ALBUM REVIEW: Tronald - "Tronald"

By: Ernesto Aguilar

Album Type: Full Length

Date Released: 30/09/2017

Label: APF Records

…combining distorted guitars, chugging bass and flicks of vocal melody trapped under a crushing boulder of decomposing blackened death metal. It is raw and piercing in a fashion you cannot reasonably expect on a debut. But there it is, moldering for your delight.

“Tronald” CD//DD track listing

1. Tronald

2. Boss Keloid Are Shit

3. Obelisk Ov Hash

4. Dalnort

5. Gains (Prelude)

6. Vegan Gains

7. Get Your Grubby Little Hands Off My Bennell

8. Burgled Senseless

The Review:

Over the next four years, it is all but assured that you will hear the voice of U.S. President Donald Trump a lot more in extreme music than you ever thought possible. Some of it will certainly be based in outright opposition; there have been a trickling of music thus far critical of the new Commander in Chief by everyone from Prophets of Rage to rapper YG, whose "Fuck Donald Trump" last year gained the California native a lot more notoriety than he previously had. However, much more from metal will surely be inspired by Trump's strongman persona. His over-the-top threats and flowery promises from a world leader are the stuff of Megadeth and Queensryche concept recordings. Hearing President Trump's bluster on "Danlort," off Tronald's self-titled debut, you may be reminded that this period could musically be a very long four to eight years.

The specter of power is one that metal has reflexively rebelled against, whether it is the doctrines of organized Christian faith, authoritarians of every stripe or the stricter social norms that define mainstream culture. Usually such aggression is answered with the sort of musical force that only metal can deliver.

For you, "Tronald" may be just that kind of soundtrack. No stress if you are already at peak-Trump, peak-knee or whatever outrage is happening at the second. The Manchester, UK namesake do not come across as an expressly political collective. Tronald is, however, well suited to deliver an assertive and uncompromisingly heavy recording. Just as exciting, the listener gets treated to an inventive group with a fiery first outing in its new self-titled release.

What makes Tronald so engaging to catch is the diversity of its approach. Ticking in at just under 20 minutes, the eight tracks on "Tronald" are one of the more interesting collections you will hear this fall. From practicing a chorus to the previously mentioned Trump snippets, Tronald mixes in its doom and sludge-heavy style a healthy dose of experimentation. Whether it is a hardcore/thrash chord or two in "Vegan Gains" or grinding pace of "Bennel," you hear a band that is crafting what it may eventually be in the future. Right now, Tronald does many things quite well, at least in small spurts – more than half the cuts are less than two minutes. Long enough to be intriguing, but short enough to make you wonder what comes next.

On "Obelisk," Tronald's longest song, you get perhaps a better sense of what the quintet is capable of. The doom track creates a humid scene around it, one that combines distorted guitars, chugging bass and flicks of vocal melody trapped under a crushing boulder of decomposing blackened death metal. You get the picture. It is raw and piercing in a fashion you cannot reasonably expect on a debut. But there it is, moldering for your delight.

Discerning fans will count several influences, and Tronald does not break particularly new ground just yet. However, the band gets off to a rousing start. And one has to feel optimistic about its future.

"Tronald" is available here:

Band info: bandcamp || facebook

REVIEW: Lovely Wife - "Problem Rock" [EP]

By: Ernesto Aguilar

Album Type: EP

Date Released: 06/08/2017

Label: Cruel Nature Records

Taken in together, you have a smoothed out jam band-esque stoner rock experience, and it is a good one.

"Problem Rock" CS//DD track listing

1. Export To Disk

2. Filth

3. Ting

The Review:

Beguiling, as it is perplexing, Lovely Wife drop a new three-song EP for your listening pleasure. And it is a really nice one, but it is not without a few questions.

This is the follow up to the group's three-song debut EP, "Lou Reed is Dead." That package was mostly a post-rock affair that clocked in at just under half an hour. It flew under the radar for many, but came across as promising.

The new release features virtually a complete change in band members and another trio of psychedelic infused heavy rock. It feels a bit unpolished and even rough at points, though it is likely a production touch. Taken in together, you have a smoothed out jam band-esque stoner rock experience, and it is a good one.

Lovely Wife's challenge is finding that right mix of personnel. It is a difficulty faced by a ton of new groups: you think you have the right mix of people until it isn't, and even when you do, musical chemistry takes time.

Although the lineup is about wholly different from its debut, even "Problem Rock" has rotating members throughout the record. Joe Garrick is the only consistent player here. The sprawling, 13-minute centerpiece "Export to Disk" features Garrick with drummer Rob Woodcock (who returns from his appearance on the title track of "Lou Reed is Dead") and guitarist Jon O'Neill. On the other two tracks, the lineups flip completely, with Garrick joining vocalist James Watts and drummer Skylar Gill.

