Tag Archives: Self Released

Black Space Riders – Refugeeum

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When a band describes themselves as a ‘New Wave of Heavy Psychedelic Spacerock’, it really is hard not to be intrigued. Cue Black Space Riders, a five-piece band from ‘Space’ (well, actually Muenster in Germany, but I guess ‘Space’ sounds cooler). The psychedelic band formed in 2008, and Refugeeum (self-released/Cargo) is their fourth album.

Opening track ‘Vortex Sun’ is a fusion of progressive and psychedelic music, sounding unlike anything else in the music scene at the moment. Their unique style may seem strange, however, there is no deny that BSR are extremely talented. You may think that they would appeal to a rather niche audience, however, their music has been well-received by fans and critics alike.

It is hard to compare Black Space Riders to any other band in the music scene at the moment, however, it is clear that they are influenced by bands such as Black Sabbath and Pink Floyd, mainly due to the heavy yet mind-blowing riffs. It is almost as though they took a space-like/psychedelic twist on the classic metal genre.

It is easy to instantly dismiss music that sounds completely different from anything that you would usually listen to; however, if you enjoy unique and powerful music, then Black Space Riders may be your new favourite band. There is almost a stoner metal/doom element to their sound, which could easily appeal to fans across the progressive metal genre. Although their persona may seem strange or even tacky, Refugeeum is testament that you should not judge a band by their appearance: you may regret it.

 

8.0/10

 

JULIA CONOPO


Rolling Through The Universe – Lethe

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The arenas of sludge and doom metal are ones that have become ever more crowded, at a considerable rate it seems in the last few years and with a greater air and influence of Prog. In fact, since the likes of Neurosis and possibly even Yob took Prog rock influences into the gritty sound of doom there have been a plethora of like minded acts, most notably with Mastodon who took this thinking and rocketed to the top runs of the metal ladder. Thus it proves the unenviable task for the likes of stalwarts Rolling Through The Universe to make an impact on the scene, even though they show considerable prowess.

The band’s third album Lethe (Hidden Temple) sees Eric Wallace move from bass to second guitar and the introduction of new bassist Leon West and drummer Noah Leen, and with these changes seems to have come a more melancholic tone. Previous album Machines In The Sky (Hidden Temple), despite its overriding doom traits also showed vivid, melodic tinges which gave it an almost uplifting feel, whereas on Lethe these aspects, although still present appear increasingly buried. Instead Lethe focuses more on slower and noticeably heavier riffs and passages; proving more straightforward and perhaps easier to digest, yet still atmospheric.

Over their career Rolling Through The Universe have shown they are more than competent enough a group, but the problem lies in the overcrowding of the genre and making an impact. With Lethe’s more linear feel it’s difficult to see how it will truly stand out from the crowd. Fans of the genre will definitely find plenty to take from this, but sadly nothing they haven’t already encountered numerous times.

 

6.0/10

 

CHRIS TIPPELL


Unmothered – UMBRA EP

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For those who stopped paying attention to Mastodon when they started getting all proggy and had the nerve to feature twerking in their music videos, help is at hand from Austin, Texas power-trio Unmothered who churn out some seriously hefty sludge on new EP UMBRA (self-released), a blink and you’ll miss it slice of blackened southern riffs, pummelling tribal drums and angry, snarled vocals.

Featuring a mere three tracks, UMBRA is presumably stop-gap release before the trio get their arses in gear and record a new full-length. They already have one long player to their name in their self-titled 2012 effort, and fans of the dark, sludgey tones captured on that release will be all over this like a hillbilly on fresh road kill.

Opening track ‘Magnetar’, named after a neutron star with an extremely powerful magnetic field wields a seriously catchy riff that stops and starts between booming percussion fills before the band march off into the unknown with some vaguely Minsk-esque tribal effects giving things a primitive and primal feel.

Next track ‘Huntress’ is thankfully nothing like the lame mainstream wannabes of the same name, but instead features a selection of pounding riffs that fellow Southern grizzlies Black Tusk would sell their most potent moonshine for. Keeping still to this one is pretty much impossible so it’s probably a good thing it only lasts for just over two minutes.

Last up is the gradually building crush of ‘Scarp’ which toys around with a menacing discordant riff for a couple of minutes before wandering off into the swamp, replete with ominous background percussion, stark melodies and muffled spoken word before everything finishes in a blaze of glory that harks back to the glory days of Remission-era Mastodon.

