Tuesday, 24 May 2016

Nick Menza- “Rest in Power (Polaris)”

By Richard Maw




Another weekend and sadly another hero of the metal world passes on. Nick Menza was undoubtedly up there with the most influential metal drummers, but his shift behind the kit is now over at the age of 51. His influence is in part due to the fact that Megadeth were multi million sellers at their peak, of which he was a major factor, and in part due to the quality of his playing. I have no doubt that Tommy Lee inspired a lot of drummers... but he is no Nick Menza.

Menza joined Megadeth for one of the best (maybe the best?!) thrash albums of all time: “Rust In Peace”. Not enough good things can be said about that record, really. Great riffs, great songs, fantastic playing and youthful energy to the whole album made it a snarling and dangerous beast. From “Holy Wars... The Punishment” Due through to the quasi title track, every track counted (even “Dawn Patrol” is very enjoyable!) and Menza stamped his authority all over the record. His performance on each song is stellar; it is tight and focused, with flair in the right places: but never does he over play and resort to constant fills. The beats are rhythmical and with chops, but not ridiculously techy. He didn't feel the need to smother everything in double bass drums, either, choosing instead to use the bass drums for accents and little flourishes in a similar manner to a jazz player.

“Countdown to Extinction” was my introduction to the band back in 1992 and still holds up as a genre classic today. It was seen at the time as a little bit of a sell-out. Unfair, with hindsight. It is a metal album to its core- albeit one infused with melody and... hooks (not necessarily in mouth!). Nick opened the record in great grandstanding style with hands and feet in perfect call and response for “Skin O' My Teeth” and his performance on “Ashes in Your Mouth” is still a marauding animal nearly twenty five years later. He played with economy here too. Listen to the verse sections on “Skin O' My Teeth”.  Fills? Nope. Cymbal crashes? Occasionally, and expertly placed. If “Rust In Peace” was a tech thrash tour de force, then “Countdown…” represented a kind of AC/DC version of thrash metal. Enough songs for casual listeners to be brought in, but metal enough to keep the ardent metal head happy.

I personally love the “Youthanasia” record a lot; many don't. I looked forward to its release, excited by the fact the band had built and equipped their own studio in Phoenix (Fat Planet, as I recall?) and were working on beefing up the sounds. Beef up the drum sound they did... the songs were not as muscularly toned, though. The record was melodic and the band only opened up the throttle on the last track (“Victory” is still awesome, what solos!) but there was grit to be had in “Reckoning Day” and the groove Menza laid down in “Train of Consequences” was and is immense! “Black Curtains” is also an overlooked gem. Weighty stuff.

“Cryptic Writings” passed me by a little at the time- I had moved into more extreme musical climes- but when I got around to it in 2002 I was pleasantly surprised. Megadeth delivered a good radio friendly metal record with hooky stuff such as “Trust” and some more metal material such as “She Wolf”. Not a fantastic album to my ears, but the band were playing well. Sadly, with Marty Friedman leaving the fold, things unravelled until the new millennium and renaissance for Mustaine- albeit with a revolving army of side men. It was ever thus, except, of course for the time when Menza anchored the band and contributed to making them the second biggest metal band on the planet.

As a young drummer, he influenced me; working out “Holy Wars”, playing the “Reckoning Day” groove and so on. Even today, I regularly play the “Addicted to Chaos” intro when I have all the toms set up on my kit: feet doing semi quavers and hands paradiddling each other in call and response. Nick Menza was a talented and tasteful drummer, no doubt about it and his body of work is testament to that. He left a fine musical legacy behind and one that will be dipped into by drummers of all levels for a long time to come. As a musician, you can't ask for much more than that. After all, what we do in life echoes in eternity, as they say.

