Friday, 30 November 2012

Nuclear Death Terror - Chaos Reigns (Album Review)

Formed in 2003, Nuclear Death Terror is a Death | Crust quintet from Denmark.


Their line-up consists of:

Christina -  Guitar
Cormac - Guitar, vocals
Adam - Vocals
Tim -  Drums
Jæppe - Bass

Tracklist:

1. Crisis - 3:06
2. Collapse - 3:18
3. Descent - 2:36
4. Abyss - 3:21
5. Total Annihlation - 2:11
6. Mindchain - 2:33
7. Devolve To Submission - 2:38
8. World Enslaved - 2:21
9. Chaotic Alliance - 2:22
10. The Darkest Age - 2:30
11. Morbid Tales (Celtic Frost cover) - 2:58

Total playing time: 29:54



Bio:

Hailing from Denmark, Nuclear Death Terror have created a perfect mix of anarcho-crust and death metal since 2003.  This 5-piece aren't doing anything to break any new grounds or raise the bar, but they are perfectly comfortable doing what they do, and doing it very well I might add.  They wear their influences like Bolt Thrower and Discharge proudly on their sleeves and that's not such a bad thing. The band is closely tied with Ungdomshuset (the youth house) in Copenhagen, Denmark,

Review:

Yet another well recieved release of 2012 on my favorites list with Nuclear Death Terror's latest effort. I, once again, take great pleasure in presenting to you this outstanding compilation.

 'Chaos Reigns' isn't a full release of new material.  It is a compilation of songs that were previously only available on vinyl. The production on this release is pretty remarkable.  The instruments are loud, sharp, and crisp.  My only complaint is the guitars can be somewhat low during certain sections of songs, kind of hiding those blistering riffs that are constantly crushing you song after song.  The vocals and drums tend to drown out the guitar work, but it's a small complaint.  Everything can still be heard quite well, but I wish the guitar work was brought more into the limelight.

That being said, the musicianship on this compilation is pretty top notch.  It's not revolutionary and there is nothing wrong with that.  The sound produced from this 5-piece is solid.  The drum work is top notch. The fills that Tim are able to pull off really stand out and are a signature staple in the sound of this band.  The riffs on 'Chaos Reigns' are sometimes mindblowing. Punishing riff after punishing riff rains down on your ears for 30 straight minutes.  When they ease up a bit and you finally feel like you're gonna be able to catch your breath, they bust into a solo that adds an even more crushing aspect to the atmosphere of these songs.  The riffs alone make this a release you should promptly check out.

'Chaos Reigns' is a highly enjoyable release from Nuclear Death Terror.  It is a great starting point if you are wanting to check out the band.  It isn't gonna change the face of music as we know it, but it is a highly enjoyable listen.  Overall, I would recommend this album to someone who is a fan of this style.  The way NDT subtly fuse crust, grind, death, D-beat, and hardcore  is truly inspiring, as they do so with flawless delivery.  If you are a fan of this genre or riffs in general, then put acquiring this album on your To-Do list.

Below is a killer song from the release which captures the essence of what NDT is all about. 'Chaos Reigns' can be purchased via Southern Lord. Get those asses in gear and show these Danes some love. Thanks for your cooperation.




Nuclear Death Terror - Collapse (2012)


  Southern Lord | Facebook | Myspace | Official

Monday, 26 November 2012

20 Questions w/ General Lee


L-R, Paul Catoire, John Perdi, Martin Catoire, Fabien Zenman, Arnaud Palmowski, Alex Renaux
 
 
 

Boss Hogg Studios

Back in September, General Lee were asking for suitable blogs to contact them, if they were interested in reviewing their new record, Raiders of The Evil Eye.  Well we were not going to rest on our laurels and we promptly got in touch with the band.  Subsequently we reviewed their new record at the end of September.
 
Well much has happened since then.  Having secured a record deal with Play The Assassin to release a CD of their new record and plans to tour Europe, I thought it would be cool to hook up with the band, to talk about all things General Lee.  So without further ado, here is my interview with this extremely talented band.

