It’s always nice to get into a “new” band and then find out they have a back catalogue for you to delve into. 2016’s King of Everything from Ukrainian metal outfit Jinjer was pretty well-received upon its release; a blend of groove, Death, and the odd Nu-Metal influence, it was heavy but with a few interesting moments. Tatiana Shmailyuk showed herself to be a very talented vocalist, and in ‘Pisces’ the band hinted at some almost Opeth-like ambition in their songwriting.Continue reading
Formed after the demise of Burnt By The Sun, River Black release their eponymously titled debut on Season of Mist with a line up featuring Mike Olender, John Adubato and Dave Witte of Burnt By The Sun, and joined by Brett Bamberger of Revocation.Continue reading
Greetings From… (Universal) is the latest live offering from The Sword. Greetings From… tries to capture the swank and swagger from The Sword’s live show and condense it into album form. It’s a combined hit and a miss. Some parts translate beautifully, while others, not so much. Let’s examine Greeting From… shall we.Continue reading
It is with great pleasure I present to you Fortuna Havana (Black Bow) by the band 1968. Fortuna Havana is released on Black Bow Records and features the talents of Jimi Ray on vocals, Sam Orr on guitar, Tom Richards on bass guitar, and Tom Drury on drums. Continue reading
Today, we’re revisiting our friends in The Sword with their latest release Low Country (Razor & Tie), the acoustic counterpart to 2015’s High Country. Continue reading
One of Manchester’s brightest up-and-coming lights opened this autumn evening, the first night of a huge week of metal in the city. Impavidus were as tight as hell, the commonly-used MeloDeath soubriquet seeming very wide of the mark despite Michelle Adamson’s staggering use of harsh and clean vocals and some howling leadplay from Gav Smith.
A cosmic haze surrounds everything from Texan duo Wo Fat: their chunky, thunderous rhythms swelled by fizzing riffs as suffocating, as implosive, as the vacuum of space. Despite having lost long-time bassist Tim Wilson, sixth long-player Midnight Cometh (Ripple Music) shows no signs of that trait discontinuing.
Though unabashedly Stoner, the Blues melodies and leads of opener ‘There’s Something Sinister in the Wind’ are shot through with added pace, urgency, and no little mysticism, blowing away the blubber often encasing such offerings. Sure, you could hear this kind of stuff down the local Rock pub but not with this power, this weight. The way the dreamy leadwork joins forces with a tight, rampant rhythm section from the mid-point is joyous: whilst the oscillating riff of the denouement, repetitive and swelling, crushes in indolent yet savage fashion.
‘Riffborn’ again provides nothing new, while Kent Stump’s gnarled vocal doesn’t incite the listener to any high emotion. Yet there’s something strangely electric, even comforting, in the fact that such traditional Heavy Rock can still force you to get down and boogie. Stump’s guitarwork is king here, the leads and riffs duelling with lightning dexterity yet retaining their corpulent girth. ‘Of Smoke and Fog’ meanwhile, creates atmospheres in keeping with its title: leads wailing and growling, permeating vaporous wisps as the cabs groan beneath the volume: whilst a rumbling bass and Michael Walter’s drums gradually creep in like a curious rhino, suddenly appearing and looking a little mad to see you on his territory.
That 70s Rock undercurrent is built to the fore during ‘Le Dilemme de Detenu’ and ‘Three Minutes to Midnight’: a shabby, hairy mob on The Old Grey Whistle Test embodied by the harsh, ZZ Top-style verses. Both tracks are enlivened by those fierce guitars, the latter’s moody centrepiece torn to shreds by a dazzling solo. Closer ‘Nightcomer’ meanwhile, is a Psychedelic crush of threatening Groove and pulsing swell that leads to a suitably huge finale.
Comparisons with both Kyuss and Orange Goblin abound for these guys, yet Wo Fat plough their own reverberating furrow. Sometimes the old-fashioned ways are still exciting.
7.0/10.0
PAUL QUINN
[amazon asin=B00CQ90GNY&template=iframe image1]
Saturday 2nd April sees the latest all-day event to grace the UK city of Manchester. The NOIZ All-Dayer is the brainchild of Eytan Dorron Wineapple, a popular and passionate figure of the local Metal scene, and this third such event sees an incredible Low-end bill decorated with other displays, including an art exhibition. While Brit heavyweights The Wounded Kings, Witchsorrow and Hang the Bastard are arguably the biggest names of the fourteen bands on show, of equal note is Israeli outfit Dukatalon’s first appearance on these shores.
Despite the predominance of the monolithic chord, the packed lineup shows variance: Birmingham Industrial duo Khost and Psychedelic Heavy Soul trio Vodun make mouth–watering appearances, whilst the occult groove is also present in the form of Sussex-raised Admiral Sir Cloudesley Shovell. It’s a bill reflecting Eytan’s love of crushing strings, but also reflects his desire and devotion to bring the best acts to his local area: “Yeah, I’m really happy with the lineup”, he says, “It totally delivers on our promise of big riffs and heavy tones.” It seems the inclusion of the fabled Dukatalon, meanwhile, is a testament to networking and to the curator’s dedication and hard work: “This is their first UK tour. I got in touch with the band through a mutual Israeli friend and went from there.”
