes absolutely nuts! Jesus . . . the sounds this guy gets from his guitar are insane! And, when the trio drop back into the main riff, the tempo goes up and it’s a stunning sensation . . .

Only five songs in length, but clocking in at over forty-five minutes, The Black Code is rife with sonic exploration and extended jams. Sit back and take the journey, man . . . and when you get to the album closer, “Sleep of the Black Lotus”, I’ll be here waiting to wax poetic about its brilliance. I’m thinking that this is my personal fave off the album, but I have a sneaking hunch that “The Shard of Leng” may be lurking in the shadows to usurp the closer from this temporary throne. “Black Lotus” is a gem of heavy rock . . . in fact, if you close your eyes and image hard enough, you can actually see someone chipping away at the edges of a piece of ore yanked unmercifully from the earth, and the gleaming radiance of the precious rock shining from the crud surrounding it. That’s how I hear this song . . . beauty and elegance wrapped in a shell of darkened, crusted matter.

Wo Fat may still be creeping around the underground, but don’t think that this creature of the depths won’t be pulling itself out of the muck to spend time in the sun. These guys are on the rise and The Black Code is the elevator that will lift them to a greater audience, a more receptive ear. It’s an album that just stuns with every listen, not just in song structure, but instrumental performances and sonic execution. With the year coming to a close, I suspect this album will be on my Year End Best Of List. I can’t see it not being there. The album was done so well that the music just can’t be ignored.

--Pope

http://wofat.net/

http://www.facebook.com/pages/Wo-Fat/127735577283067

It Came From ReverbNation #9; Featuring Prezident Brown, A Ton of Blues, iNFiNiEN, Kathryn Caine, Hanna Barakat, and Jolly

From April 4^th to June 4^th The Ripple Effect ran a campaign on the excellent online music website ReverbNation (www.reverbnation.com).  This campaign allowed any artist or band registered with ReverbNation to submit their music to The Ripple Effect for possible review on the site and airplay on The Ripple Effect radio shows.  When all was said and done we had received 4,799 submissions!  Incredible!  The purpose of this column is to highlight those artists and bands whose musical submissions I accepted as being worthy of consideration.  While these are not reviews per se, I’m going to provide a brief rundown of what to expect from each artist/band, a sample when available, and a link to check out more on their corresponding ReverbNation page.

Prezident Brown – Hey waveriders.  Do you know a genre of music that I have incredibly little working knowledge about?  That’s right, reggae!  I can tell you however that I find the song submitted by this Jamaican artist and his three musical cohorts to be quite good.  It sounds earthy and hypnotic and I think the vocals really accentuate the whole affair.  Check it out.

ReverbNation Page – http://www.reverbnation.com/prezidentbrown

Song Sample – “My Confidence” 

A Ton Of Blues – Apparently I need to visit Worchester, MA because this is one heck of a mean blues quartet.  They use the template set down by classic artists like Buddy Guy and The Fabulous Thunderbirds and drench it in attitude.  Just a flat out dirty, glorious sound these guys produce.  I dare you to listen and tell me I’m wrong.

ReverbNation Page – http://www.reverbnation.com/atonofblues

Song Sample – Live @ The Bull Run Restaurant

 !

iNFiNiEN – Now this submission was something totally different!  This four member outfit (with guest musicians) bills themselves as rock/psychedelic/experimental.  The tune I listened to was a very trippy Indian flavored affair that underwent a pretty serious musical shift around the 2:30 mark to become more atmospherically heavy.  I totally dug it!  Plus, name me another band that counts Bjork, Radiohead, Mahavishnu Orchestra, and Tool as similar artists.  Go ahead, I’ll wait.

ReverbNation Page – http://www.reverbnation.com/infinien

Song Sample – “Aquatica”

 !

Kathryn Caine – You know, I’m always surprised by how much I like listening to well-done bluegrass music.  This lady out of Charlottesville, NC is just what the doctor ordered if you need a shot of the good stuff!  Her song submission was fantastic.  A couple of her other songs I listened to were great too showing that she casts a wide musical net incorporating a more traditional country sound, some southern rock, and even a hint of soul.  Recommended.

ReverbNation Page – http://www.reverbnation.com/kathryncaine

Song Sample – “The Last Thing On My Mind”

!

Hanna Barakat – Two things stood out to my ears while listening to the song submitted by this young lady from Beirut, Lebanon.  First of all I really dig the whole Middle Eastern hard rock/metal sound the song has going for it.  Second and more importantly this artist has supreme control over her voice, and she uses that control to great effect.  If you like Amy Lee’s voice you’ll really dig this powerful vocalist.

ReverbNation Page – http://www.reverbnation.com/hannabarakat

Song Sample – “Cycle”

!

Jolly – You know, the four men in this picture sure look focused and intense for a band named Jolly.  Want to know something else?  If you like your rock progressive you should really check out this Howard Beach, NY quartet.  They name drop Porcupine Tree, Karnivool, and Faith No More as similar artists.  That sounds right to me.  Also they scientifically engineered their music to elevate your self-awareness.  Seriously, I’m not kidding.  Hear for yourselves.

ReverbNation Page – http://www.reverbnation.com/jollyband

Song Sample – “The Pattern”

!

--Penfold

Wolfshead - S/T

I was overjoyed when Racer posted a Bandcamp link to Wolfshead a few days back. Not that I was particularly waiting for the link or anything, it was just . . . well, when I hit the little play button and my world got turned upside down, I felt an exhilaration that doesn’t come around all that often. Thank you Racer for going to the effort of getting this link up!

So, Wolfshead is a two-piece stoneriffic, doom-y sludge metal band (Eh? How’s that for muddying up the categorical waters?) hailing from England. I guess one could say these cats are part of the resurgent new wave of heavy British rock that’s going on right now, and like a bunch of the bands in this particular scene, Wolfshead are creating music their way . . . starting with a basic sound rooted in heavy blues and then letting the music go where it needs to go. What I hear is a classic hard rock sound mixed with Monotheist-era Celtic Frost . . . an order of something really heavy with a side order of even more heavy!