Monday, 23 May 2016

King Buffalo - "Orion" (Album Review) & Exclusive Song Premiere

By: Victor Van Ommen

Album Type: Full Length
Date Released: 05/08/2016
Label: Independent


King Buffalo’s music borrows as much vibe from All Them Witches as it does the headspace that Colour Haze finds themselves in. King Buffalo’s music is concise but it’s also psychedelic and free. Each note is hit with diligence, the builds take their time to unfold and every moment of these 45 minutes contributes something to the greater picture.  “Drinking from the River Rises” summarizes “Orion” neatly and therefore makes for a solid conclusion to this very impressive debut

“Orion” DD//LP track listing:

1). Orion
2). Monolith
3). Sleeps on a Vine
4). Kerosene
5). Down from Sky
6). Goliath
7). Orion Subsiding
8). Drinking from the River Rising

The Review:

In Greek mythology, “Orion” plays the role of a hunter. So when King Buffalo’s album opens by taunting “Orion” with the lyrics “Orion can you hear me?” I can’t help but think that this band from New York have taken on the courageous task of writing a concept album. This is merely speculation, but I do believe that the band is telling the story of a hunt - told from the perspective of the hunted - complete with ritualistic sacrifice. Themes of life, death, surrender, victory and sweet release are explored during this story, one that weaves its way through these nine fantastic psychedelic rock songs.

The fact that there’s a concept running through “Orion’s” lyrics is enough to keep me coming back. The meaning of the lyrics falls differently with each listen, let alone how they come across when being read from the lyric sheet. Singer Sean McVay may not have the most impressive pipes in the business, but he sure does know a thing or two about delivery and phrasing, and the effect this has on the meaning of the songs.

King Buffalo’s music borrows as much vibe from All Them Witches as it does the headspace that Colour Haze finds themselves in. King Buffalo’s music is concise but it’s also psychedelic and free. Each note is hit with diligence, the builds take their time to unfold and every moment of these 45 minutes contributes something to the greater picture. How this album is mixed underscores King Buffalo’s mission in pulling the listener in; the bass and drums sit out front and pound away as the guitars float below the surface, subtly grabbing hold of the lead, begging the listener to tune in closely in order to hear everything.

Like we’ve come to expect from bands in this genre, “Orion” covers a lot ground. The introductory build of the opening track takes two and a half minutes to get going and only then are the first lyrics uttered. By the time the album has hit its halfway point, everything from spacey guitar solos to the deep, bass-led groove of “Kerosene” has passed by. The swaying in “Sleeps on a Vine” lives and breathes, breaking free from the emotive heft during the song’s infectious chorus.

The album’s (soon-to-be) Side B leads in with a beautiful piece on the acoustic guitar. Steady drumming in the song’s back half is reminiscent of All Them Witches’Call Me Star,” but King Buffalo quickly take back control of their own musical landscape with a wash of echoing guitars in “Goliath.” Lyrically, things get pretty spiritual at this point as McVay tells of rising to the heavens to the tune of the guitars running a victory lap and the drums crashing away with reckless abandon

Album closer “Drinking from the River Rising” pulls everything back together. It pushes past the nine minute mark, and does so by pulling out all of the stops. The ground that King Buffalo covered in the eight preceding songs gets mashed together into this one. An interesting choice that strays from the band’s credo of giving each song the time and space to develop one idea at a time, but “Drinking from the River Rises” summarizes “Orion” neatly and therefore makes for a solid conclusion to this very impressive debut.

Do yourself a favor and hit play on the Exclusive Song Premiere of the opening track "Orion". Enjoy.

Orion” will be out on 5/08/2016 but is available for pre order here

Band info: bandcamp || facebook

Sunday, 22 May 2016

The Sludgelord "Sour 16" for April 2016


The Sludgelord’s ‘Sour 16’ is back to present another selection of the finest riffs around.  You know the deal, each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, the ‘Sour 16’ are the records that have been trending the most at Sludgelord Headquarters.


The results are compiled based on page views alone and calibrated into the list below. So roll up, kick back, chug a beer and Hail the riff! All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in red)

16). The Texas Chainsaw Dust Lovers – “Me And The Devil” (236)

The band draws from the excitement of (early) QOTSA, mixing it with a shot of CKY and Turbonegro’s go-get-‘em attitude, making for a highly intoxicating party cocktail. They channel Clutch by way of Puny Human – lots of groove but the swing is calculated – and throw in some southern touches for good measure.  “Me and the Devil” is a fine example of forward thinking stoner rock without being self-absorbed or dipping into prog territory. Dig in and enjoy it.





15). The Body & Full of Hell - "One Day You Will Ache Like I Ache" (246)


One Day You Will Ache Like I Ache” is a nightmarish journey to the outer limits of sound; a cold, dark creation of cathartic noise almost entirely devoid of standard structure.  Covering so much ground over the course of a single album could easily make for a messy, disjointed experience. Somehow The Body and Full of Hell manage to pull these disparate styles and approaches together to make a coherent and consistently unsettling record.  “One Day You Will Ache Like I Ache” is every bit as terrifying as you would expect from these two trailblazing acts.