Interview with Arnaud (vocals) & Paul (drums) from General Lee

 
Q) Hey Guys, How are you?  I appreciate you taking the time to talk to talk to us, here at the Sludgelord.

 

A) Hey everyone! We’re definitely good, and glad to speak with the Sludgelord himself!

 

Q) Where are you guys at the moment and what are you doing, in terms of the band at the present, having released you new record, ‘Raiders of the Evil Eye’ on September 1st? 

 

A) Paul : ROTEE was a strange record to make, I mean in terms of conception. At first we didn’t actually decide to make a “real” album, we wanted to change our music into a more aggressive and dark one, a bit like “The sinister menace” or the split with our buddies from As We Bleed. But opportunities came, and we changed our minds. Before meeting Play The Assassin Record from US (which will release the new album on 15th November), the only purpose to make ROTEE was to put in on Internet, and tour again.

So here we are, stoked that everything is going fine, and eager to play live!

 

Q). We’re big fans of your band on the blog and I think we are one of the first to review, Raiders of the Evil Eye.  I must say I personally felt, it is very different record, but no less brilliant.   For those people who are unfamiliar with your music, can you tell me little a bit about the history of the band and some of the bands you've played with? Where you’re from? When General Lee first formed? Current band members?

 

A) Arnaud : General Lee was born more or less 10 years ago in Bethune (North of France). The current lineup is composed of 6 members, with 3 guitarists for more chaos ! I don’t know how… but 2EPs, one split with As We Bleed and 3 albums were made. « Hannibal Ad Portas » with Basement Apes, « ROADS » with Hiphiphip, and the last one, ‘Raiders of the Evil Eye’ which just came out.

Speaking about shows, we had the opportunity to share the stage in Europe and Russia with bands that we particularly appreciate, both musically and humanly, like Baroness, Cult Of Luna, Will Haven, This Will Destroy You, The Ocean… Great memories!

 
Q). Is General Lee a full time project, or do you have other bands?

 
A) Paul : We didn’t choose General Lee to be a full time project. Each of us used to have side projects (like Paul, Fabien and Vincent were playing in “Jarod”  a few years ago), but now there is only Vincent who plays in “One Way Mirror” and “Lyzanxia”. It allows us to have more time to rehearse and to focus on General Lee, especially when we have limited time due to our jobs or studies.

 

Q) Probably a stupid question, but are you or would you like to be full time musicians?

 

A) Paul : We’re not full time musicians, each of us has a totally different path : teacher, worker, student… Our lives are “balanced” between our works and music. We take all the opportunities as they came, and try to be available for every shows, which can be difficult sometimes…

 

Q) Are you big fans of rock/metal, if so what are you listening too at the moment?

 

A) Paul : Yeah! I personally love the new Converge and the new Chariot. Both kick ass! I can mention other stuff like Every Time I Die, Botch, Crosses, NIN… Impossible to list them all. But l like listening to The Album Leaf, or Ef, that are less heavy.

 

Arnaud : I stay a huge fan of Breach, I had the chance to see them for their unique reformation-show in Sweden a few years ago… There are also Planes Mistaken For Stars, Entombed abd the powerful Botch and Coalesce.

 
Q) When you started General Lee, what were your hopes for the band?

 
A) Arnaud : It was after seeing a Will Haven show that I decided to form General Lee. Those guys have totally shaken me, it was so heavy, dark and the screams were insane. Besides, a few years later we had the privilege to play with them on a french show, I would never forget this moment.  

 
Q) If someone was unfamiliar with your band, how would you describe your sound? Has it evolved?

 

A) Paul : I can broadly divide our evolution in 3 steps. At the beginning General Lee was more “post hardcore”, I mean it was dynamic and nervous, with only shorts songs. When we recorded Hannibal Ad Portas, we changed our philosophy, and decided to be more atmospheric, more sludge. It was our desire to take time for each song, and bring more melodies, and ROADS was pretty much the same. I would describe ROTEE as a “back to the roots” album, because it is more aggressive than the previous ones, but we tried to keep the melodic atmosphere. In a way, it’s a mix of all the previous albums.

