Tag Archives: Americana

ALBUM REVIEW: Emma Ruth Rundle and Thou – May Our Chambers Be Full

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Roadburn Festival, largely due to the impetus of its main organiser and curator Walter Hoeijmakers, has often acted as a hub for all manner of interesting collaborations between artists who sit in the arty or experimental corners of the heavy music world. May Our Chambers Be Full (Sacred Bones) the new collaboration album from Emma Ruth Rundle & Thou, is the latest creation which owes a debt to the festival, conceived as it was in the wake of the two artists’ joint set at 2019’s Roadburn.Continue reading →


Laura Jane Grace (Against Me) Drops a Surprise Solo Album – “Stay Alive”

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Iconic Rocker Laura Jane Grace of Against Me! and The Devouring Mothers has released a surprise digital album today on all streaming platforms. The album Stay Alive (Big Scary Monsters) was created during the pandemic and recorded in July by Steve Albini at Electrical Audio. The physical release will arrive on December 11th. You can pre-order it at the link below, and listen to the album now!

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ALBUM REVIEW: All Them Witches – Nothing As The Ideal

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With All Them Witches recently becoming a power trio after five albums as a quartet, it’s easy to imagine that their sixth full-length would reflect a changed dynamic. But for the most part, the Nashvillians’ vision is largely undeterred on Nothing As The Ideal (New West Records). The overall runtime may be the band’s shortest to date at only forty-three minutes long, but their signature mix of Fuzz Blues, Americana, and tripped out ambiance allows for plenty of exploration. Not much has changed on the surface but there are certainly ways to show off the more straightforward approach.

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ALBUM REVIEW: Marilyn Manson – We Are Chaos

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(Editor’s note: we are aware of this ongoing story which presumes to be about Marilyn Manson, although he is never named. We are still tracking this story at press time.)

Twenty-five years plus into his career, Marilyn Manson continues to be an enigma, wrapped tight inside a riddle, not wishing to be fully known. By never making the same album twice with his namesake band, he continues to defy expectations, and be equally loved and hated. While his early albums are masterworks that others from the 1990s would kill to rest their reputations on. However, as the rockstar gains on years and gets further away from his early years, he has transformed into a much more interesting character than when he was freaking out pastors and scarring moms and dads.

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ALBUM REVIEW: A.A. Williams – Forever Blue

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It is easy to forget that Forever Blue is the debut album from AA Williams, such is the level of status she has already acquired since first taking to the stage only last year. In the meantime, she has garnered a huge amount of critical acclaim, released a self-titled EP, and collaborated with Mono before releasing Forever Blue.

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ALBUM REVIEW: Jaye Jayle – Prisyn

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Prisyn is an album that deals in opposites. On one hand, it is an expression of Evan Patterson’s artistic freedom, in the sense that it is quite far removed from Jaye Jayle’s previous works both in terms of sound and creative process. On the other hand, that creative process was linked to circumstances of enforced restriction and confinement. The album’s title itself – Prisyn – alludes to a ‘synthetic prison’ according to Patterson himself. The work was conceived while Patterson was on an extended tour. He began to compose music in these limited conditions using just his iPhone. Instead of fleshing out or reworking the pieces with the usual Jaye Jayle band, Patterson enlisted Ben Chisholm’s (Chelsea Wolfe) help to embellish and produce the songs. The result is an album of primarily electronic music: tense, brooding and claustrophobic. But, in the spirit of opposites, there is a counterpoint to the cold synth textures in the form of Patterson’s deep and rich voice. As he sings in the very first line of opener ‘A Cold Wind’, ‘The darkness meets the lightness / Or rather the lightness meets the darkness’.Continue reading →


EP REVIEW: Turkey Vulture – Time To Pay

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Time To Pay (Self-Released) is the new EP from Connecticut’s Turkey Vulture, a duo consisting of Jessie May (guitar, vocals, bass, cello) and Jim Clegg (drums, artwork). The EP is a force of incredible energy that nods to a deceptively diverse set of influences. This is punk; this is doom metal; this is stoner rock. Above all, it emanates a refreshingly raw and gloriously unpolished power.Continue reading →


EXCLUSIVE PREMIERE: Turkey Vulture – “Old Nick”

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Vicious music chameleons Turkey Vulture are back with a new single, from their upcoming second EP, Time To Pay, due out on July 31st. Up until now, the duo from Connecticut has shown shades of Stoner Doom, old-school Punk, local Sea shanty’s, Heavy Metal, and on occasion, Americana with inventive originals and inspired covers. In a new track derived from by the infamous “Crossroads” story of Bluesman Robert Johnson and the Devil, “Old Nick” is a revved-up, proto-metal blues track with a great shuffle beat! Check out the track now!

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PODCAST: Episode 111: Henry Derek Elis on His Solo Career and Inspiration

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Ghost Cult scribe Duncan Evans caught up by phone with singer-songwriter Henry Derek Elis for an interview about his new covers EP, All The Pretty Little Horses. Henry is best known as the former vocalist for metal bands Scar The Martyr and Act of Defiance, but his solo career has taken him down a path closer to Outlaw Country, Americana, and Dark Folk. Henry chatted about the new EP, his choice of artists to cover such as Danzig and Billy Idol, the difference between his metal music and solo career, his take on how watered-down “folk” music has become his influences and opinions of classic artists, and much more. You can order Henry’s music at this link:Continue reading →

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ALBUM REVIEW: Wino – Forever Gone

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As much as Wino deserves his doom godfather status for fronting groups like The Obsessed and Saint Vitus, there’s something to be said for his more recent singer/songwriter excursions. Whether going it alone or with such collaborators as Conny Ochs, the acoustic style suits him surprisingly well and the volume contrast brings a fuller perspective to his haggard lifer persona. This is especially true for his third album, Forever Gone (Ripple Music), which may be his most low-key effort to date.Continue reading →