With Garrick presumably the leader of the band, you have a talented bassist. "Problem Rock" makes his skill evident. Still, you might be inclined to wonder how much Lovely Wife will get even better as it matures, nails its core membership and grows into tighter material.

"Problem Rock” is available here

Band info: facebook || bandcamp

Night - Satellites (Album Review)

Album Type: Album

Date Released: 14^th April 2015

Label: Hand/Eye Records

Satellites – Track Listing

1.Discovery

2.Departure

3.Aurora

4.Delta

5.Astral Burial

6.Satellites 05:08

7.Atlas

8.Projection

9.Tidal Shift

10.Constellations

11.Titan

Bio

Night is comprised of Bobby Yagodich on guitar, Matt Jackson on bass, Zach Nace on guitar, and Mark Bixler on drums. They are currently in the process of pressing and releasing their second full length effort entitled “Satellites”, which is the strongest representation of their sound thus far in their early career. In the new year, they plan to tour and support this record extensively.

All of the members of Night are originally from various heavy metal acts in the South Central area of Pennsylvania. In 2006, Bobby started a solo noise project under the moniker of Night as an outlet to do something other than the fast paced, and in your face genre of music. Three years later, the band that Bobby and Jackson had been a part of split. The two of them went on to create music using the name of the project Bobby had started years earlier. Another year passed, and the project that Zach and Mark had been a part of disbanded. They also had a thirst to create music that was not necessarily heavy. Zach joined in 2010, and Mark later joined in 2012 completely changing this from a small project, into a fully cohesive band.

Night have played throughout the South Central region of Pennsylvania, and in the past year have trekked out further and further. They have been hard at work trying to get their name out anywhere that there are people who want to listen. In 2015, they hope to extend their reach even further than ever before. Moving people with their music, and creating a unique experience for every listener is the objective that Night want to achieve with “Satellites”.

Members

Bobby Yagodich - Guitar

Matt Jackson - Bass

Zach Nace - Guitar

Mark Bixler – Drums

Review:

Post- Rock/Post-Metal collective Night impressed me way back in 2012. Now almost 3 years later they finally return with their new album - Satellites. Satellites may seem familiar to a lot of other Post-Rock/Post-Metal albums currently out there. Though, take a closer look as Night offer a more cosmic/ambient route within the Post-Rock/Post-Metal field as they have elements of Space-Rock to stand out from the crowd.

Fans of Pelican, Russian Circles and Red Sparowes will be in their element here as Night flexes their creative muscles with some heavy post-metal riffage especially on the first couple of tracks - Discovery and Aurora. Night combine heavy psychedelic sludgy post-metal riffs with a sense of adventure journeying into the stars. Satellites is firmly rooted in Space, Above and Beyond as Night take their brand of Atmospheric Sludge/Post-Metal to the next level. I've been a fan of Night for the last few years and it's great to see a band progress as musicians to show the world what they can do.

The album's main message is one of hope within the human spirit but Night do offer bleak moments of sadness and regret especially on excellent 3rd track - Aurora. Night combine ambient noises and sounds with the right amount of slow & fast paced vibes that Pelican or Russian Circles would be proud to call their own.

The album does venture into doom and gloom territory to provide the listener with an emotionally charged experience you will find very hard to escape from. One of the albums standout tracks - Astral Burial - sees Night play a more progressive/thrash metal style of music where the atmosphere becomes ever more volatile as Night become more schizophrenic with their musical choices. You can't help admire the brave musical decisions that Night unleash here, as the album ventures into different genres that shouldn't really work but Night pull this off with style and conviction.

By the time the excellent title track – Satellites - is played, you're already apart of this heavy cosmic journey as the progressive post-metal riffs impress with the slow-vs-fast musical combination that will leave you breathless. It's good that the band offer quiet ambient based songs to catch your breath with but be warned as the short songs offer heavy ambient sounds with a dark and terrifying edge. Atlas is the perfect example of this as Night will take you on a nightmarish journey where sound becomes your mortal enemy and your only means of communication.

Things take a more sensible approach for the next song - Projection - as Night play a more upbeat Post-Rock song with the heavy music giving way to a sense of calm e. Even when Night unleashes the heavier Post-Metal riffs, there's still a sense of hope amongst the violent energy that Night create here. The rest of the album sees Night finish their cosmic voyage into the far reaches of space as the music beautifully drifts into loud and blissful sonic highs as ambient noises add more refined experience as Satellites proves that Night have created a truly anthemic and cinematic experience you cannot beat.