14). Hatespirit – “Blood & Poetry” (293)


This year is already a strong one for black metal, but ‘Blood & Poetry’ is good enough to be in the top tier of black metal albums released so far this year.


13). Cult of Luna & Julie Christmas - "Mariner" (300)

While both artist’s individual talents are showcased this effort never feels like the two artists were unfamiliar with each other. Rather, this album can trick you into thinking this is one artist rather than two. There is an utter lack of competing sounds, styles, or egos. The spotlight is entirely shared and makes “Mariner” a highlight of a how a seamless collaboration record can sound.


12). Rorcal – “Creon” (313)

'Πολυνεκης' leads the way with its jagged, maelstrom of a riff, 'ντιγνη' washes over you with its 'Criminally Insane' like drum intro. Blast beats are plentiful as the hellfire riffs spew lava in every direction. The intro of 'Αμων' draws you in with its brooding, darkness before it rages violently into oblivion with nods to the older gods and 'Ερυδκη' phlegmatic in its delivery, is a chunk of pure bludgeoning darkness.  This record is that good, I'm willing to go out on a limb and call it an album of the year contender. Much like the Hivelords last year; Rorcal have pushed their own envelope further and further into the realms of possibility and although they may dwell in darkness, the future is bright





11). Fister & Teeth – “Fister / Teeth” Split (319)


Fister have a knack for finding excellent bands to do spilt releases with and this is no exception. Their brilliant track 'We All Die Tonight' is a thumping, gnarly affair, grinning with vehemence and contempt. Teeth weigh in with 2 tracks, the latter of which 'To Lay Upon Blistered Thorns' is a downright horrible piece of music in the best possible way!  Both bands know how to make the most of a limited amount of time and manage to fill it with devastatingly heavy music. A brilliant release worthy of anyone's interest or indeed money.




10). October Tide – “Winged Waltz” (320)


The music is more rhythmically and tonally diverse than an album of this style would have been all those years ago, but the band’s ability to craft compelling songs that alternate between being sorrowful, bleak and, beautiful as the song requires it, remains completely unchanged.  October Tide do a great job of sounding like they’re of the here and now while keeping true to what people loved about them in the first place. The warmth of nostalgia and the desire to keep up with the times can both be harsh mistresses, but October Tide serve them both well, and the result is an abundantly satisfying album.




09). Boudain – “Way of the Hoof” (348)

Heavy Blues bolstered with some low tuning and fuzzed up crunch allow Boudain to cruise through their new album, “Way of the Hoof”, like the biggest gator in the bayou.





08). Aborted – “Retrogore” (366)

The story of ‘Retrogore’ is that of an album that creates memorable moments, rather than relying on pure heaviness and technicality.  There is plenty of variety from song to song, with Aborted showing that they’ve found a way to come up with new ideas without throwing their standard strengths as a band out the window in the name of progress. On that basis, Aborted are undeniably at their best on this album.


7). Joy - "Ride Along" (414)

Joy is an honest to goodness, blown-out blues band. They’re like a ZZ Top tribute band sucked through a time warp vacuum and then played at warp speed.


6). Grave Miasma - "Endless Pilgrimage" EP (424)

“Endless Pilgrimage” puts them streets ahead of many of their deathly peers and frankly If you enjoyed Cruciamentum's debut album and are looking for a different take on death metal from the British Isles, this should be your next stop. Deliciously dark and very good.




5). Rising – “Oceans into their Graves” (465)


Armed with fat, sledgehammer riffs, crafty harmonies and glorious vocal melodies bigger than any giant David and his pesky slingshot could handle, with ‘Oceans Into Their Graves’, Rising have created a monster.




4).Ihsahn - ‘Arktis’ (479)


By and large, this album doesn’t have enough of what made Ihsahn different to keep it from blending into a number of other prog metal albums you might have heard over the last five years , but to get to the heart of the matter, if you’re already a fan of Ihsahn’s more recent output you should enjoy this as well, the songs fit in nicely within that style, and with more concise songwriting to boot. However If you’re like me, and you tend to favor the man’s earlier work, it’s worth hearing for the sake of appreciating the musical talent on offer, but you may be left cold by the overall direction of what you hear.


