Tag Archives: Nirvana

ALBUM REVIEW: Teenage Time Killers – Greatest Hits Vol.1

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Have you ever heard an album so good you thought it was made just for you? Like someone reached into the great boombox in your brain and pulled out just what you wanted to hear? Well, Greatest Hits Vol. 1 (Rise Records) by Teenage Time Killers is that album for me. If you have yearned for some new tunes to come along and kick your ass back to 1988, then this music is for you. Masterminded by Mick Murphy (My Ruin, and Reed Mullen (Corrosion of Conformity), the core band is rounded out by the ubiquitous Dave Grohl and chipping in everything except lead vocals and Greg Anderson (Sunn O)))/Goatsnake) and his mighty axe. In addition to a cavalcade of former and current stars from across punk and metal, it’s an ambitious attempt to turn the idea of a supergroup on its head.

Certainly, a lot of hype has gone on about the assembled players, especially the vocalists. If you re thinking of Grohl’s Probot project, you are not far off. That was Grohl paying tribute to his metal heroes. TTK is all about paying tribute to a certain mindset. An era when writing fun, smart songs that hit you where you live was the norm. Mullen has put his distinctive angry yelp on many C.O.C. albums and does a fine job here on the opening track ‘Exploder’ and on ‘The Dead Hand’. ‘Exploder’ is just a classic punk track with all the whoa-oh-ohs you can handle. Second track ‘Crowned by the Light of The Sun’ sounds like an early-era Clutch song and thus Neil Fallon is right at home singing over some stone grooves. The most blistering track here is the thrash/punk ‘Hung Out To Dry’. Randy Blythe (Lamb of God) just slays the track with his parts.

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Following these first salvos the rest of the album is a tad uneven in a few places, but on repeated listens the entire thing holds together well. Jello Biafra is predictably pissed off in the too-short ‘Ode to Hannity’. ‘Barrio’ featuring Matt Skiba of Alkaline Trio/Blink 182 has the second-best track on the album. It’s another fun old-school sing-a-long that is both fun and political. Mike IX (EyeHateGod), Tommy Victor (Prong/Danzig) and Tairrie B. Murphy (My Ruin) anchor the three of the remaining real standout tracks. While it’s great to have an album in 2015 with Lee Ving (Fear), Karl Agel (COC Blind/King Hitter) and Phil Rind (Sacred Reich) altogether, at times you wish the tracks were a little stronger. Although a little short of total greatness for all the meaningful names, Teenage Time Killers backed up having the stones to call this album Greatest Hits Vol 1.

 

8.0/10

KEITH CHACHKES


Godhunter vs. Destroyer of Light – Endsville

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Come no closer if you like God or happiness, as the very antithesis is available in this remarkably-packaged ‘split’, Endsville (Battleground),  from Tucson quintet Godhunter and their Austin Doom counterparts Destroyer of Light.

The Arizona mob kick us off, their acoustic-toned ‘End Time Blues’ and ‘The Emptiness That is Left’ bookending four tracks of angry, raw Stoner. There’s a basic, Punk vibe to the minimalist style of ‘Divided States’ and ‘Anthropophobia’. The throaty squeal coursing through them is, however, somewhat inept, and accompanied by prosaic, unimaginative riffs and rhythm. Sadly this rather uninspiring, stodgy template continues throughout Godhunter’s offering; the Kylesa-lite ‘Cassandra Complex’ occasionally loads colossal weight upon the shoulders and is the standout track of their inferior set, but the slovenly growl and lacklustre riffs fail to stir the blood sufficiently. The closing coda of ‘…Emptiness…’, a diseased version of ‘Something in the Way’, desecrates Nirvana’s original whilst paradoxically landing a long-overdue significant punch.

Thankfully the rollicking, NWOBHM-infused Psych-Occult of Destroyer of Light fares much better. Opener ‘Electric Shadows’ finds ground between Moss and Uncle Acid and the Deadbeats; the steady, cantering pace graced by Steve Colca’s dramatic holler, subtle samples and eerie chanting which add melody to pummeling riffs and Jeff Klein’s pounding bass. Some electrifying solo work to the track’s coda, meanwhile, helps to banish the memory of what has gone before. The dirty, monolithic chords of ‘Coffin Hunter’, Colca’s vocal tolling over them, are reminiscent of Iommi at his evil, crushing best, while devilish roars from the three-quarter point are utterly terrifying and offer more than Godhunter’s whole portion.