“Warbringer” kicks this sampler off with a thrash-y groove laden riff and rocks along at a good pace. I’m digging the little guitar flourishes that they drop into the verse, almost giving the song a classic NWOBHM feel. The gang chants of “Hail! Hail!” makes me throw my fists in the air, making typing an absolute bear, but oh-so-much fun! The end section breakdown is crushing in heft and weight, brutally distorted and reminds me of some of the finer moments from Lair of the Minotaur.

The first play through of this recording had me mouth agape in awe when “Garden” pummeled me senseless. This is where the Monotheist Celtic Frost sound comes seeping out of the well water. Thunderous and overpowering, the guitars vibrate everything in the immediate area of my speakers to ash, and the vocals are about as ominous as they can get, channeling a bit of the Tom G. Warrior tormented angst. I love the subtle guitar licks these guys throw in every so often . . . always keeping things interesting, keeping the music moving forward, and not allowing things to get stale. Fucking killer song!

“Pissin’ Blood” (always a good time), is an upbeat thrashing garage rock burst of audio excitement! If your head isn’t bobbing up and down on this one, you’re damaged. It’s alright. It’s nothing personal. This track, probably more than any other on this sampler, is the most accessible in the sense of fitting in with any particular genre or scene. It’s short, to the point, non-stop rollicking fun, and while it doesn’t really venture outside of the retro sound, it does have little nuggets of intrigue mixed into the mix.

As if these guys were saving the best ‘til last, “Death Priest” is a punishing escapade through the surreal. This six minute epic excites me more than any other because it’s out there . . . it’s dynamic and experimental, but no less accessible than the rest of this rocking set of music. Within the first minute of the song, Wolfshead bring a number of different moods. Opening with a stonerfied and fuzzed out riff for a few measures, the boys then drop into a dirge-y Sabbathian palm muted riff that includes some sexy guitar licks. Then the music opens up again, longer sustained notes creating a break in the tension created by the palm muted and spartan verses. The vocals, while strained in places, crack in all the right places and make this song feel like a horrifying travel through the darkest recesses of the mind.

Word has it that Wolfshead are working on a full length album, to which I can only sit here in stunned silence with a stupid grin on my face. If their full length follows the footprint of this sampler, I’m gonna have a damn good time rocking from here to eternity! This sampler isn’t perfect, but then again, it doesn’t need to be. The energy is there, the structures are there, the musicianship and vision are there . . . Check it out, drop the guys a buck or two and download the tunes for yourselves. Or, sit in front of your computer and listen to the stream for the rest of your lives. Either way works for me. Just do it.

Pope

http://bandcamp.listentowolfshead.com/

On The Ripple Desk - Featuring The Plimsouls, Low Sonic Drift, and Roadsaw

Haven't done one of these in a while. A selection of cool discs sitting on top of my Ripple desk at the moment.



The Plimsouls - Beach Town Confidential

What a year it's been for fans of powerpop and the Peter Case/Paul Collins axis in particular.  With Paul Collins and the Beat still cranking out music, recent release of archival material by Peter and Paul's first band, The Breakaways, Peter and Paul going out on tour together and a bonanza of archival live releases by Peter's main band, The Plimsouls.  All of which brings us to Beach Town Confidential.   Featuring a different set list than the recent, Live! Beg, Borrow and Steal, if anything, Beach Town Confidential is an even punchier, tighter set of classic Plimsouls tunes.

Recorded at the Golden Bear in Hunington Beach, 1983, Beach Town Confidential finds Peter Case, Eddie Munoz, Dave Pahoa, and Louie Ramirez ripping through a set of 16 powerpop gems with reckless abandon.  I mean this set rips.  From the buoyant and jubilant bounce of opener "Shaky City," all the way to the crisp and raucous closer, "You Can't Judge a Book," the boys are in fine form, performing before and appreciative crowd and obviously loving it.  In between we get killer raves like the crunchy "Making Time," a raving "Zero Hour," a souring "Fall on You," mournful "Oldest Story in the World," and a just perfect "A Million Miles Away."   Probably the best song they ever recorded, I'm still damned to figure out how it was never a huge hit.  Let's don't forget killer versions of the powerpop power ballad, "Now," and a fiery "How Long Will it Take."

To me this is the definitive document of the Plimsouls live.  Passionate and tuneful, crunchy and melodic.  Check it out to discover an LA jewel that really should have been a world treasure.

Low Sonic Drift - Shadows of the Titan

From the first tribal drum intro, through the vaguely middle-Eastern accents, finally onto the crushing riffs, Low Sonic Drift explore their own world of mind-melting, stoner psych.  And they do it with panache and a mammoth-sized rock attack.  4 songs, but 30 minutes, of time-changing, neo-prog, desert explorations.  Heady, trippy, heavy stuff.

Like Tool picked up and dropped into the lost-mine of Kyuss.  Not content to follow previously well-explored paths through the stoner universe, LSD live up to their initials and open new sonic doors of perception.  Dig that cranium busting bass work on "As the Crow Flies", the shifting sands of tempo on "Hyperion" or the haunting, stoner-jazz of "Shadows." 

LSD.  A trip well worth exploring.

Roadsaw - Roadsaw EP

Released as a thank you to fans after their successful romp at Desertfest, The Roadsaw EP is three tracks of riff-mad, heavy psych perfection.  "Twisted Steel and Broken Glass" finds the boys stretching out in a bit more of a psychedelic haze than I'd heard them before.  A touch more airy, expansive.  By no means, gentle mind you, but not the regular tight-riffing assault that I'm used to from the boys.  This one sounds much more dropped into the '70's jam session and let me tell you, that's a compliment, as it doesn't take the band long to find their groove and wrap the whole thing up in a fuzzy bass assault and effect-laden guitar freakout.  "Burn Down the Night" continues this jammier vein, slowing things down even more for a truly haunting apocalyptic psych burner. "Monkey Skull" brings back the full-on Roadsaw assault that I've grown familiar with, tearing into it's riffs with a furious frenzy. 

Three tracks that do so much more than offer up some free music for Roadsaw fans.  With the EP, Roadsaw has opened up the doors to a whole new horizon for their music.  Definitely worth grabbing.





--Racer

Lonely Kamel - Dust Devil

It's way past time to give Lonely Kamel some Ripple love.  I was mesmerized by their last album, Blues for the Dead on Transubstans Records.  Mesmerized to the point of never actually writing up a review.  But damn, if they didn't nail the retro-70's vibe that I love so much.  Big guitars, massive Hendrixian flourishes, heavy bass.  Simply put, it was a killer album.