3). Valley of the Sun – “Volume Rock” (494)

Now left to their own devices, Ryan and Aaron have managed to sail their ship to areas previously unexplored, refining their sound in the process. They are no longer a band that just plugs in and blasts; there’s a sense consciousness here like they took their time. And though they still blast speakers open, they do so not only with purpose but also tact.




2). Surgical Meth Machine – “Surgical Meth Machine” (533)


1). Moonsorrow –“Jumalten Aika” (653)

Moonsorrow has long been one of the more diverse, dynamic, and powerful bands associated with the black metal genre, and ‘Jumalten Aika’ will only build upon that reputation. While it’s certainly a mix of the band’s past and present, it’s also often at times catchy in a way that the band hasn’t always been before. You won’t find an ounce of filler on this album, and for a band predisposed to songs of fifteen-plus minutes, it’s always a remarkable achievement. ‘Jumalten Aika’ eclipses its predecessor, sitting comfortably beside the best albums they’ve ever created.


A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  April’s “Sour 16” features reviews by, Chris Bull, Philip Weller, Richard Maw, Daniel Jackson, Victor Van Ommen, Charlie Butler, TJ Kliebhan, Mike Wilcox and Hunter Young

Friday, 20 May 2016

Grand Magus - "Sword Songs" (Album Review)

By: Richard Maw

 
Album Type: Full Length
Date Released: 13/05/2016
Label: Nuclear Blast

 
 
This is certainly their best and heaviest record since “Iron Will”- going one better than “Triumph and Power” (all the way to 11!) and several leagues ahead of “The Hunt” and even the very good “Hammer of The North”. They are one of the best metal bands in the world today, no question. In fact, if you look at their discography, they may be one of the best of all time. An idle boast? How many bands can you name who have four or more classic albums to their name? Grand Magus' tally now stands at five. An impressive spectacle of might.
 
 
“Sword Songs” CD//DD//LP track listing:
 
1. Freja's Choice (3:59)
2. Varangian (3:41)
3. Forged in Iron - Crowned in Steel (5:38)
4. Born For Battle (Black Dog of Brocéliande) (3:41)
5. Master Of The Land (3:51)
6. Last One To Fall (4:00)
7. Frost And Fire (3:16)
8. Hugr (Instrumental) (2:07)
9. Every Day There's A Battle To Fight (4:30)
 
The Review:
 
One of the greatest bands in heavy metal return with this, their eighth (!) album. Starting out as a more bluesy/stoner rock outfit, Magus went through trad doom on “Monument” and transitioned to being something altogether more... traditionally metallic from “Wolfs Return” onwards. Indeed, after the shaky (in my view) “The Hunt”, the band hit a real return to form with “Triumph and Power” back in 2014. Essentially, “Sword Songs” is a continuation of “Triumph and Power”, but with some new elements. After all, the band has often experimented with their sound so it should come as no surprise to hear the nods to Slayer in the record, or the more extreme elements in the riffing generally.
 
Once again, the Kings of Metal influence proceedings here. You may think that Manowar are ludicrous, they may be easily lampooned... However, they are also one of the greatest metal bands of all time and embody the genre in all its glory AND ridiculousness. Grand Magus channel those heavy metal gods to perfection here (even more so than on “Triumph and Power”).
 
The opening “Freja's Choice” sounds like Magus imbued with the spirit of thrash via the Valkyries referenced in the song. “Varangian” (look it up; an interesting historical feature of the Vikings was how far they actually travelled) has the Manowar influence writ large- big chorus, big riffs. Straight away, the memory of the hard rock of “The Hunt” is banished in favour of metal anthems with muscles of steel.
 
“Forged In Iron- Crowned In Steel” is even more over the top. This is Grand Magus 2016; take Priest, Manowar, Dio-era Sabbath and mix them together and this is what you get. Glorious and anthemic, this material is some of the band's best! Cracking solo, great vocal in the middle eight, too. The production is stellar- live sounding with a killer drum sound that is both live sounding and polished. Ludwig Witt turns in a tour de force performance as per, Fox supplies his usual gnarly bass lines and tones while JB excels in riffs, solos and vocals (the true heir to Dio in our world, as it goes). The trio are firing on all cylinders this time around.
 