 

Q)  In order to satisfy my own curiosity, why the name, General Lee?  Any relationship to the 80’s TV show Dukes of Hazard? If so, why General Lee

 
A) Arnaud : Actually yes, it was named after the name of the American car driven by those crazy Red Neck. It was the fruit of a Saturday night brainstorming, maybe too much alcoholised… I guess…

 

Q)  What is the scene like in your hometown?  How does this compare to the scene in Paris for example, as I am aware of such nights as Stoned Gatherings there?  Have you heard of this?  

 

A) Arnaud : Bethune is where half of the band is currently living. It’s a small city but we have to chance to have a quite good stage called « Le Poche », with faithful audience very metal/hardcore.

In the last 10 ans, a lot of terrible (Good) bands came here like Keelhaul, Amenra, Kruger… It certainly gave some ideas to local bands, that’s why we have a strong metal culture here.

Paris has also a very good scene, and it is compulsory to go there for french bands, I mean to get known. I don’t know the « Stoned Gatherings », but there are lots of great stages and club, and bookers like Kongfuzi or Paperscissors. They’re doing a good job, providing us with awesome shows.

 

Q) Would you consider yourselves to be an underground band?  If so, is it a struggle and is their great camaraderie within the scene?

 

A) Arnaud : Totally. Due to our music style, the country where we come from which can’t be considered rock’n’roll, and the few people we reach.

On the other hand, I can still feel this emulation in the underground, thanks to various initiative taken to promote extreme music, and broadcast them via webzines, blogs, radios, bookers, independent labels… It’s like a fight, and it deserves to be supported.

Yet, I feel less mutual aid between bands. Each one stays apart, and the ones who actually maintain this « scene spirit » are not the ones we first think of.

 

 
Q)  What are your views of blogs such as the Sludgelord reviewing your records, as opposed to mainstream music magazines?  Has your music reached the mainstream mags, at home or around the world?

 

A) Paul : I think it’s a great way to share music that has limited radiance and resources. It is where you can discover bands and so it has become so important now, especially for metal, which is not really represented in the media. It’s now a part of the band promotion.

All webzines deserves to be congratulated, because they help “extreme music” to keep the link with listener.

Nonetheless we still hope to have some support with mainstream mags, in order to bring our music all over the world. We’ll see!

 

Q) Raiders of the Evil Eye is an exceptionally varied record, I felt with more emphasis on hardcore, rather than post metal and the atmospherics of Hannibal ad Portas for example.  What are your thoughts about that and how would you describe your record to those people who are unfamiliar with your music?

 

A) Arnaud : At first, General Lee was much more rock’n’roll. The evolution of a band made that we experiment a more “contemplative” hardcore rather than a “kicking” hardcore. We got our brain wave when we played old tracks from ‘The Sinister Menace’, after the release of “Roads”. We thought basically “shit, it’s so good to play music that makes us want to destroy everything”. From here, the whole band wished to express this primal energy that was missing.

 

Q). ROTEE is your 3rd full length release to date, how does this record compare to your previous records and is it your best work to date?

 

A) Arnaud : I don’t know if it is our best album but it is definitely the most spontaneous, and the one that can describes us the best.

Making this record has really bound us together, and has given us a huge motivation to write fourth album.

Some people will always prefer the melodic and progressive side of the first albums, but I think that ROTEE has surprised some others, who didn’t expected anymore to hear fury and rock’n’roll from General Lee

 

Q) Does it surprise you when people buy your music and merch?

 

A) Paul : In a way I would say yes. When you think about that, it is very touching when people, firstly like your music, but are also ready to buy stuff you release! It is another great motivation for us to see that we’re not the only ones who enjoy our music.