And here’s the issue: this is a ‘split’ in the real sense of the word, an immense second half in real danger of being overshadowed by the shambolic pointlessness of the first. The dazzling leadwork of the morose, pulsing ‘Forever My Queen’ proves the Texan outfit’s name to be misleading, lighting the path to sinister, bone-crushing closer ‘Valley Of The Dead’, and affirms the belief that Destroyer of Light should not suffer the sins of their undeserving co-contributors. Give the Trad Doom boys your time at the very least.  

 

6.0/10

PAUL QUINN


KEN Mode – Success

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A wail of feedback, a sludgy, laconic riff, a jarring bass line and Success (Season of Mist) shudders into being in the style of that too-cool-to-give-a-fuck band that ambles on stage and begins the song with each member starting at their own pace and point of choice. KEN Mode, kings of the post-surf/noise rock power-trio kingdom stroll acerbically into their sixth album.

Jesse Matthewson, known for intelligent, confrontation and biting observations, has chosen to measure his delivery this time, and most of his outpourings are part-spoken and spat, rather than roared or thrown from his maw, seemingly intent on imparting off-centre soundbites. “I would like to kill the nicest man in the world” he states at the outset of ‘These Tight Jeans’, where he trades off lines with Jill Clapham in both a catchy and knowingly cool fashion, channelling his inner Jesus Lizard.

The hand of Steve Albini is present all through, as the In Utero (Geffen) producer skuzzes up ‘The Owl’, an astringent swagger with stoner undertones, before a bass crunk and cello mid-section pull the song into a discordant yowl over clashing chords, as KEN Mode play with the notion of traditional song-structure effectively. Sonic Youth would be proud.

Yet all is not rosy in KEN and Barbie’s world. There is a nagging feeling that while Clutch (for whom KEN Mode certainly owe a something to) are naturally and instinctively quirky, for the first time KM things feel a bit forced, as if stating “Handfuls of proverbial shit tossed over and over against that same proverbial wall” (‘Blessed’) is a little close to the mark, and that moving to a more caustic pop sound may be contrived, such as on the overly self-aware and smug ‘A Passive Disaster’. The cap might not fit at the moment, but all it would take is adjusting the clasp at the back. At times, this new KEN Mode just sits a little uncomfortably. But then such doubts are stomped to dust by the rising dynamic of ‘Management Control’ which builds to feedback end, or the exemplary dark, brooding, sprawling ‘Dead Actors’, that recalls The Doors clashing with a more progressive Nirvana.

Mixing a Clutch of stoner, a Tad of grunge and pinch of Mudhoney slovenliness in their Helmet of groove, KEN Mode can consider their transition a Success. Just.

 

7.0/10

KEN Mode on Facebook

 

STEVE TOVEY


Album Stream + Tour: Brian Marquis – I Miss The 90s + Upcoming Tour Dates

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Brian Marquis is streaming his I Miss the 90s EP, out now via Equal Vision Records. The EP is comprised of five covers of 90s favorites and features guest vocals by Vinnie Caruana (The Movielife, I Am the Avalanche), Will Noon (fun., Straylight Run) on drums, Julio Tavarez (The Black and The White, As Tall As Lions) on bass, and Doug Grean (ex-Scott Weiland, The Terpsichords) on piano/keyboards.

TRACKLISTING
01: Say It Ain’t So (originally by Weezer)
02: Rooster (originally by Alice in Chains)
03: Shadowboxer (originally by Fiona Apple)
04: High and Dry (originally by Radiohead)
05: Something in the Way (originally by Nirvana)

This Summer, Marquis will perform daily and run production on the Acoustic Basement Stage on the 2015 Vans Warped Tour for the fourth consecutive year – a stage that he founded in 2011 under the guidance of Vans Warped Tour founder Kevin Lyman.