Late last year, the boys came rushing back with their follow-up, Dust Devil.  Now signed to Napalm Records, I didn't know what to think at first.  Napalm is a great label, but not one I'd originally associated with a retro-fuzzy, stoner-minded band like Lonely Kamel.  How was it going to sound?   Were the boys gonna have to change their sound to fit in with the more metal-minded offerings of the Napalm catalog?  Was I about to lose one of my favorite bands?

Hell, no!  Dust Devil, if anything, drops deeper into the retro-70's canyon, mining away into the deep crevices of hard-rocking blues a la early-Zep, Free, Taste, and Blodwyn Pig.  Mix that genetic blueprient with the fired up stoner-blitz of Kyuss, a dash of Fu Manchu, and a sacrifice on the alter of Clutch, and we got what may have been one of my missed Top Ten albums of 2011.

"Grim Reaper" is pure blues.  Hard core, bottom-heavy, riff mad blues.  Cut fresh from the marble of a 70's blues rock band.  Vocals rough but clean.  Riffs precise and heavy as crap when they wanna be.  That vibe doesn't last too long though, as "Evil Man" races right into the dust-swept deserts and canyons of Kyuss.  Killer stoner rock here, revved up and hype, not doomy.  A sandstorm of riffs and bashing drums.

"Blues for the Dead" appropriately enough mixes the first two songs to create a blues-minded, doom-toned, stoner-fried freaked out, fuzzed assault.  "Rotten Seed" picks up the fuzz, lays down a manic beat, and races to places unknown.  Great guitar riffs here, chopping the song up, varying the tempo, and dropping into a KISS-esque choral break.  Dig the killer bass breakdown leading into the space guitar solo jam middle section.  Damn, is it good as it blends right into the plodding, doom-laden, downtempo blues intro of "Seventh Son." 

Lonely Kamel are a band I don't hear bandied about as much as names like Lo-Pan, or even our own Mos Generator, but damn if they aren't right there in the upper eschelon of stoner rock bands.  Someday, I still gotta review Blues for the Dead, because that album really deserves a Ripple write up, but in the mean time, I offer you, oh waverider, Dust Devil.  May the beloved fuzz rock the cobwebs from your brain.


--Racer

Corey Koehler - Never too Late

Another album that I've had forever that somehow has never been reviewed.  Well, not forever, but well over a year.  Must have listened to this album 15 times.  It's one of my go-to albums for certain moods.  Something rootsy, bluesy, singer-songwriter-y.  You know, something harder than my normal Cat Stevens, but not heavy rock.  Something earthy and powerful, yet acoustic-based.  Real authentic, country-tinged rock.

Yes, Corey Koehler is my go-to guy.

In truth, I don't know much about this cat, but I remember exactly how I got ahold of this little treasure.  I was scouting out websites/blogs to send our own Ripple releases to for review and press.  I don't recall which site Corey ran, but when I wrote him, he told me he was done with the site to concentrate on his music.  One thing led to another and the album was downloaded into my iPhone.

Where it's been ever since.

Let me re-emphasize that last sentence.  At the Ripple we get hundreds, sometimes thousands of submissions each month.  My iPhone is only a 16G.  That means I regulate the music on my phone like crazy.  Nothing stays on my phone (except Ripple bands) because I have to constantly be clearing space to download the next group of albums I need to review.

But Corey Koehler has been there for over a year.  And I plan on keeping him there.

First, is Corey's voice.  Thick and earthy, rough and textured, yet still smooth and killer emotive.  It's a voice that caught me right away.  And after listening to this album, I still haven't found a good comparison voice.  Sometimes I think Darius Rucker from Hootie and the Blowfish.  Don't let that turn you off.  Whether you liked Hootie or not, Darius had one helluva voice.  And so does Corey.

Next is the tone.  With that acoustic guitar strumming away, these songs rock to a good, steady beat.  Slide guitar tones fill the spaces perfectly, adding that electric flavor over the strum of the acoustic.  The slide gives each song a country grounding, but this isn't country.  It's just solid, earthy rock.  No boring, maudlin acoustic slow jams here.  Even the ballad, "Take this Ring" keeps me mesmerized with it's steady acoustic strum and heart-felt pleadings for a lifetime of love. 

Finally, we got the songs.  "Change the World" is a steady-rocking call for action.  A fight against apathy.  "You wanna change the world, you can't stand by/And just so you know man, it starts inside."  Corey's voice simply floats through this rebel wake-up call.  I've played this cut for lots of folks, including Pope, and it's captured each of us.  A should-be hit. 

"On My Way" follows next with the acoustic picking and slide intro.  Another call for action, a step away from the complacency of getting stuck in life.  This time, more personal focused on Corey's own feelings of resurrection.  Another killer melody, and sing-along perfect, which leads right into the already mentioned "Take this Ring."  A song so sincere in its emotion, you can almost hear Corey's voice choking back the tears.  "Minnesota Got Colder," is an ode to a lost brother.  "One Step at a Time," is a character sketch like Jim Croce used to write.  In fact, "One Step," boogies along with such an easy groove, I bet Jim would be proud.

"Perfect Ten" and "All the Girls" bring us to an end with a wry smile.  In "Perfect Ten" Corey chuckles as he realizes that his search for the perfect girl is just a fantasy while in "All the Girls" Corey gives one final middle finger to all the women who've broken his heart over the years.  Both songs perfectly are perfectly crafted and cook along over the beat of Corey's strummed acoustic.  Easily, I can hear these played live on a hot summer day, on a deck over looking a lake.  Cold beer in hand.

I don't really know where Corey stands with his career or goals, but damn if he hasn't put together one of those earworm records I can't stop listening to.  Check out his website if you want to hear it or track me down.  Ask me to pull out my iPhone.  Corey Koehler will be there.

--Racer

The Single Life - 7" of Fun: Featuring My Plastic Sun

My Plastic Sun - Silicone Junkie (digital)

A while back I espoused my love for the late '80's purveyors of darkened psychedelia, The Jet Black Berries. When that band crawled out from their earthen grave and unleashed a total surprise of an album Postmodern Ghosts, I was taken by for a ride by my ear drums, kicking and screaming back down into that abyss of horrorscope pop that the JBB's did so well.