 

Q) To date the band has released 3 full length albums, 1 Split and 1 EP, what are some of your highlights so far? What are your aspirations for the future?

 

A) Arnaud : Being in studio, travel, play on stages, avoid guitar blows, and have fun with friends are the main reasons which can explain that the band is still on the roads. The new album allows us to continue, two years after ROADS. It’s like summer vacations!

We’re glad to see that the result reflects all the passion and the fury of the band. General Lee is still evolving, progressing step by step. That’s why we hope that the next album will be even better.

Our priorities are to tour over Europe, and to come back to Russia. We take so much pleasure to play, and I think the audience can feel it during the shows, where we get more and more intensity when we’re playing the new songs.


Denis Rekun (C)

Q) Do you have any interesting stories from your tours, favourite places you’ve toured and bands you’ve toured with?

 

A) Arnaud : We participated in the Madstream Music Festival in St Petersburg, on February 2012. This venue will definitely stay in our memories. We had the chance to play in one of the most beautiful city of Russia, with talented bands, and great organizers. Everything was perfect.

And what is better than singing Depeche Mode in the karaoke bars, while drinking Vodka.

I can also mention the stage with Cult of Luna in Bruxelles. Nice memories.

 

Q) Did you have an agenda or a game plan in terms of what you wanted to write for ROTEE? Does everyone contribute song ideas?

 

A) Paul : Actually, everyone come with their own ideas, and we try to put it all together to create something good. We also record our stuff on computer, and we send to each other by mail before rehearse, so that we can work on it and have a clear idea of what to do.

But we really wanted to keep the spontaneous side, like “bam in your face”.

Only the lyrics are fully written by Arnaud, influenced by HP Lovecraft and all those shits about Satan.

 

Q)You released this record digitally, so how do you feel about the digital era of music and people downloading music for free? You’re using band camp page, would you or have you ever considered releasing your music for free or ‘pay what you like’ to raise the profile of the band? 

 

A) Arnaud : I don’t really agree with the “all free stuff”, because a band needs to be supported, even financially. The expenses are so high in music today.

Some people have like 10,000 mp3 on their computer, and they can’t realize it, it’s too bad. We now consume music like tissues, and it’s not useful for anyone... We’re know making money with General Lee, everything we earn is invested in merch, studio… If nobody buys our releases, because they’re available for free on Internet, it’ll get complicated for us. That’s why we try to propose nice physical stuff, thoughtfully designed, because as a fan of music in general, we like that.

 

Q) What are your plans for the rest of the year and any chance you're doing a full UK tour?  When I contacted you guys, you said you’re interested in doing some UK Shows?

 

A) That would be awesome. We already booked a small tour in February in Germany, France, Switzerland so far, maybe Sweden. We’re still looking in the UK. So if some guys have contacts here… So come on!


Madstream Fest @ St. Petersburg

 

Q) Thanks for answering my questions, but one final question, you got anything you like to say to your fans?

 

A) Pleasure! We’ll go back to the Boss Hogg studio on November 17th to play a new version of « Junon », which was the first track on ‘The Sinister Menace’.

 
We’ll be locked all together, we’ll plug the guitars, and we won’t go home before having recorded a live shot of the track, without any overdubs.  We’ll add it on the vinyl, and maybe on the new European edition in 2013.

 
We want of course to thank all our fans, for their messages and for coming up at our shows. It’s always a pleasure to meet people from around the globe, and linked by music. So check your local venues, we might come near your town to play rock’n’roll!

 

Thanks guys!!!


Thanks a lot! Keep up the good work, and hope to see you in the UK!
 
 
The new record is available now and can be purchased here.  DD can be purchased here. If you needed convincing, you can read our review here.  Finally, a massive amount of thanks to Arnaud and Paul for answering my questions.  Support this amazing band.
 