“Born For Battle is catchy in the extreme; no subtlety, no dynamics. Just power. “Master of the Land” again references more extreme fare in the opening riffs and throughout the song. It is great to hear the band expanding their sound a little- the record is certainly more aggressive than “Triumph and Power” and certainly on a par with “Wolfs Return” or “Iron Will” for bombast.
 
The nine track playing time plays to the band's strengths; each track is focused, lean and mean. There is no filler here, the album can easily be digested in one sitting and there are lots of riffs, changes and nice production touches to savour. With the faster material, such as “Last One To Fall”, the Priest trick of chords for the verses while the more intricate riffage is to be found without vocals. Superb breakdown section as well.
 
Frost and Fire is a rollicking ride through a great vocal hook and expertly crafted verses and a great chorus. This is truly heavy metal of the finest quality and of such a vintage that had it been released in 1984 would have conquered the world, no question. You might have thought that heavy metal bands no longer made records like this, but if Iron Maiden don't, then Grand Magus do.
 
The obligatory instrumentalHugr” follows and sets the tone for the rather maudlin “Every Day There's A Battle To Fight” which makes a very fitting end to the record; the aftermath of the carnage of the battle is to be found here. To say that Grand Magus have excelled themselves is accurate. This is certainly their best and heaviest record since “Iron Will”- going one better than “Triumph and Power” (all the way to 11!) and several leagues ahead of “The Hunt” and even the very good “Hammer of The North”. They are one of the best metal bands in the world today, no question. In fact, if you look at their discography, they may be one of the best of all time. An idle boast? How many bands can you name who have four or more classic albums to their name? Grand Magus' tally now stands at five. An impressive spectacle of might.
 
“Sword Songs” is available here
 
Band info: facebook

Thursday, 19 May 2016

The Sludgelord Video Premiere - "Berserk" by Deadlock



Deadlock have always been about extremes – and always will be! Fans love these Germans for every emotional force run through the raging depths of death metal, technical prowess, borderline pop-laden melodies, nods to classic metal, and casual flirtation with trance and beats. As expected, their new album “Hybris” turns out to be a multi-faceted monster in terms of both shape and content – and at the same time painfully digs through the last events in the Deadlock camp. Despite the tragic death of founder and drummer Tobias Graf (immortalized with a minute of silence on the album) and the departure of singer Sabine Scherer (now replaced by Margie Gerlitz), the megalomaniac creative urge could not be suppressed.

2016 sees Deadlock rising from the ashes, scarred, but heads held high. “Hybris” finds its inseparable counterpart in a 90 min DVD documentary 'The Longest Road' that translates the album concept to visuals. A gripping and blunt rollercoaster ride that sees light in the blackest night – and that is something only Deadlock can achieve!  Today at The Sludgelord you can check out the premiere of their first new song “Berserk” and John Gahlert’s thought of this new track. 

„Releasing our first new song “Berserk“ is a dream come true for all of us, but at the same time the end of a long journey, aswell as the starting point of our new path. Never before has a DEADLOCK song been so important for every single bandmember, never before did we invest so much blood, sweat and tears for a video. “Berserk“ is the first official song with Margie Gerlitz as our female vocalist and we’re very excited to see whether our loyal supporters will feel the depth in her voice just as we do…“ John Gahlert (Vocals


You can pre-order "Hybris" now! https://shop.napalmrecords.com/deadlock



“Hybris” CD//DD track listing:

01. Epitaph
02. Carbonman
03. Berserk
04. Blood Ghost
05. Hybris
06. Wrath / Salvation
07. Backstory Wound
08. Ein Deutsches Requiem
09. Vergebung (Acoustic Instrumental)
10. Welcome Deathrow
11. Uncivil Hands (Morning Again-Cover)
12. Fight Song (Marilyn Manson-Cover)

Band info: facebook

Wednesday, 18 May 2016

Wolvserpent - 'Aporia:Kāla:Ananta' (Album Review)

By: Richard Maw

Album Type: Full Length
Date Released: 04/03/2016
Label: Relapse Records



'Aporia:Kāla:Ananta' CD//DD//LP track listing

1). 'Aporia:Kāla:Ananta'

 
The Review:

While technically billed as an EP, this single track of unsettling ambience spans 40 minutes, thus making it a full length release in my eyes. Naturally, it is rather difficult to review such a piece as this. There are no hooks. There are some riffs. There is sound, mood, texture and production to home in on.