TOUR DATES
Level and The Square w/Brian Marquis
May 27: Viper Room – Hollywood, CA (EP RELEASE SHOW)

2015 Warped Tour Dates
Jun 19: Pomona Fairplex – Pomona, CA
Jun 20: Shoreline Amphitheatre – San Francisco, CA
Jun 21: Seaside Park at Ventura County Fairgrounds – Ventura, CA
Jun 23: Quail Run Park – Mesa AZ
Jun 24: Isleta Amphitheater – Albuquerque, NM
Jun 25: Remington Park – Oklahoma City, OK
Jun 26: NRG Park Main St. Yellow Lot – Houston, TX
Jun 27: Gexa Energy Pavilion – Dallas, TX
Jun 28: AT&T Center – San Antonio, TX
Jul 01: Tennessee State Fairgrounds – Nashville, TN
Jul 02: Aaron’s Amphitheater at Lakewood – Atlanta, GA
Jul 03: Vinoy Park – St.Petersburg, FL
Jul 04: Coral Sky Amphitheatre – South Florida Fairgrounds – Miami, FL
Jul 05: Tinker Field – Orlando, FL
Jul 06: Morocco Shrine Auditorium And Grounds – Jacksonville, FL
Jul 07: PNC Music Pavilion – Charlotte, NC
Jul 08: Farm Bureau Live – Virginia Beach, VA
Jul 09: First Niagara Pavilion – Pittsburgh, PA
Jul 10: Susquehanna Bank Center – Philadelphia, PA
Jul 11: Nikon at Jones Beach Amphitheatre – New York, NY
Jul 12: Xfinity Theatre – Hartford, CT
Jul 14: Xfinity Center – Boston, MA
Jul 15: Darien Lake PAC – Buffalo, NY
Jul 16: Riverbend Music Center – Cincinnati, OH
Jul 17: Molson Canadian Amphitheatre – Toronto, ON
Jul 18: Merriweather Post Pavilion – Columbia, MD
Jul 19: PNC Bank Arts Center – Holmdel, NJ
Jul 21: The Pavilion at Montage Mountain – Scranton, PA
Jul 23: Blossom Music Center – Cleveland, OH
Jul 24: The Palace of Auburn Hills Parking Lot – Detroit, MI
Jul 25: First Midwest Bank Amphitheater – Chicago, IL
Jul 26: Canterbury Park – Minneapolis, MN
Jul 27: Hollywood Casino Amphitheatre – St. Louis, MO
Jul 28: Marcus Amphitheatre – Milwaukee, WI
Jul 29: Klipsch Music Center – Indianapolis, IN
Jul 30: Cricket Wireless Amphitheater – Kansas City, KS
Aug 01: Utah State Fairpark – Salt Lake City, UT
Aug 02: Pepsi Center Parking Lot – Denver, CO
Aug 05: Qualcomm Stadium Parking Lot – San Diego, CA
Aug 07: Portland Expo Center – Portland, OR
Aug 08: White River Amphitheater – Seattle, WA

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God Damn – Vultures

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It’s very rare in this game to be surprised. As in genuinely “Well, I wasn’t expecting that!”. Tribulation managed it earlier in the year, but very few do as expectation is there, or at least, a preparation for what a band is going to sound like. So, fair play to God Damn. The Midlands outfit aren’t the sort of band I usually go for, and Vultures (One Little Indian) isn’t the sort of album you’d normally associate with Ghost Cult, but the quality of their hybrid tunes stands out, which is why if even a little of what is written about it below piques your interest, dive in my friends.

The album kicks off with ‘When The Wind Blows’, a quirky Clutch groove that flitters into a raspy distorted vocal, before ‘Silver Spooned’ dances from a grungey intro then barrels into a lo-fi desert groove with dreamy melodies. ‘Shoeprints’ dances and swaggers, wide-legged,  from sassy Monster Magnet territory, ending up in a dark, heavy powerful alleyway. ‘We Don’t Like You’ touches heavy psych, Nirvana juvenility and jangle, dark Seattle melodies and the very best of British alt rock, while the eight-minute ‘Skeletons’ has moving acoustics, world-weary vocals and expansive brooding fuzz.