Well, the band is on hiatus right now, but that didn't stop the boys from keeping on keeping on.  Turns out that drummer Roy Stein and singer Johnny Cummings have been busy with their latest project My Plastic Sun who've just debuted their newest single, "Silicon Junkie" and damn if my ears aren't taking me for a ride again.  Big and fleshy, there's still some trappings of psych here, but now it's all wrapped up and buffed in a clear coat of modern pop sensibilities.  And damn if it doesn't cook.  Johnny's voice is smooth as melted butter as he pours over the song, textured guitars wail and undulate, Roy pounds out some polyrhythmic bashings, and the bass plows right into my brain.  Toss in an earworm of a choral hook and we got a chugging winner here.  Seriously, put these guys out on tour with Ripple band, Sky Parade and we're set for a shoegazing, electro pop party.  Cool song that rocks and grooves.  Nice job, boys.  Looking forward to hearing more.

www.myplasticsun.com

Porcupine - Witness to a Chase Scene

A while back I wrote about the fun Porcupine/Metal Ghost split 7".  Now my favorite indie, dream pop shoegazers are back with a 3 song 7" that simply smokes.  "Witness to a Chase Scene" percolates out all revved up late-60's spy film cool with it's Peter Gunn guitar licks and low-down feel that just takes over at the 19 second mark.  Way cool.  It doesn't take long for the boys to mix it up, bringing in some of their hallmark alt-psychelic pop.  A tiny touch of emo?  All good.  "Evil Twin" brings back the more math rock-y aspects of the band but is no less accessible, and "Dare to Jump" jumps right back into the more angular paths without ever losing it's ability to chug along at a head-bopping pace.  Another winner.

Buy the 7" from Porcupine's bandcamp and you'll get your choice of vinyl/cover color combination: red cover/white vinyl, orange cover/clear vinyl, green cover/black vinyl, or heck, just buy the 7" triple box set and get all three.


http://porcupineband.bandcamp.com/track/witness-to-a-chase-scene

Dead Weight - Cosmic Lunch

There's a new southern bluesy classic riffing band in town and they go by the name of Dead Weight, and their music is anything but.  Big guitars with sizzling lead riffs, big blues-based chugging, and vocals soulful enough to raise this unit above the pack.  "Cosmic Lunch" is everything you'd hope for from a song with that title.  Tasty morsels of psychedelic guitars searing and tearing through the classic riffs.  And the fine treats don't stop there.  I have no idea what a "Gannymead" is but the song cooks along like a freight train, chugging off into southern blues rock nirvana.   "Lady" slows things down enough for a classic-styled power ballad just long enough for "Stone Frog" lives up to the bands claim that they play voodoo reefer rock.

Check em out.  Any band that lists Led Zeppelin, Red Fang, Baroness, Down, Pride and Glory, and Pabst Blue Ribbon as influences is a band right up our alley.

https://www.facebook.com/DeadweightTheBand/app_2405167945

Earthen Grave - Earthen Grave

I’ll be the first to tell you that I have no idea who the band Trouble is. I’ve seen their name and logo floating around in conversation and press for something like twenty years, but for some reason, I never followed up to find out anything on these guys. And, as of this writing, I still haven’t. I have other things to follow up on at the moment, and one of those things is a new band called Earthen Grave, which was founded by ex-Trouble bassist, Ron Holzner. Ta-da! See what I did there? Tried to link to the past with the present.

Earthen Grave just released their first full length, self-titled album, and folks . . . this is some heavy stuff. Perhaps, not the heaviest music I’ve ever heard, but it’s done with a unique flair that I appreciate wholeheartedly. Doom, as a genre, can be boring and derivative, at least to me . . . and if you know me, you know I like my music to push boundaries, get experimental, and explore new ideas to further expand said genre. Earthen Grave do just that. They work in textural passages, classical instruments, quieter instruments, and additional voices to create a style of Doom that constantly perks the ears towards the new nuances.

Case in point, check out the second track on the album called “Life Carries On”. The songs crushes with a great guitar riff, first in the left speaker, then picked up in the right, then back to the left . . . heavy, right? Then, barely fifteen seconds in, the ears are treated to the piercing wail of a violin. Not something obnoxious, but keyed in with the other instruments and complimenting their sounds. This pleasant little surprise is provided by the virtuosic talents of Rachel Barton Pine. Perfect notes played at the perfect times, adding textures where needed, and providing mesmerizing solos that steal the spotlight. I love the way the violins mesh so well with the ever powerful guitar work of Jason Muxlow and Tony Spillman, almost as if they’re holding their own private conversation within the master work, but never completely overshadowing the song. Of special note, check out the violin/guitar/guitar solo(s) around the 3:45 mark . . . the brilliance in the rhythm section holding down that Middle Eastern tinged groove and then having the soloists coming in to add the layers of sexy spice and sultry flavor, all flying around the senses in chaotic fashion, but never out of control.

Then there’s “Dismal Times”. Doom-y and dirge-y, with its slow and somber opening passage, then building to a guitar fueled riff in classic palm muted fury . . . this song is a horned fist thrown in the air and an homage to all that is classic heavy metal. Again, the violins add great textures and a fresh voice to the menacing and oppressing musical tones. The solo that Barton Pine lays down midway through the song is chilling and morose, caked in a veil of cobwebs from a haunted castle passageway. Then, the eruption of the band coming back in and the upbeat, mosh inducing riffology! Killer stuff! Serve me music with dynamics like this all day, all night . . . I’ll eat it up!

“Beneath A Shovel Load” is another classic metal ditty that opens with soaring and diving guitar antics, a devastating droning rhythm, and some well timed distorted guitar chugs. String bending and mind altering, Earthen Grave deliver a scorcher of muscle flexing metal. This one is a full on headbanging groover that makes me want to dust of the old leather jacket or denim vest and sequester myself in a steaming room of like minded music freaks. I’m digging the guitars on this track, especially when one of the guitarists decides to sustain the notes while the other continues the multi-noted rhythmic groove. Subtle, but effective. Bitchin’ guitar solo on this track, as well. The violin solo towards the end of the tune is outstanding . . . full of energy, anger, excitement!