Wo Fat - The Black Code (Album Review)

 The Black Code cover art
Album Type: Full Length
Date Released: 13/11/2012
Label: Small Stone Recordings
 
Tracklisting
1) Lost Highway 05:25
2) The Black Code 10:05
3) Hurt At Gone 07:54
4) The Shard Of Leng 12:35
5) Sleep Of The Black Lotus 10:14
 
Bio
 
Tearing through the speakers like a swamp monster summoned from some dark cosmic morass, Texas riffmasters Wo Fat unapologetically blast out a southern fried, blues-infused version of Psychedelic Doom, conjuring up visions of hoodoo shacks, prowling undead, hell hounds at the crossroads, Lovecraftian cultists and ghouls, and worlds beyond where the riff reigns almighty.
 
Wo Fat rose from the deep and began their psychedelic quest circa 2003 when guitarist Kent Stump formed the band with drummer Michael Walter and bassist Tim Wilson. Their goal was to create a music that is crushingly heavy, but that stays within the paradigm forged by Black Sabbath, Jimi Hendrix, ZZ Top and the other 70's greats. A music that allows for improvisational freedom, extensive jamming and interplay between the three members yet that, at the same time, allows them to crank out monolithic, fuzzed out, downtuned riffs, all the while staying true to the haunting blues that wail and moan deep within their souls.
 
Wo Fat is:
 
Kent Stump: Guitar, Vox, Fender Rhodes
Tim Wilson: Bass
Michael Walter: Baterie Mastodontica, Vox
 
Review

Just when you thought Small Stone Recordings couldn’t find anything heavier, anything thicker to put out.   Enter Wo Fat to the label roster. This is not their first record, but it is their first on Small Stone, and easily the best record of 2012 so far.

Texas riff rockers, Wo Fat, re-emerge as the heavyweight champions of the drop C tuning, sludge rock genre.  All of the elements that I love are involved, from Led Zeppelin, Black Sabbath and Jimi Hendrix to latter stoner bands like Electric Wizard or Sleep.  But Wo Fat do not sound like any of those artists specifically, they have a unique sound, combining ingredients from each, and a thread of old fashioned rock and roll running through every track. One can’t help but ponder how much heavier can a band get than this, or how much more Sabbath can a riff sound? Do they think about that when they write this music, as if they're pushing barriers of loudness that haven’t been pushed? You can easily blow out your headphones listening to this band, and I mean that as a compliment. Too much awesomeness perhaps? 

Wo Fat’s newest- The Black Code, is a five song, full length album. Three of the tracks run over ten minutes in length.  It is epic to say the least.  There are blazing guitar solos that sound like they’re running through multiple Big Muffs and amplifier stacks.  There are slide guitar parts that Jimmy Page would raise an eye brow too and some off time signature changes separating them from any kind of mainstream hard rock bands currently going for a neo-Zeppelin sound.  The album opens with “Lost Highway”.  Nothing cooler than setting the tone of an album, by the laws of the road.  You can tell this band has toured their  fair share by the way they gel, particularly the rhythm section.  Every snare hit is a micro-beat behind, or rather weighted and laid back sounding, as if the drummer is putting all of his strength into it. It makes the band sound road-worn.