Hand in hand with the alternative rock is a host of fuzzy doom, and it’s the amalgamation into stoner, alt noise, groove, rock and doom n’ roll via Sonic Youth, Nirvana, Smashing Pumpkins and a host of other versatile references that makes this an interesting proposition. Vultures doesn’t just do one thing, except for be God Damn. They’ve successfully built themselves a whole new box, over to the side of all the normal boxes, and are all the better for it.

More than a hotch-potch of references from yesteryear, throughout they deliver on the song writing front too, even if they do self-consciously shy away from “the anthem”. There is more than enough to suggest a potential cross-over to more mainstream success in their future. Despite the lo-fi chops, God Damn could equally pulling in the plaudits at a Reading/Leeds type festival. Vultures should open some pretty big doors for them.

 

7.5/10

God Damn on Facebook

 

STEVE TOVEY


Album Stream: Whatever Nevermind – Various Artists

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Robotic Empire’s Nirvana tribute album Whatever Nevermind is now available and is streaming in its entirety below. The album features covers by Torche, Cave In, Kylesa, Boris and many others.

Our second tribute to Nirvana, titled “Whatever Nevermind”, is out today. This album sees Boris, CAVE IN (official),…

Posted by Robotic Empire on Saturday, April 18, 2015


The Wyldz Book Upcoming US Tour

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Austin rock trio The Wyldz has booked an upcoming US tour supporting their new studio album Interstellar Troubadours, out later this year. Stream a video of behind the scenes in the studio recording sessions of the new album below.

Interstellar Troubadours was recorded by engineer Steve Albini (Nirvana, The Pixies, Robert Plant, Jimmy Page) at his famed Electrical Audio Studios in Chicago, and the entire 12 track album was done in six days, completely analog. Additional mixing handled by Grammy-nominated engineer Mark Needham (The Airborne Toxic Event, Scott Weiland).

The Wyldz are Mitch Bassoul (vocals and bass), Alex Dhee (guitar), and Oliv Porrini (drums).

The Wyldz 2015 confirmed tour dates:

Apr 03: The Riot Room – Kansas City, MO(*4 pm in-store at Mills Record Co)
Apr 04: Jackpot Music Hall – Lawrence, KS
Apr 05: Rose Music Hall – Columbia, MO
Apr 09: Red Line Tap – Chicago, IL
Apr 11: The New Vintage – Louisville, KY
Apr 12: The Melody Inn – Indianapolis, IN
Apr 14: The Pond – Franklin, TN
Apr 24: Acadia – Houston, TX
Apr 25: The Saxon Pub – Austin, TX
May 09: The Foundry – Dallas, TX
May 30: Pinballz Kingdom – Buda, TX
Jul 04: Pinballz Kingdom – Buda, TX
Jul 30: Whisky a Go Go – Los Angeles, CA
Aug 01: Whisky a Go Go – Los Angeles, CA

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Cousin It, Ready for Takeoff !!! #InterstellarTroubaTour buckle up #WyldzOne We travel at the Speed of Light \w/_DATE…

Posted by The Wyldz on Friday, March 27, 2015


Robotic Empire Releasing Nirvana Tribute Album, Stream Circa Survive’s “Drain You”

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Robotic Empire will be releasing a second Nirvana tribute album titled Whatever Nevermind: A Tribute To Nirvana’s Nevermind, for Record Store Day on April 18, 2015. The songs on this focuses on the Nevermind album, and will be released as a 12 inch + 7” set, as well as digital download. Stream Circa Survive‘s “Drain You” below.