This album took some time to grow on me, but I’m finding myself going back to it more and more as time goes on. If Earthen Grave is the future of Doom, then the genre is in good hands. As I mentioned, I’m not the biggest of Doom fans, but when it’s performed and executed like this self-titled album, I could very easily be on the road to embracing the genre with greater tolerance. Every song has something fresh and unique thrown into the mix, whether it’s a female vocal harmony or a violin or an acoustic guitar,Earthen Grave are seemingly working towards separating their music from that of the masses. Heavy, yet with flashes of elegance. Menacing, but with touches of beauty. Yeah . . . I’m sold. Earthen Grave is a kick ass record!

Pope

http://www.earthengrave.com

Malice - New Breed Of Godz

What? New Malice? New songs? New takes on old songs as well? O.k. before you read more please be aware that I was a malice fan from way back. I have the famed cd, Metal Massacre  which features a then almost unknown Metallica. I saw Vice Versa and went nuts during the Malice concert part.

 This album is chock full of reworked hits and some new songs. Most notable is “new breed of Godz.” This killer track sounds like a freight train smashing right out of the 80’s and into the modern world. I would argue that these guys made a decision to recreate that sound rather than jump on the digital bandwagon of the age.

The production is superb and the song structure is classic Malice. “New Breed Of Godz”….This song is the stand out new song on the album. “Branded”,” Winds Of Death(Angel Of Light)”, and “slipping through The Cracks” are all destined to be classic Malice tomes of sonic assault.
   
“Sinister Double” reworked with vocalist James Rivera is just too good for literary words. I can’t describe it and that’s my job. Grab some headphones…put it on ten and scream along. “Air Attack”, are you kidding me. Amazing, brilliant. A rebirth of classic metal that it unmatched.
   
 Pete Holmes breathes new life into this cosmic metal power horse.  A thunderous Trojan horse that will explode in your cd player like none other. I am and always will be a fan. These guys need another movie cameo! I also like the album artwork. Tastefully ripping your eyeballs off the page. New godz of metal indeed. Five horns up on my own personal metal scale…two being the best!!!


--MetalRising

LINE-UP:

Jay Reynolds – guitars
Mick Zane – guitars
Mark Behn – bass (played on the re-recorded songs)
Robert Cardenas – bass (played on the new songs)
James Rivera – vocals
Pete Holmes – drums


Tracklisting:

CD:
1. New Breed Of Godz (new song)
2. Hell Rider
3. Against The Empire
4. Branded (new song)
5. Sinister Double
6. Circle Of Fire
7. Stellar Masters
8. Winds Of Death (Angel Of Light) (new song)
9. Air Attack
10. Chain Gang Woman
11. Slipping Through The Cracks (new song)
12. Godz Of Thunder

Never To Arise – Hacked To Perfection

In my never humble opinion, one of the true joys of music is that no matter how many songs you’ve heard, no matter how many bands you’ve seen, no matter how much you think it’s all been done before, it never fails that you hear a new album or you see a new band perform live, and they grab you by the throat and don’t let go.  Sometimes it’s the energy of the performance, sometimes it’s the sheer brilliance of the songs, but whatever it is, it happens often enough that it makes you want to continue to seek out new music.  At least in my world.

So here we have Never To Arise, a new band out of Florida.  Actually a death metal duo, and man do these guys have the goods.  I received this promo, started listening to it, and within about 45 seconds had a stupid, shit eating grin on my face and involuntarily said, “Fuck Yeah!!”  This was, like, the same day that a buddy of mine had been lamenting all over Facebook about how “new” death metal bands just did not have it any more.  I immediately referred him to Never To Arise.

According to the press release accompanying the music, these guys are recommended if you like Death, Dying Fetus, Suffocation, and Malevolent Creation.  And let me be crystal clear, they do not sound like carbon copies of those bands, they have their own unique voice, but if you do like those bands just mentioned you too can have a giant shit eating grin on your face.

This is quality, well written music.  I’ve heard many death metal albums that just blend together, so you can’t tell one track from another, or for that matter, you forget what band you are listening to after about 3 tracks in.  Each track here is unique, has great parts that blend well with all the other parts, and are performed very well.   There really is nothing with this album about which I could complain.  I LOVE it!!  This is the kind of album that makes Odin’s shriveled black heart sing for joy.

They only bad thing about these digital promos is that you don’t get a lyric sheet, and I love me some death metal lyrics.  But take a gander at the song titles and I think you’ll know what to expect from this.  “The Femicidal Impulse”.  “Hyberbaric Torture Chamber”.  “Sloppy Surgery”.  “In Debasement”.  “Mutilation Supreme”.  “Bereft Of Conscience”.  “I Made Her Famous”.  (Probably my fave from this release).  “Snuff Film Superstar”.  “Devoured By Wolves”.  “Misogynistic Acts Of Barbaric Sadism”.  And a comment on this last track.  A death metal track that goes almost 9 minutes is usually, quite honestly, a train wreck.  But not in the hands of these lads.  Again, a very well written and performed song that doesn’t seem like it lasts 9 minutes, which is a sure sign that they did something right with it.

In case you hadn’t noticed, I cannot say enough good things about this release.  I really dig it and you should really make every attempt to get it in your sweaty, metal hands.  Bands don’t always make death metal records like this anymore, but if your tastes run to the old school and well written songs, check this one out.  Your ears will thank you, your brain will thank you, and your faith in death metal will be restored.

 - ODIN

Dead Sara - S/T

In the world of rock n' roll, there's a lot of crappy bands, a few good bands, and fewer great bands. However, every now and then there's those bands that come along where you listen to them and immediately go, "They've got it!" That phrase right there is hard to describe. It's something within the music, something genuine, something that just clicks. When I first heard Dead Sara's EP The Airport Sessions, I immediately said that very very phrase to myself - "They've got it!"

Now that Dead Sara has released their first self-titled full length album, it's been a breakout year for the band. They have just made a featured slot on the Warped Tour and will be touring with The Used across the USA. Last year, they opened for Bush, and they are riding high with their first single, "Weatherman," a hard rockin' song that's been gaining a lot of buzz for the band.