That being said, I can look at the piece as a whole or as movements... The three part title suggests the latter, perhaps. Certainly, the two piece have conjured up a sinister series of soundscapes with violin, percussion/drums, guitars and other more abstract sounds. Just before the nine minute mark comes the first recognisably “metal” section- don't expect Cannibal Corpse- but of course the track moves forward from there beyond the distant vocals and layered strings. There are some VERY doom laden sections here, too, which fit well with the ambient and black material on offer.

Essentially, your interest in this type of thing will be piqued if you like the above description. If you don't like ambient/black metal/doom with a very avant garde approach, you probably won't enjoy this. However, if you want something very different, very unsettling and, yes, very heavy: this is for you.

“Aporia:Kāla:Ananta” is available here

 
Band info: bandcamp

Trevor's Head - "Tricolossus" (Album Review)

By: Phil Weller

 
Album Type: Full Length
Date Released: 26/02/2016
Label: Independent

 
 
As it is, there are some killer songs on here – namely ‘Blood Moon’, ‘Idiot Time’ and ‘Ordinary Kind’ – but it still feels like there is room to grow for this band. Yet, as their track record suggests, they seem locked in a state of perpetual evolution and experimentation, and for that, they have to be lauded.
 
“Tricolossus” CD//DD track listing:
 
1. Blood Moon
2. Government Whores
3. Deep Blue Fish
4. Idiot Time
5. Ordinary Kind
6. But A Scratch
7. I Had Dreamt I Was Man...
8. Pan-Galactic Peaceniks
9. Roll It Over
10. 21 Tonnes
11. Casa De Eduardo
 
The Review:
 
Tricolossus’, as the title of this Redhill power trio’s first full length release suggests, is a veritable threesome of mighty sounds. Combining here is grimy grunge, hazy stoner rock and puncturing, aggressive punk. Yet, despite such opposing forces vying for your aural G-spot at all times, the multitude of fumbling hands only heightens the sense of pleasure that diving into bed with this album portrays. Too many cooks can indeed spoil the broth but here each song progresses with a fluidity that justifies their multi-faceted means.
 
Taking the templates of their almost pop punk debut EP ‘Juice’ and it’s heavier follow up, ‘Otherside’, they have here found a way to make several musical styles feel at home alongside each other without the music feeling disjointed, convoluted or confused.
 
Take a song like ‘Ordinary Kind’ which begins with a repetitive, chugging bass line and moody, atmospheric drumming; which leads you by the hand into an ear-worm in the making chorus, complete with lofty ‘ooh aahs’. That’s all before the final chapters are dedicated to a punk-edged, furious battle scene of rapid fire guitars and ambitious, layered acapella vocals which later cry out over the fading remnants of the battle. While the vocals may not be spectacular – more outer than inner bullseye in terms of execution – you cannot fault their desire to push their own boundaries and are taking on a task that many other bands of their ilk would cower away from.
 
But A Scratch’, conversely, merges a fast paced aggression with a melodious chorus; an intricate, detailed bass line colouring the background beneath. Alongside the Clutch meets Fu Manchu on happy pills boogie rock of ‘Deep Blue Fish’, it represents a moment where it all comes together with a convincing gusto.
 
Blood Moon’, which opens the album, is founded upon an evil blues shuffle on top of which the vocalist really makes his own. It’s a stanch introduction – the progressive interlude of the middle section, flavoured by Eastern flavoured guitar and flutes hinting at them being more than just sounds to get high to – works hard to wholly represent their sound as a whole. While it would be unfair to praise or dismiss the quality of the record based solely on this track, it does give you a taste of things to come.    
 
Casa De Eduardo’ meanwhile, pocked with Spanish tonalities, may stand for their outside-the-box thinking and keenness to surprise, comes across more whimsical than it does a stroke of genius.
 
In the end of course it all comes down to personal preference and perception. For me, while it pertains many flavoursome hallmarks that make this a multi-dimensional release, I feel it needs that extra dash of spice, an extra punch or zest to kick it up a notch to be truly impressive. To make you keep coming back for repeat listens.
 
As it is, there are some killer songs on here – namely ‘Blood Moon’, ‘Idiot Time’ and ‘Ordinary Kind’ – but it still feels like there is room to grow for this band. Yet, as their track record suggests, they seem locked in a state of perpetual evolution and experimentation, and for that, they have to be lauded. Could the best be yet to come?
Tricolossus” is available here
 
Band info: facebook || bandcamp