Whatever Nevermind: A Tribute To Nirvana’s Nevermind track listing:
01: Young Widows – “Smells Like Teen Spirit”
02: Torche – “In Bloom”
03: Kylesa – “Come As You Are”
04: Cave In – “Breed”
05: Boris – “Lithium”
06: La Dispute – “Polly”
07: White Reaper – “Territorial Pissings”
08: Circa Survive – “Drain You”
09: Touche Amore – “Lounge Act”
10: Wrong – “Stay Away”
11: Pygmy Lush – “On A Plain”
12: Nothing – “Something In The Way”
13: Thou – “Endless, Nameless” (bonus track)
14: Thou – “Even In His Youth” (bonus track)

We are extremely stoked to announce our second tribute to Nirvana, this time with their breakout “Nevermind” album being…

Posted by Robotic Empire on Tuesday, March 24, 2015


Marilyn Manson – Pale Emperor

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There’s an anecdote relating to former Manchester United footballing legend George Best, (who retired aged 27 and once said “I spent a lot of money on booze, birds and fast cars – the rest I just squandered”) whereby a hotel bell boy found Mr Best in a room with a Miss World, champagne and surrounded by stacks of cash (casino winnings) littering the bed and uttered the infamous words “George, where did it all go wrong?”

At the onset of this (new) millenium Holy Wood (In The Shadow Of The Valley Of Death) (Nothing/Interscope) had Marilyn Manson positioned to complete his unprecedented rise to become the anti-saviour of rock. Hit singles, videos on heavy rotation, ground-breaking and critically acclaimed sell out arena tours with talked about stage shows, movie soundtracks, millions of album sales… he was the biggest and most successful solo rock artist, and poised to stride on steampunk stilts to the head of the rock world on a global scale.

At some point over the last fifteen years of distractions… of liaisons with burlesque super-stars, addictions, depraved and/or pornographic promo vids, drug and alcohol-fueled binges, (alleged) gang-bang parties, where persistently dumbed-down and creatively redundant farces dressed up as albums have seemed inconveniences with which to pay for his way of life … one wonders if there’s been a similar, recent, moment of clarity for Brian Warner that has stirred and inspired ninth album Pale Emperor (Hell, etc/Cooking Vinyl). As a man renowned for a debauched lifestyle, Warner’s reputation as an artist has plummeted significantly to the point that many have turned their back on him. Pale Emperor will have a tough task in getting those who have left the Manson family to return, but is it the album to do it?

Manson knows it is, yet what serves Pale Emperor well is its humility – comprehension and hunger returning to the Manson stable, a realisation that, as a middle-aged man, Warner wants to be a credible artist again, wants to show he can still do this, and do this better than most. Showcasing a stripped down, reimagining of the Manson sound, Pale Emperor achieves those aims. Enter the album expecting a medley of ‘Beautiful People’ or ‘Disposable Teens’ styled anthems and you’ll be left disappointed. Enter it open-minded, and you’ll discover a mature rock album, distinctive yet displaying a new austerity.

Based around Manson’s characteristic drawl and dirty, dirty bass grooves, ‘Third Day Of A Seven Day Binge’ is an undulating new classic to add to the MazMaz canon, while ‘Deep Six’ is the closest to those anthems of old, with a persistent bass snap mixing with garage rock and the trademark snarl, along with nods to classic 70’s Alice Cooper. Elsewhere, a vibe of filthy bass, simple drumming, dark sleaze, intelligent verses and understated choruses pervade. Noticeable by their altered state is how the guitars are used – rather than distorted chords juddering down, predominantly the album is flecked with cleaner tones; hints of Nirvana and Smashing Pumpkins, with strong elements of Americana redolent throughout.

‘The Mephistopholes of Los Angeles’ sees Warner croon “I don’t know if I can open up, I’ve been opened enough” in an autobiographical proto-punk influenced song that inherently suits a man who has always been a great storyteller; ‘Warship My Wreck’ recalls ‘Lamb of God’ (from the aforementioned Holy Wood) in its sparse and starkness; ‘The Devil Beneath My Feet’ is the grandson of Rolling Stones’ classic ‘Sympathy For The Devil’, while ‘Birds of Hell Awaiting’ kicks off with pure bass pornography, before jarring vocals descend the song hell-wards into an Americana swathed discordant grunge lurch.