Not content to blindly recycle the usual clichés of their genre but at the same time not straying too far from the path, Unmothered know it’s the riffs that matter and they have plenty of big dirty ones for you to cop an earful of.

 

7.0/10

Unmothered on Facebook

 

JAMES CONWAY


Beyond Dishonor – Generations EP

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Before you dismiss Beyond Dishonor as just another metalcore band, you need to look at exactly how far they have come without any record label or management help. Just a simple ‘google’ will show you that they played over 70 self-funded shows a year and that they have previously supported big names such as Whitechapel, Emmure and Chelsea Grin. Their hardworking attitude is something that many bands nowadays are lacking, and it is safe to say that their efforts have paid off in their latest release Generations (self-released).

Opening track ‘Heisenberg’ instantly proves that Beyond Dishonor have managed to nail all aspects of the metalcore genre; heavy music greats you from the first second of listening to it and the guitar riffs are very technical, which creates a unique pace for the song. Reese Dunlap’s vocals are extremely brutal and it would be interesting to hear how he manages to perform live.

‘What Clayton Bigsby Doesn’t Know’ is hard-hitting and furious, featuring angst-filled lyrics which merge perfectly with Reese’s vocals. The breakdown is anything but tame, appealing to head-bangers from all across the metal genre. Final track ‘God’s Greatest Gift’ is the perfect end to such a powerful EP but talent oozes out through every single song. The fast-paced and heavy riffs continue, making every song as impressive as the next. Despite only being six tracks long, this EP manages to showcase some of Beyond Dishonor’s greatest work and it proves exactly why you should give their music a try.

It really is hard to call Beyond Dishonor anything but talented, even if you are not a fan of metalcore music. Their hard work and effort shines through in Generations and it is easy to see exactly why they have previously supported or been on tour with so many popular bands.

 

8.5/10

Beyond Dishonor on Facebook

 

JULIA CONOPO


War Iron – Precession of the Equinoxes

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From highly-rated Belfast quartet War Iron comes a morose, ponderous noise infected by the pure evil of Andrew ‘Baggy’ Bagwell‘s nefarious, slurring rasp. Dual leads pluck the heartstrings at intervals through the crushing riff and crawling, titanic rhythms of ‘Bludgeon Lord’, the opening track of third album Precession of the Equinoxes (Independent). A warm, crackling production heightens the sinister feel and prevents the quickening bridges from exploding into a full-on Death assault; instead applying the reins enough to make one marvel at how such a precariously-balanced pace is kept.

The desolate peal of ‘Summon Demon Scream the Abyss’ is initially accompanied by a penitent chorus before that terrible lascivity seeps over the body; a funeral groove, twisting with the slowing power and weight of a dying anaconda. Baggy’s repetitive early vocal has the sneering perversity of ex-Lord Mantis‘ screamer Charlie Fell, the track fizzing and swelling with all manner of sadistic sorrow. The introductory bass notes of the title track cause concussion, some unsettling low growls whispering around the floor before the most fetid scream tightens the sphincter: whilst colossal, almost Blackened riffs make the tension nigh-on unbearable. Oddly-pulsing leads at the mid-section combine with bone-crunching rhythmic gymnastics and brutal chops to the coda, all the while staying close to the Doom template. Closer ‘From Napalm Altar’ sees a return to that funereal hostility: the intermittent quiet moments filled with eerie language, setting the teeth on edge for the forthcoming bludgeon; every chord, note and single beat flung from Thor’s Hammer; the accompanying roars and rasps the embodiment of despair and terror.

Finally, the UK has a contender in the Blackened Doom market. Although the winding noise of an Indian or Coffinworm is absent, it’s replaced by an Ophis-style mournful tolling which adds to the ominous feel rather than detracting attention from it. The resonant, single-kick sequence closing this fine, startling album chills the spine, and leaves the feeling that nothing good will ever happen again. To Serpentine Path: if you want to scare the shit out of people at a snail’s pace, this is how you do it.

 

8.5/10

War Iron on Facebook

 

PAUL QUINN


Wilderun – Sleep at the Edge of the Earth

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Sleep at the Edge of the Earth (self-released) is the second album by Wilderun, a Folk Metal band from Boston, Massachusetts. They aim to not only play Folk Metal that can hold its own against the great European bands, but that also incorporates some of the American Folk traditions.