Fronted by the versatile vocals of Emily Armstrong, whose range can handle blues, soul, as well as unleash a gritty rock n' roll howl full of intensity. Besides Armstrong's amazing vocals, the electrifying band is also driven by Siouxsie Medley's guitar playing, a no non-sense style that blends melodic and heavy riffs into a perfect cocktail of hard rock.

Not to take away from the other members of the band. After all, a band is a cohesive unit. Either the chemistry is there or it's not. Bassist Chris Null and drummer Sean Friday also add to the electrifying dynamic of this band with their straight-forward style. Dead Sara is a tight band that knows how to write damn good songs, whether they're straight up rockers or heartfelt ballads. This album has intensity yet diversity as well. It's far from a boring one-dimensional album.

The albums opening song Whispers And Ashes eases you into the album. It's more of melodic song and has a hint of a U2 vibe. The song is extremely well-written, and a bit of a departure from the sound off their EP.

One of the stand out tracks on Dead Sara's new release is We Are What You Say,  an up-tempo song with a massive hook that's just undeniably - catchy. The song is no slouch, however. It rocks, and I think this song should've been the album's first single, as opposed to Weatherman.

Monumental Holiday is another fast-paced rocker that just has one of those great riffs that's reminiscent of the 90s grunge/punk sound. I can see this song on a soundtrack to an action film. The movie that comes to mind? This tune is perfect for another Crank flick.

Test My Patience is another great song that rocks good and proper, but the great thing about Dead Sara is the genuine emotions they capture in their songs. The three ballads - Dear Love, Face to Face, and Sorry For It All are extremely soul full. It's on these songs, you can really hear Emily Armstrongs amazing singing chops as well as lyrical writing talent.

Though Dear Love could very well be the album's hit song on the lighter side, Sorry For It All is by far the most heartfelt. Although I prefer their original version with just guitar and vocals, the new album's version is an interesting take on the song.

I've been waiting a long time for their album to come out. As I've said countless of times to people, Dead Sara is going to be a huge band in mainstream rock, and there's a reason for that. Don't believe me? Just take a listen. You can find Dead Sara on the Warped Tour and on the road with The Used!

--Boogs

Sleep - Dopesmoker - Reissue

As of the date of my submission, there's no downloadable content available from Sleep. Which means I have to stream it to hear it at all.

It's not like the album's called Dopesmoker, or anything... that implies one would do well to listen to this one NOT chained via headphones to their computer....

Fine! I'll stream it! Anything to just hear it!

Because I am a whore for Sleep! And Southern Lord in general! I even bought a freaking Sleep shirt for my wife, who doesn't even like metal! And she wears it! And gets compliments on it! And then says, "It's his."

Even though I have the first two iterations of Dopesmoker (Jerusalem and Dopesmoker), I am (quite figuratively) dying to hear this one-- it's remastered, there's Arik Roper's new stoner-via-Dune esque cover, there's crazy anecdotes about the recording of the album, e.g.:
Pike stated that the "song was getting slower and slower and then it got weird. We started tripping out and second guessing ourselves." Recording the album was difficult. Pike   recalled that "there was so much to memorize for that album, and we had to do it in like three different sections because a reel-to-reel only holds 22 minutes. It was really cool, but it was one of the hardest things I've ever done in in my life." SLEEP were in the studio for one month then went home to rehearse and returned for another month. Pike noted that they ended up with two or three different versions of the song.
It also features an unreleased live recording of a live performance of “Holy Mountain” from San Francisco’s I-Beam in 1994.

When Racer sent this to me I was literally listening to the older version of Dopesmoker on the stereo. It's fate/ kismet/ karma/ destiny....

Ironically, there is no weed with probably a quarter mile of me. Interpolate as is your wont, my minions. You may find this fact journalistically-dishonest (Pike and co. have said repeatedly that Dopesmoker was written to be heard while stoned), but I feel I must fully disclose.

So:

I've heard this new version a dozen times now: the first thing you notice is that the riff entering at around 0:15 is much clearer and louder. I don't really know that much about remastering, mastering, et cetera, and maybe they've only made it louder, but I can actually hear the pick hitting the strings, whereas on the version of Dopesmoker I'm familiar with, it's a bit harder to pick that out. At this point, I want both versions of Dopemoker on vinyl, at jet-engine volume, to truly try and parse the differences between the two editions.

Of course, my lineage is mostly German and Scandinavian, a notoriously-detail-oriented/obsessive people, and I personally am anal-retentive as fuck, so maybe I'm overdoing things.

Again: interpret as is your wont.

At about 21:30, once everything but the main riff drops out, you can again hear the strings over-vibrating against the pickup... which is pretty cool. I feel like I'm standing right next to the band in a small room without carpeted floors.
The lyrics, too, are a bit more clear: the first line "Drop out of life with bong in hand" is easier to understand, as is the classic, "Lungsmen unearth the creed of Hasheeshian."

Man. That's some obscure poetic shit that Rimbaud, William Burroughs, Baudelaire, Rumi and Kerouac would find obtuse.

How can you not love that?

If nothing else, the reissue reiterates why it's such a great record (if you truly let it in, stoned or not)-- it just comes in and sweeps itself through your brain, it says to you we have all the time in the world, let's use it thinking of far-away lands that before this record you found impossible to believe existed....

If you already have the old version of Dopesmoker? If you're really into it, you'll wanna check this out. Otherwise, stick with the old version. Tune in, turn on, burn out, daddy-o....

--Horn




[Southern Lord's Press Release about Dopesmoker: http://www.southernlord.com/band_SLE.php ]

[Southern Lord records' Deluxe Reissue of Sleep's Dopesmoker is released internationally on May 8, 2012.]

Cortez - S/T

This is one of the easiest reviews I'll ever get to write. Cortez is one of my favorite contemporary bands playing mid-tempo heavy rock. They have a new DOUBLE ALBUM on 180-gram vinyl with great cover art that's worthy of acrylic on denim. All the kick ass songs I've been hearing them blast out at shows the past 4 years are now documented and now I know what the songs are actually called. It's the full meal deal! Be warned, there isn't a parental advisory sticker on the cover but there are a lot of pottymouth lyrics.