While Born Villain took baby steps in the right direction and at least established Manson as a draw once again following his global jaunts with Rob Zombie, it was still beige wallpaper compared to the grotesque genius of his first four albums. …Emperor, on the other hand, is comfortably Warner’s best work since Holy Wood. Deserving plaudits in its’ own right, returning from the dead might not be so difficult after all… Indeed, as Manson himself spits on ‘…Mephistopholes…’ “Lazarus’ got no dirt on me, I’ll rise to every occasion”.

Welcome back, Marilyn.

 

8.0/10

Marilyn Manson on Facebook

 

STEVE TOVEY

 

 

 

 


Black Veil Brides – Black Veil Brides IV

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Guns N’Roses, Aerosmith, Whitesnake, Def Leppard, Iron Maiden, ‘Nothing Else Matters’, Skid Row, Red Hot Chilli Peppers, Bon Jovi, Billy Idol, Faith No More, Nirvana, Pearl Jam, Nine Inch Nails, Bowling For Soup, Korn, Slipknot… who was it for you? Who was your Gateway band? Maybe the list I’ve given shows my age a bit, but it makes a point. For people to get to their Indian’s and  Portal’s or even their Behemoth’s and Winterfylleth there needs to be something to guide them on their way and introduce them to the fold.

And just because we’ve (and I don’t mean Ghost Cult, per se) have decided there’s a “cool” line in the sand and the “mainstream” is above that line and therefore not worthy, or kvlt or true enough, doesn’t mean that it corresponds that there isn’t quality, valid, exciting and interesting music going on in the more commercial arena of our rock and metal world.

It also doesn’t mean there always is…

Perhaps Black Veil Brides IV (Lava/Universal Republic) is the wrong album to be having that discussion on, and perhaps that discussion should take place around Avenged Sevenfold, or more pertinently Mastodon, or Slipknot. Though what about non-Killswitch Engage “metalcore” and bands with slopey fringes and bits of emo? See, it’s OK to talk Mastodon, they were underground who got popular, and it’s OK to talk Slipknot, they’re allowed, but not Trivium. “We” have decided they’re not “real”. And we definitely can’t talk Black Veil Brides. They’re girlfriend metal. All image. Style over substance. All their fans are teenagers… I have a one word answer to that. Kiss. OK, all their fans may no longer be teenagers, but they were forty years ago. The biggest whores to image and commerciality are classic, timeless legends. Also, the more observant of you will have noticed the Motley Crue-dipped-in-tar look has quietly been banished to the back of the BVB wardrobe.

OK, context set, bullshit blustered, let’s address the album at hand. If you’ve consciously avoided Black Veil Brides, or never strayed onto rock radio or video stations, their sound is well established by now and there are no surprises in that respect. There are smatterings of more recent Disturbed and a load of metalcore-lite (but with the thrashy bits removed), all combined with Andy Biersack’s clean baritone that sounds slightly out of place, and, well, a little short of the presence you’d expect from a voice fronting one of rock’s big bands. He’s not even a David Draiman let alone an Axl Rose.

Where IV also falls down is that it doesn’t have the stand out track, the big anthem, that its predecessors had, as even best of the bunch, ‘Drag Me To The Grave’ falls short compared to the not-as-good-as-the-Poison­-song-of-the-same-name ‘Fallen Angels’, or their best song, and genuine quality rock anthem ‘In The End’. Without that big single to hang the album on, we’re left with a bunch of samey songs that are perfectly decent in their own right, but don’t make you raise your fist and yell…

While it is worth noting that BVB may be a gateway band for the many and the millions, it’s also worth noting that this is not the album to pitch this particular argument on. When considering the context of “mainstream” rock/metal albums, this doesn’t have the songs of a Ten Thousand Fists (Disturbed – Reprise), the swagger of a Hail To The King (Avenged Sevenfold – Warners), the intelligence of a Once More ‘round The Sun (Mastodon – Reprise) or the depth and genius of The Black Parade (My Chemical Romance – Reprise). It’ll do well for them, of that I’m sure, but in the annals of time it won’t even be held up as the first, second or even third best, Black Veil Brides album to date, let alone achieve any status higher than that.

 

6.0/10

Black Veil Brides on Facebook

 

STEVE TOVEY