Every great sludge band has this feel, the ‘slower is heavier’ philosophy.  This is the perfect introduction to the album, before splitting in different directions sonically, it’s an all-out rocker with a ‘whoa yeah!’ chorus every kick ass album should begin with.  It ends with a ferocious wah wah pedal solo that nails the Hendrix tone perfectly.  I was surprised at first listen, as most don’t get that sound in a vintage way correctly.  The title track continues with demented guitars harmonizing like an old Sonic Youth record before diving into a variety of melodic instrumental motifs.  Around two and a half minutes into the song, vocals come in and the album kicks off again, refreshed with a higher energy.  If it were not for these composed instrumental movements, the songs are pretty straight ahead, Sabbathy, the Mob Rules Sabbath when they didn’t care about enchanting wizard imagery, and just rocked the fuck out.  But it is not long before they go back to the unexpected, connecting riffs and violent cymbal crashing beats, raising the volume up a notch to what’s already heavier than anything.  It is these composed noise sections that define the album. 
“Hurt At Gone” is my favourite song of the album.  The drumming is reminiscent of the quintessential John Bonham beats all in one song.  There are some wild slide guitar parts hovering over a heavy marching snare drum. The time changes are so obscure, I wonder how exactly does this band write?  Do they all follow the drum patterns, or do the riffs come first? This would be some impressive music to see live, very rhythmic and strange.  Nothing is predictable, and I suspect that’s the way they want it. This doesn’t sound like singer/songwriter music, like one dude is writing all the parts.  It sounds like the sum of its parts, like they’re all putting their fair share in, in order to come up with something more interesting.  This track also features one of the most bad ass guitar solos that I’ve ever heard, toward the end,
The album continues with “The Shard of Leng”, a completely different vibe.  It begins mellow and airy. There’s some sort of mellotron, or vintage keyboard effect through delay to give it that ambient aura you don’t usually hear from a current stoner rock band.  This track lets the album breathe for a while, so that they don’t overdose on themselves with the riffs and sing-along choruses.  It lets me know there’s an overall vision here, and not just five songs thrown together randomly.  The mood of the album is altered so that the listener can take a breather and chill out for a bit.  More bands should do this, as opposed to full-on rocking out from start to finish.  I tend to get bored with albums that do that.  But again, Wo Fat sticks to a vision, surpassing the short view for something more ambitious.  Clocking in at twelve minutes in full, halfway through the song turns into a mid-tempo groove and the closest the album comes to a standard verse/chorus, verse/chorus number.  And just as it sounds ‘normal’ for lack of a better word, the song devolves into a percussive jam with cowbells and tempo changes. It’s confusing at first, but resolves to a slow-core outro that lasts about five minutes. This is where the band moves into the progressive rock territory and further makes me wonder, how does this band write?

Apart from the awe-inspiring guitar solos, it’s pretty complex music to compose for a trio, and even more over-reaching to stick in drop C tuning and come up with such a diversity of ideas.  And what better way to close this album, then a ten minute long, ‘mostly’ instrumental journey entitled- “Sleep of the Black Lotus”. This defies the laws of recording studio engineering techniques, as they intentionally go for that blown out sound. The volume meters in the studio must have been peaking the whole way through, a technique called “brick-walling” where the meters are perpetually in the red. A lot of metal bands go for it, fail, and wind up with a crap sounding record.  Few can make this trick work to their advantage as Wo Fat does. This song is like a battle royale between a hundred riffs and sound effects. Dare I say, it delves into the avant-garde for what makes one hell of an album closer and a high moment climax to a mammoth sized album’s completion?

In summation of listening to The Black Code a hundred times already, this is the definitive heavy sludge album of the year and the band’s best achievement to date. Who knows what they’ll conquer next musically, but it would have to be some of the most innovative music of this genre to top this. I wouldn’t be surprised if the band takes some time off after an accomplishment of this calibre.  But something tells me, Wo Fat has the imagination and capability to surprise us with another record this good, possibly better in the near future.
Written by: Lee J Diamond
 
If you like the sound of this record.  Check out some sounds below.  You can buy the DD and pre order limited edition vinyl here
 

 
 


Greenleaf - Nest of Vipers (Album Review)



Album Type: Full Length
Date Released: 12/6/2012 
Label: Small Stone Recordings
 
Tracklisting
1) Jack Staff – 4:10
2) Case of Fidelity- 4:01
3) Lilith- 4:07
4) Tree of life- 4:07
5) Dreamcatcher- 3:54
6) At the Helm- 5:47
7) Sunken ships- 4:11
8) The Timelines History- 4:06
9) Nest of Vipers (A Multitude of Sins) - 8:12
 