The opening number, ‘Dust and Crooked Thoughts’ immediately brings about that folky feel with acoustic guitars and running water, and is a very serene opening to the album, mirrored by the beautiful ‘Sleep at the Edge of the Earth’ that closes the album. Following on the introduction come the bulkiest bit of this album: the tetralogy of ‘Ash Memory’. These four songs are connected but all have their own distinct feel. ‘And So Opens the Earth’ is very bombastic, while ‘Hope and Shadow’ is very peaceful and gentle. ‘Bite the Wound’ is out and out Metal, while ‘The Faintest Echo’ has a very dark sound. Besides this wildly varying but effective tetralogy, I especially like ‘The Garden of Fire’, which is a very heavy song and has really interesting melodies and lines that really caught my attention.

Sometimes when a band tries to merge all their favourite styles of music together they end up falling on their face, but not so with Wilderun. For me the key word of this album is balance. They highlight an acoustic guitar in the midst of an onslaught of metal, and add all the heavy edges to an atmospheric folk section. The different vocals styles – regular vocals, chant-like vocals, and grunts – are always in perfect harmony with the music they feature in, and that’s exactly the way I like it. In fact, I frequently found myself grinning with joy at a particularly good riff or vocal line, because this album is a lot of fun.

 

8.0/10

Wilderun on Facebook

 

LORRAINE LYSEN


Eschar – Nova

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When it comes to instrumental outfits, metal bands tend to tread a fine line between fret wankery and songs with actual resonance and heart. In their short existence, Woking’s Eschar have sat firmly on the right side of this tightrope whilst forming a strong reputation, perfectly encapsulated on their latest release Nova (self-released).

Eschar’s sound is one that invokes the dreamlike serenity of progressive metal and post genres; never daunting or overpowering, whilst proving almost purely ambient in part all the while retaining emotional power. Album opener ‘Aphotic’ really embraces the softer elements of such music, proving a comforting, mellow opener which slowly reveals the rest of the album’s busier sides. Further revealing shades of progressive metal’s more technical counterparts, Nova shows intricate layers which even bring to mind the softer sides of the likes of Tool and A Perfect Circle. This technical underbelly never proves inaccessible however, making this an easy listen for newcomers with plenty of deeper segments to find for those with a more trained ear.

Nova is an impressive feat which manages to hold a strong emotive presence despite the lack of vocals, proving an embracing and even comforting effort. Yes some people may be put off by the sheer duration of some songs, most of which surpass the 5 minute mark; but there is no one with an interest in prog or metal that shouldn’t find some pleasure in this. Whether it is to fill the background void, or to totally immerse oneself in, Nova is an archetypal effort in music that is not in your face, but is simultaneously hypnotic and drawing.

 

8.0/10

Eschar on Facebook

 

CHRIS TIPPELL


Obsolete – Riven

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Obsolete is a Dark Progressive band from Ohio, and Riven (self-released) is their second EP. It has four songs, the last of which was released in a slightly different form on their previous EP, Ockham’s Razor (also self-released).

While the balance of the instruments is quite good, the vocals aren’t so much mixed in as put on top of the music. While I like the clean and full sound of Dan Rivera’s voice, it doesn’t work very well when he sings high and fast, which he does in ‘Grey’ and ‘Seven Years’. I think this has to do with the vibrato, which makes it sound like he’s uncontrolled and a little out of tune at the end of short notes, as well as a certain nasal quality that sometimes seeps into his voice. A longer sustained note at the end of his lines might alleviate both this and the sense of abrupt ending. The vocals do sound much better when they are slower, such as at the end of ‘From the Beginning’ and ‘Barren’.

I enjoyed the bass lines, especially on ‘Grey’, and the drumming is solid and tight. Both the electric and acoustic guitars generally sound good. However, ‘From the Beginning’ varies between different styles in a disjointed way, and even in the intro when the band comes in it is just not tight enough to be entirely comfortable. I did enjoy ‘Barren’, as the transitions between soft and hard are good and the backing vocals work well.

While there are definitely a lot of good elements on this EP, there are also a few glaring mistakes that should the band should have picked up on when listening to the recorded product, as there are a few notes in every song that could have done with a re-take. All in all, it sounds like the band rushed to produce an EP instead of taking the time to unlock their full potential.

