Wizard Rifle – Here In The Deadlights


wizard rifle album cover

 

Wizard Rifle are back with the new album Here In The Deadlights with the promise to continue the demand of tearing down the conventional ways of music.

The album begins in an atmospheric way reminding post-metal soundscapes, but it ends to burst with a powerful and cacophonic rock with some sludge metal nuances. We also can find some punk influences, like in the track ‘Buzzsaw Babes’, but always with the sludge pinch in the song’s height.

The bass guitar has an important, robust and distorted presence helping the tracks to have a full and fat global sound, sometimes even accompanying the guitars. There are also two vocalists performing at the same time, but they don’t deviate a lot between each other – it’s like two in one. Once again, the punk guidance is very present in the vocal’s department.

In ‘Paul The Sky Tyrant’ we can attend to more traditional doom moments which go from the vocals themselves to the sluggish guitar riffs that are so characteristic of the genre. Still regarding this song, we even have time to witness a final passage delivered by twin guitars. In spite of the initial phase comprised by a weird and disturbing rock, the album evolves to a truly doom personality sometimes headed by a lead guitar without losing sight about the distorted and heavy background. Still, we will be pleased with a jazz oriented passage in the beginning of the track ‘Psychodynamo’ in which improvisation really seems to rule.

In the end, and after some listening, I believe it’s hard to label Wizard Riffle and in fact it’s always quite square when a band encloses itself in one single genre or style. Let’s say that Wizard Riffle are influenced by doom, sludge and rock, but always with an experimental vision and very unique of opened minds to the unknown that are commanded by the impulse of create the maximum discomfort towards the conventional.

7/10

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DIOGO FERREIRA


Wolf Blood- Wolf Blood


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The idea that metal has lost it’s roots is nothing new. I’m sure you’ve heard it too. The complaints that metal has become way too polished and stylized these days. A sound which no layer of grit on your latest vinyl can compete with. I understand why bands do it too, but if these people would just quit their whining, they’ll realize there are plenty of talented bands out there that strive for the same dirty ascetic of their predecessors, who just happened to have limiting recording options. Take the first release from psych doom stoners, Wolf Blood from Burning World/Roadburn Records for instance.

 

Recorded at Sacred Heart by Jake Larson in Duluth MN, the band seems to be making waves in a cross section of scene, calling on the interest of outsiders from other niches. Result of hipster culture holding Wolf Blood in their filthy grasp? In this case, I say let them have it and hop on the Wolf Blood train with them. 

I was in their neighboring Wisconsin recently, and trust me, the festivals that go through there and how it’s supposedly the origin of Thrash Metal in America according to some stoner dude I met on the street (not true at all,) Minnesota they can handle a lot more metal culture inside the scene and out. 

A powerful portrait is constructed in the first track ‘Witch,’ of a vengeful woman, tied to a cross and set a blaze. Lighting the precedent for this psychedelic, pagan blend of doom, Wolf Blood let the bass groves hang low and heavy, keeping the vocals to a happy medium. The solitary instrumental track, ‘Ochro Ologo’s’ menacing force pummels it’s way forward, paving the way for ‘Black Moon,’ which contains my favourite riff of the album. When you hear it, you’ll know. That driving force is relentless. If played to a different tuning, it could have been a Razor riff. 

‘Dancing On Your Grave’ was catchy as hell and remains my favourite on the album. Brian’s bass is prominent and playful. Jake’s wavering vocals sound semi-submerged as he handles the kit masterfully. Each guitar break leaves just enough space for the the next verse to flow or your head to bang in perfect rhythmic balance.

6 tracks long and an athame blade deep, Wolf Blood’s self-titled debut will fulfill your every need for raw, honest riffage, bass heavy mystery and properly recorded drums that don’t sound like plastic over everything else. For fans of Electric Wizard, Uzala, Mala Suerte, Acid King, Dopethrone and Demon Lung, check this band out! I have high hopes for them. 

 

9/10

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CHRISTINE HAGER


Midnight Masses – Departures


midnight masses album cover

 

Former …And You Will Know Us By The Trail Of Dead member Jason Reece is well known for being an Indie Rock enfant-terrible, destroying equipment and playing squalling discordant alt rock á la Sonic Youth. Yet with Midnight Masses, Reece has looked to produce more gentle, soulful material which still beats with the same black heart of his main act.

 

Manifesting in 2008, Midnight Masses have been labelled with many genres such as ‘Gothic Americana’ and ‘Grunge Gospel Folk Rock’. Truly there is no easy way to encapsulate this band into a catchy genre sound bite, and they are all the better for it. Singer Autry Fulbright’s take on his band’s multifaceted sound is “The sound of a city… In the middle of a desert” whatever that means.

 

Amassing over 14 members, Midnight Masses weave hazy psychedelic landscapes with some 1960’s atmospherics, Gospel vocal passages and Krautrock textures. Think Josh Homme, Neu! and Unkle jamming under an isolated desert sky and you’ll be close. As experimental as this all sounds, there are some very catchy tunes on Departures (Superball/Century Media),‘All Goes Black’ has a beautifully catchy chorus despite the melancholy overtones that permeate its every nuance. Since Fulbright wrote their debut to cope with the loss of his father, several other members of the group also experienced the loss of loved ones which accounts for the largely solemn feel.

 

Introspective and indulgent, painting with a myriad of styles Departures occasionally loses its way. When following the path of gothic alt rock on ‘Am I A Nomad’ or the surprisingly upbeat ‘Clap Your Hands’ provide a much levity from navel gazing to produce moments of true beauty. Undeniably talented, the overall impact is blighted by a lack of cohesion, leaving the mind able to wonder aimlessly when it should be focussed on the journey ahead.

 

Grief and loss have made some truly extraordinary records, yet the lack of clear direction towards either big city lights of earthy rural darkness leaves us somewhere in no man’s land.

 

6.0/10.0

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ROSS BAKER


Man’s Gin – Rebellion Hymns


Mans-Gin-Rebellion-HymnsAfter picking up Man’s Gin’s new record Rebellion Hymns at Maryland Deathfest while Erik Wunder took Cobalt on the road for the first time, I couldn’t wait to get home and play it. Their first album Smiling Dogs was an interesting beginning, though less complete than the new album upon first listen, a fact I attribute to the maintenance of a more extensive band line-up this time around. Their latest release through Profound Lore Records seems to have taken their compositions to the next level and blends so much into one tantalizing record; it’s difficult to know where to start if not the beginning.Continue reading


Dark Buddha Rising – Dakhmandal


Dark-Buddha-Rising-Dakhmandal-artworkThe fifth studio album from Finnish drone trio Dark Buddha Rising is intense, psychedelic and laden with doom. You won’t listen to this record as much as you will experience it; it’s a challenging voyage to set sail on, but is richly rewarding for those willing to commit from start to finish.Continue reading