Bio
In theory, forming a rock group seems like a no brainer. Get a group of musicians who have a shared love of certain bands and who can get along with each other for at least an hour. Hell, sometimes they don’t even have to be musicians (especially if you’re looking at the top 40 charts). But in reality, it’s a lot tougher, as the essential ingredient? What makes the group truly unique and memorable – is something that can’t be defined, learned, or bought. Call it a talent, magic, or whatever you want, but Greenleaf’s got it. A super group of the underground rock scene, the band was formed sometime in late 1999/early 2000 in Borlange, Sweden by guitarist Tommy Holappa (Dozer), drummer Daniel Linden (Demon cleaner and the drummer on Dozer’s “through the eyes of Heathens” and currently in Vaka), and engineer/ bassist Bengt Backe.
Featuring a revolving cast of fellow musicians who share a love of heavy fuzz rock , including Fredrik  Norden (Dozer) , and Peder Bergstrand (Lowrider), Greenleaf  has consistently defined what rock n roll was, is, and should be. You put 2001’s”Revolution Rock”, 2003’s “Secret alphabets” and 2007’s “Agents of Ahriman” and you’re going to have a hard time taking them off. The band cooks, because they’ve got that special ingredient. It’s time to rejoice, because Greenleaf is back with “Nest of Vipers” like they’re past releases “vipers “is a righteous kick in the ass and a testament to the almighty riff. This time, Tommi and Bengt are joined by Oskar Cedarmalm (Truckfighters) on vocals, Olle Marthans (Dozer) on drums Johan Rockner (Dozer) on guitar, and a handful of guest appearances. This new line up keeps Greenleaf moving without losing track of what made them great in the first place. Take note- This is what rock bands should sound like. Make way for the “Nest of Vipers”.
Discography
Self titled debut released 2000 on Molten Universe
Revolution Rock released 2001 on Molten Universe
Secret Alphabets released 2003 on Small Stone
Agents of Ahriman released 2007 on Small Stone
Nest of Vipers released 2012 on Small Stone
 
Greenleaf is
Tommi Holappa: Guitar
Bengt Backe: Bass
Olle Marthans: Drums
Johan Rockner: Guitar
Oskar Cederalmam: Vocals
 
Review
 
Immediately as ‘Jack Staff’ comes in bouncing off the back of the guitar intro to be blown across the room by this formidable huge sound. Reminiscent of ‘Dozer' And ‘Demon Cleaner’ but that’s ok because Greenleaf is made out of members from those bands and more. Former and current members from ‘Lowrider’ and ‘Truckfighters’ to name a few.  Tracks ‘Case of Fidelity’ and ‘Lilith’ sound a lot like they should be on ‘Dozer’ albums, especially the latter.  But that again is ok too. With Tommi Holappa’s exciting and exuberant guitar riffs and licks he makes this album stand out from the rather crowded stoner scene for sheer quality of the song writing.  Greenleaf truly are a super group of the Swedish underground.
‘Tree of Life’ has a fantastic psychedelic introduction and ‘Truckfighters’ vocalist Oskar Cederamalm gives his all during the verses with slightly dreamy sequences which lead into some sweet band wig out’s.  The beauty of this album is that each song is an epic stoner masterpiece. Each song completely different from the next with epic structuring and assorted vibes and grooves. Just listen to ‘At the Helm’ clocking in at 5:47 with its wave smashing riffs, it is a serious contender to fight off a Kraken any day.
Now the most commercial track is the four minute perfect pop of ‘Sunken Ships’ which really does immediately remind me of the Foo Fighters at their stadium filling best.  Oh well!  The last track clocks in at over eight minutes and is called ‘Nest of Vipers (A Multitude of Sins)’ and is my favourite by far.  As a very typical  and catchy opening guitar line of about four or five notes at most but with timing and pace to kill for. Real chilled out vocals and slow fuzzy breaks accompanied by Hammond splurges creating just the right atmosphere.  Hazy, warm and stoned. This band Greenleaf, 12 years old and five corking albums under their belts.... not bad for a side project eh?
 
Written by: John Slaymaker
Another amazing addition to already exemplary Small Stone Recordings catalogue.  Check out some sounds from the record below.  You can buy the DD and Limited Edition vinyl here