 

4.5/10

Obsolete on Facebook

 

LORRAINE LYSEN

 


Vod – Tuurngait

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Tuurngait (Independent/self-released) is the second album from Quebecois one-man project Dave Tremblay, otherwise known as Vod. I tried to locate the font or alphabet the album’s titles are primarily given in; really I did. But I have a life, my wife and daughters were beginning to forget me, so enough: you’re getting the inuit-looking subtitles instead.

It’s a slow beginning but a crushing one, the brewing portent of opener ‘Inutuuvuq’ exploding into a sludgy morass of noise. The delightfully nasty atmosphere is graced by curious and inventive jazz structures especially in the soft, trumpet-led interludes of ‘Unnusarataaq’ and ‘Aqhaq’, displaying a creative freedom which initially proves compelling and magnetic, if a little difficult. ‘Itji’ shows a leaning toward the more progressive Post aggression of Isis and Cult of Luna with subtle, gradually swelling interludes, those freeform undercurrents not quite reaching Mathcore complexity but twisting the sound through a number of polyrhythmic stages.

The album really gains identity when the pulverising rhythms and swirling, plunking basslines kick into the riff and Tremblay’s terrible roar. The soft noodlings of ‘Ikuma’ are surrounded by barely controlled, brutal intensity, perfectly characterising the capricious moods of the sound; some phenomenal stickwork morphing grotesque atmospherics, robotic sampling and eerie tones into a somehow cohesive whole.

Unfortunately, Tremblay’s undoubted talent appears to grow too self-indulgent for his own good. The gradual influence of strings and a developing harder edge isn’t enough to detract from the fact that this evolves into an experience only fully enjoyed by the real muso. This apparent need to display technical ability starts to supersede song structure and by the closing, oscillating horror of ‘Unnuak’ it’s begun to grate rather seriously.  It’s staggering stuff of course, the quality cannot be denied, and there remain shows of power from the drums at least, but the rambling complexities wash away much of the interest long before the lazy horns of the closing ‘Anirniit’. Dampening that early promise, Tuurngait proves to be just too much hard work.

 

5.5/10

Vod on Facebook

 

PAUL QUINN

 

 


Killer Refrigerator – The Fridge and the Power It Holds

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Ladies and Gentlemen, we are, apparently, at war. Not the sort of war that has been on your television news broadcasts, but with technology and appliances the world over. So say the slightly crazed minds of the creators behind Killer Refrigerator. The Fridge And The Power It Holds (Independent/self-released) is KR’s second album of scatalogical humour set to an old school death and thrash metal soundtrack that is every bit as bonkers as you might have already begun to suspect.

Kicking off with ‘Terrorvision’, I had a mental image of black drainpipe jeans, white high tops and old Stormtroopers of Death t-shirts as the band dive headlong into an absurd, whirligig of frenetic thrash metal and punky vocals . We move into more mid-tempo classic thrash territory of ‘Slaystation’ which is eerily like early period Nuclear Assault and no bad thing in my mind. ‘Shower Thrashing Death’ is two minutes of aural stupidity but I mean that warmly. Let’s be fair, any band that calls a song ‘Shower Thrashing Death’ and has a lyric that proclaims the coming of the “toilet gods” and how we will all “bow down to the toiletries!” is not exactly taking itself too seriously. And neither should we.

There’s an echo of Kerry King running through ‘Slave to the Easy Bake’ and a bassline that Dan Lilker would have been proud to call his own. On the title track, it’s totally apparent that this band have a complete love of thrash and death metal that despite the obviously stupid nature of all of this, it’s done with a large degree of love and affection.

In much the same way that Evil Scarecrow have appropriated and twisted the black metal genre then so Killer Refrigerator have taken old school thrash, horror tropes and high school humour and created a small part of the musical universe that is uniquely theirs. It’s unequivocally lightweight and a bit samey in parts: there is only one joke here and whilst it’s amusing enough, you can’t possibly keep on telling it without it wearing a little bit thin. There’s a level of inevitability about that but whilst it’s here, the band are smart enough not to outstay their welcome.

Fresh, stupid, silliness.

 

6.0/10

Killer Refrigerator on Facebook

 

MAT DAVIES