So does the strength of the bill create headaches for future events? Eytan doesn’t think so. “I wouldn’t say it adds any pressure. It’s just a natural thing to want to make things bigger and better than previous times. For sure this lineup is bigger, and the production will be slicker. No doubt the same will be said about the next one, however, so no, there’s no pressure.”
Encouraging words for the future, then. This is a festival with something a little different: a host of visual and audio delights to ensnare the senses, smack-bang in the centre of Town, and at £12 a ticket it’s as good as a free gig. You know what to do…
PAUL QUINN
It’s grim up north, so the saying goes. Which, of course, must be the reason why our particular brand of Sludge is occasionally filled with so much joyous Funk that James Brown would be proud to get his good foot on it…Lancastrians Bastard Of The Skies have been flying this flag wonderfully for some years now, and Leeds quartet Corinth have emerged as serious contenders for the Yorkist crown.
Corinth (No Fun Intended) is the band’s third EP in as many years, opener ‘Solar Flare’s rapid rhythm battery immediately ceding to a vicious, knee-buckling groove. Ben Corkhill’s throaty roar duels with the evil scream of vocal counterpart Tom Clayton and the constant time switches, intricate yet weightier than a herd of elephants, bring Clayton’s jazzy bass and bountiful bounce to the fore. The thunderous rhythm section sees drummer Andy Baron change tempo numerous times whilst leading his team flawlessly.
The immense ‘Those With No Eyes’ begins, as the title suggests, with a more sinister feel: a deep-toned, tolling intro adding gravitas to the earlier powerful stomp, before a slow swing coincides with more of Corkhill’s holler. Vanessa Murray’s Maiden-esque leads have a more pensive, melancholic feel here, and head softly into a snarling yet tethered menace: the riff ever building toward a hostile, hateful tone before dropping deliciously into a low yet subtle, squalling morass.
There’s a Stoner vibe to the early strains of epic closer ‘Ironclad’ which initially threatens to cheapen the overall vibe. Whilst that somewhat lumbering beat rarely fluctuates there is, however, a steadily growing swell which is influenced by the howl of the morphing riff. A blend of harsh, soulful and bluesy vocals leads to an explosive mid-section, powering the track into the booming realms of Conan and assuring its eventual status as a modern Doom classic.
Here is a band who have constantly showed themselves to incorporate myriad influences into their intrinsically Low-end sound. This is their most expansive and intelligent offering yet, each track having a different feel without straying too far from home, and maintaining Corinth’s path toward inevitable greatness.
8.0/10.0
PAUL QUINN
The lush, cosmic parps opening Torpor (Svart), the second album from Brighton / Nottingham (UK) quartet Baron, suggest some kind of Jean-Michel Jarre Prog-fest. The ensuing sublime beauty blows that suspicion clean away, the band coming out like some Doors-infused Crosby, Stills and Nash excursion. The “Post” lead guitar and organ of opener ‘Dragonfly’ is pure Krieger and Manzarek; Alex Crispin and Blue Firth’s haunting harmonies stir the soul while the muffled pounding of Luke Foster’s Densmore-like drumming gently hypnotises the mind.
‘Mark Maker’ traverses a similar path, the almost dreamy pace and intonations gradually infused with a fuzzing chord yet descending to a sombre ‘church organ’ style section which, whilst striking in its solitude, leaves you wondering exactly what you’re listening to. The arrangement here, as throughout the album, is the key factor: soft, evocative leads strum over the coda with perfect timing, adding a piquant thrill to an already intriguing sound. The increasingly heady atmosphere of ‘Wild Cry’ leads further down the Jefferson Aiplane style ‘Hippie Rock’ path; while the ensuing ‘Dark Down’ sees Scandinavian Pop rhythms continue to sport those Americana influences like a hessian poncho.
None of this prepares the soul for the emotional wrecking-ball that is ‘Stry’, the first showing of real fire whilst still displaying Baron’s core subtleties in abundance. Initially a lonely stroll across an evening sun-kissed beach, wonderfully-stirring vocals suddenly morph into languid chants before the unexpected explosion into a potent, Drone-like state. The Fleet Foxes-esque melodic tones of ‘Sleepless’, meanwhile, are delicately fired by flickering keys and lead guitar, a sudden switch to Groove perfectly timed to click the fingers and wake the lazily-nodding victims from their peaceful trance.
Every ingredient within this entrancing piece of work plays a major role: Peter Evans’ pulsing, rolling bass the principal factor of ‘Deeper Align’s building swell before the track’s descent into Raga-tinged, heavy guitar-led atmospheres. Indeed there are so many influences in Baron’s armoury that the skill used in melding them together so effortlessly and organically leads to an even greater admiration of the band. The haunting atmospherics of closer ‘Albedo Dei’ carry the listener from an album that will leave an indelible mark on the psyche: the kind that will release something new with each listen, caressing the mind and soul whilst reminding the recipient of the loneliness of despair.
Memorable, magnetic, and nostalgic without being derivative, Torpor is a gloriously reflective experience.
9.0/10.0
PAUL QUINN