Since their 2007 EP Thunder in a Forgotten Town, Cortez switched singers and lost a guitarist but the changes only made the band stronger. Lots of bands out there are playing in a heavily Sabbath influenced realm but Cortez is one of the few to utilize more than just the usual Master/Volume 4 riff rehash. For those of us who have spent decades analyzing the Sabbath family tree know just how much killer shit there is that people tend to overlook. The reason why all those Black Sabbath, Led Zeppelin and Deep Purple records are so classic is the variety. Cortez understands that and plays the music they want to hear. I wanna hear it ,too and have been playing the hell out of this!

Album opener "Johnny" is the perfect introduction to Cortez. Guitarist Scott O'Dowd laying it down hard and heavy. Drummer Jeremy Hemond comes in with one of his patented Cozy Powell-esque drum fills to signal bassist Jay Furlo to start thudding away and singer Matt Harrington starts belting it out big time. This is a fast and catchy song that I guarantee that you will cause you to increase the volume at least twice before it's over. The rest of side one is equally killer. "All Hail" is slow and powerful while "Until We Die" has a killer trippy jam in the middle. "Ride On" is easily my favorite Cortez song. Kick ass speed limit rock with references to cheap beer and dirt weeed. You will definitely want to crank this one loud when you cruise around the parking lot looking for a spot at the Priest concert. It's too bad radio stations don't play album sides anymore, this would be a good 'un for people to get down to this summer.

And the other sides ain't bad either! Side two shows them stretching out with some psychedelic warrior jams like "Wormwood" and the Mountain-influenced "Beyond The Mountain." "Monolith" has some excellent Corky Laing style cowbell and "Immigrant Song" moans. Side three has great songs like "Nice Try" and "Northlander" but "Satan" towers high above them. If you ever wished "The Tempter" by Trouble wasn't so damn pro-Jesus, then you've got a new favorite song. Also, anyone that loves the song "Warhead" will be thrilled. Side four (!) has raw demo versions of "Johnny," "Until We Die" and "Monolith" as a nice bonus. The music's heavy and the vinyl's heavy. What more could you want?

--Woody

Not sure of the exact street date on this one but their record release show in Boston is 5/5 with special guests Mighty High.

Band website

http://www.cortezboston.com/

Buy from Kozmik Artifactz

http://www.kozmik-artifactz.com/shop/index.php?cat=c170_KOZMIK---BILOCATION-LABEL.html&XTCsid=4d8a9ced74923384fe1d49242bd35b47


"Johnny" on bandcamp
http://cortezboston.bandcamp.com/album/cortez

Stubb - S/T

Tenacity and perseverance…two of the most essential personality traits to have as a rock musician in this day and age. As the old saying goes, if at first you don’t succeed, try, try, try again. This is no more pertinent than when discussing a certain Jack Dickinson. In 2006 Jack put together the initial line-up for Stubb; a hard rocking stoner/psych/jamming three piece. Fronting the band and cranking his guitar, Stubb very quickly built up a strong live reputation in the UK scene but no sooner had the train started rolling when the wheels fell off and Jack found himself without a band. The erratic Stone Turner briefly filled the void until Jack was thrown a lifeline by two friends and fellow musos. Enter the Trippy Wicked duo of Chris West and Peter Holland. Chris is easily one of the finer drummers in the UK stoner/doom scene and his easy, fluid yet hard hitting style was to be the rhythmic kick Stubb needed to rejuvenate their sound and breathe them back to life. Peter Holland, Trippy Wicked front man and guitarist may have seemed un unusual choice to fill the bass slot but his perspective as a guitarist now allows him to jam on the bass alongside Dickinson with ease as well as providing some very welcome backing vocals to add extra dimension to the core sound. And so it came to pass, Stubb were reborn!!!

It turns out West is not only a fine all round musician but also an enterprising bastard who, when labels failed to deliver, decided to form his own and this Stubb album is the first fruits of this…and you may be hard pushed to find a better album with which to kick-start the whole shebang.

Firing up the engine with old favourite “Road”, it’s clear from the outset that West and Holland’s rolling groove and Dickinson’s Hendrix inspired lead playing were destined to meet in some form of psychedelic supernova. This song as always a highlight of the original band’s set, in no small part to Dickinson’s syncopated and synchronised guitar vocal runs. The song writing is simple and effective built around an easy free flowing riff but bound up in a ton of groove. Holland’s bass playing adds an extra level of diversity that the band missed before playing around the riffs under the solos as opposed to just maintaining the riffs. The fact that he’s playing his bass through a guitar amp in an old school style just adds to that authentic 70’s vibe.

“Scale The Mountain” eases back on the pace but retains the weight and groove of the previous track and allows West free reign to open up on the drums and display some deft jazzy touches. Here also, Holland’s vocal contributions prove to be a perfect counterpoint to Dickinson’s own. Whereas the latter has a rougher, more bluesy tone, Holland punctuates the song with his higher register, Chris Cornell-esque wail that pulls the song up into a higher plain.

Holland kicks off “Flame” with a nice elastic bass line before being joined by the rest of the band. The vibe here is easier and more relaxed pushing the band’s blues influences to the fore. The live instrument recording serves to accentuate the inherent soul of the song keeping it clear and unfussy and allowing the groove to do the talking. It also has to be said that, throughout the album, Dickinson displays some very tasteful chops on the guitar that have barely been touched by the last 40 years of influence…the guy has a very old head on pretty young shoulders.

“Soul Mover” offers a welcome step up in pace with its acidic, early Monster Magnet reminiscent punked up psych rush. Here Dickinson tells us “Oh Baby I don’t know what you like, but I’ll keep you satisfied”. Presumably there will be an element of trial and error and guesswork in the lad’s love making!!! I was initially worried that the new Stubb album may be given over too heavily to aimless jamming but it couldn’t be further from the truth. The songs are all tight and concise and the jamming elements stay on the right side on tolerable offering just the right level of unpredictability without ever crossing over into self indulgence.

On “Crosses You Bear” the band offer their first respite from the fuzz overload with a delicate, folk driven acoustic ballad that shows that Dickinson is not only a tasty finger picker but  capable of delivering a vocal with some true emotional depth. Melodically this is a clear stand out track…and over far too quickly.

The Big Muff muscles its way back onto the scene on “Hard Hearted Woman”. Another tale of heartbreak and loss, a theme that seems to run through many of the lyrics here. Musically this draws less from the psychedelic end of the heavy spectrum and plants its size 9’s firmly into muscular 70’s hard rock with yet another killer riff before playing out with some mellow, bluesy yet tasteful axe heroics.

Next up we have the potential album stand out. “Crying River” is a Neil Young flavoured mid paced ballad featuring dual lead vocals from Malin Dahlgren from Swedish folk duo the Polly Tones. This is an achingly beautiful song that also features Dickinson’s most emotive playing on the whole album and shows that the band are so much more than just a bunch of heavy rocking hairies!!!

The seven plus minute “Galloping Horses” plays the album out on another fat, rolling groove that is almost literally dripping with 70’s testosterone. It practically smells of Denim aftershave and chest hair before changing tack at the mid way point into something altogether more esoteric and spacey.

Do I have any criticisms? Yeah a couple but they’re most certainly far from being deal breakers and more a question of taste than anything else. Firstly, although Dickinson shows a real flair for a vocal melody and has a decent set of pipes with which to put this across, his delivery doesn’t yet show the same level of confidence as his guitar playing, occasionally sounding a little awkward. It is still relatively early days for Dickinson as a vocalist and in time he will grow deeper into the role and really define his personality as a singer. It is also something of a shame that, given Holland’s ability as a singer, his skill isn’t utilised to a greater degree to provide counterpoints and harmonies with Dickinson to create a vocal breadth that could be truly spectacular. When the technique is employed here it provides a major lift and could prove to be a real selling point for Stubb lifting them above their contemporaries. Lastly, don’t come into this album looking for divine lyrical inspiration. The lyrics, for the most part are ridden with clichés that either drip with psychedelic mysticism or broken hearted melancholy but come across as fairly uninspiring, meaningless sixth form poetry. Fortunately I rarely take much notice of a band’s lyrics and let them gloss over me unless they really carry some form of intrigue or weight like Neil Fallon’s from Clutch. So in this case the lyrics didn’t prove to be a major distraction.

On the far greater plus side, this is an excellent debut album from a supernaturally talented bunch of musos who know every trick in the book when it comes to creating some awesome, kick ass heavy rock and roll with true passion and guts. Stubb’s debut album is definitely a triumph of, not only dogged determination from all involved, but of sheer class! You will be hard pushed to find a better debut album this year…so don’t bother looking, just get this.


--Ollie

http://stubb.bandcamp.com/
http://www.superhotrecords.com/

Teramaze - Anhedonia

Teramaze sound like dream theater with some balls. True to thrash form they unleash plenty of staccato riffing but temper that steel with some killer vocals. Undoubtedly these guys are looking to make an impact on their scene down under in Australia.  I like it when you really have to strain to pick out the influence a band has. That, to me is a sign of a great band.

This one grabs your attention from the first riff and shakes you around like a great white shark. Tracks that stood out in my cd player were. “Machine”, “Fear of the Unknown”, and “without Red Hands”. This is a sound that combines so many of today’s new metal with the thrash classics of old. Bands like Testament come to mind as well as Nevermore.

 Mick Tallent on drums and Tijon Lolis on Bass are a juggernaut. Chugging through the backline like a freight train. These two are tight and this album owes a lot to their strength. Check out title track, “Anhedonia”, and “Black Circles” to get a complete sense of their power.

  Guitarists are often either pushed too far to the front or buried in the mix. Not so with this album. Perfectly matched and just simply incredible guitarists, Matthew Dawson and Dean Wells lay down a frontal assault of six string carnage. “ Black Circles” contains a screaming lead. I can’t get enough of the power of this band.

 Brett Rerekua on vocals is allowed to put in some incredible runs as his band stirs up a psyclone around him. He rises above the chaos and screams, sings, growls, and serenades your ears like a banshee gone wild.  He makes you sing along with their infectious and progressive sounding tunes.

  I was not expecting the wall of sound that melted out of my speakers on this one. Just a great album with some killer production.  Find this album wherever and however you can and buy it. Then buy another one and pass it on to your best friend (yes this album is that good).


--MetalRising

Spiritual Beggars – Return To Zero

I’ve been a fan of Michael Amott for a while now.  He certainly has all the death metal cred he needs, having formed Arch Enemy back in 1996, after doing a stint with the immortal Carcass, and prior to that forming Swedish death metal OG’s Carnage.  So his metal pedigree is about as rock solid as they come, at least in my book.

I kept hearing about this other band of his, Spiritual Beggars, which he started around the same time as Arch Enemy, but was not metal at all.  The description I always heard was “stoner rock”.  I finally checked them out with the release of their most recent album, “Return To Zero” from 2010.  And then beat myself repeatedly about the head and face for taking so long to get into this band. 

I don’t know that stoner rock is the right pigeon hole for these guys, at least not on this newest release.  I put this CD in and had to take it out about 2 minutes later to see if they had maybe put the wrong CD in the case, because it really sounded like some vintage Deep Purple from the classic “Machine Head”/”Made In Japan” era.  If I had to tell someone what this band sounds like, that would be my reference point, although there is definitely stuff that would also be right at home on the “Perfect Strangers” release as well.

But please don’t take that to mean that these guys are just Deep Purple clones.  In fact, they are far from it, but they do have that similar riff based groove going.  “Return To Zero” opens with the titular intro, just a little synth-y thing that lasts less than a minute, then right into “Lost In Yesterday” we go.  It’s a very nice, moderately heavy, moderate tempo song and gets things going.  “Star Born” is up next, and it picks up the tempo without losing the groove.  Then we have “Chaos Of Rebirth”, which has heavier, slightly ominous feel to it, but maintains that nice groove feeling.  A really good quartet of songs to start things off, and they really establish the tone for the balance of the album.

“Spirit Of The Wind”, track 6, is my absolute favorite on this album.  I could literally listen to that track on a daily basis.  It is more of a ballad, definitely not rooted so much in the riff and groove as the rest of the tracks, and is a really beautiful song.  If you only knew Mr. Amott from his death metal stuff, this one will really take you by surprise.

This is a really solid release and I can’t recommend it highly enough.  In fact, on the strength of this album I have gone and purchased the rest of the Spiritual Beggars catalog.  They really are that good, and listening to the earlier stuff I can see how they were tagged as stoner rock.  My only wish is that the releases came along a little more often than every three or four years.  Check out this other side of Michael Amott, it is well worth doing.

- ODIN