Excellent and Highly Recommended.

Words by Steve Howe

Thanks to Matt Jackson for the promo. Satellites will be available to buy on CD/DD via Hand/Eye Records from April 14th 2015.

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Kooba Tercu - S/T (Album Review)

Album Type: Album

Date Released: 26^th December 2014

Label: Spinalonga Records/Body Blows Records

Kooba Tercu – Track Listing

1.Ukunta 04:47

2.Elephant 04:15

3.Batman 04:15

4.Chika 03:14

5.Disembarkation 01:37

6.Squirting Squid 04:47

7.Pebble 05:36

8.Unaboom 03:21

9.Spit Bucket 02:10

10.Sonique 04:33

Bio

Kooba Tercu is Johnny Tercu and five other guys which he calls the crew.

Johnny Tercu and his crew spend time in a moist, rat & cockroach infested basement playing something loud and heavy. He ventures pointlessly into nothingness with the same sense of no future as most people in Athens these days.

After endless hours of jamming, Kooba Tercu has distilled the ideas developed over a couple of years in ten songs resulting in something that sounds incredibly familiar but maybe not quite like anything you've heard before.

Recorded live. And then overdubs.

Review:

Now what the hell is this.....

Kooba Tercu is an Experimental Stoner Rock Band with the emphasis being on Experimental. Their S/T debut album is one weird as hell album that will delight and frustrate many of you in equal measure. As the bio states – this sounds incredibly familiar but sounding something completely different as well.

The album has shades of glitch based electronic synths and ambient noises. Then the band throw in elements of Hard Rock/Stoner Rock to confuse you with. Truth be told I hated this album the first time I listened to it as I couldn't get away with the experimental nature of it all. Then I decided to give it a few more listens and I slowly started to come round to the crazy experimental Stoner Rock world that Kooba Tercu have created here.

The album is all over the place then why can't I stop listening to it. It's crazy as hell. The album doesn't know what it wants to be. Experimental Rock, Avant-Garde Rock or Stoner Rock. It is undeniably heavy and deserves credit for daring to be so fucked up and different to other bands. There are great riffs to be found amongst the craziness of it all especially on 3^rd track - Batman - as it ventures into Torche style Sludge Rock that I didn't expect at all. Though the riffs suddenly stop and is replaced with 30 seconds of experimental ambient noise.

You may think I hate the album. I don't. I'm just trying to point out how bat-shit crazy the album is. One minute it's all crazy as hell experimental and the next minute, the band turn into Sludge/Stoner Rock Gods. Chika and Disembarkation are two songs to prove this theory. The rest of the album is just as weird and wonderful as the first half as Koobu Tercu don't care what you think about them. They're creating music on their own terms and that's what makes them such a great band to discover.

Their S/T debut album is insane, crazy, fucked up, intense and a total blast from start to finish. They maybe the craziest Stoner Rock band currently out there. And I mean that in the best possible way. Check this out if you want to hear something different and one that doesn't play by the rules.

It's available to buy on BandCamp Buy Now Download and Vinyl through Spinalonga Records/Body Blows Records.

Words by Steve Howe

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Future Old People Are Wizards - FAUX PAW (Album Review)

Album Type: Album

Date Released: 13^th October 2014

Label: Zeal Records

Faux Paw – Track Listing

Teenage hospital

Undo the redo's

Little big one

Somewhere

Nightstreet

Ocean sea water

Curly

Eastern sabbath

Snow

Because

Cotton sheep

Bio

Future Old People Are Wizards, sometimes also shortened to FOPAW, is a band from Gent with Stijn Vanmarsenille (Drums Are For Parades, Maya's Moving Castle and Waldorf) on guitar and vocals. Nele De Gussem (Maya's Moving Castle,…) takes on the bass, but instead of going for the classic bass guitar, the bass sounds are created by some brutal synths. Responsibility for the drum lines lies with Piet Dierickx (Animal Muppet whom you may have seen in action with Drums Are For Parades, Monsoon and Soulwax).

Members

Stijn Vanmarsenille (vox, guitar, synths)

Nele De Gussem (keys, vox)

Piet Dierickx (drums)

Review:

Future Old People Are Wizards is a suitably odd name for this beguiling trio from Gent, Belgium. “Faux Paw” is their debut full length but you would be forgiven for thinking that this was the work of a band at the height of their powers. The bewildering number of ideas and styles on display here is more than most bands cover in an entire career. However, it’s to FOPAW’s credit that they are not weighed down by this abundance of inspiration but instead meld it into a surprisingly cohesive whole.

Opener “Teenage Hospital” manages to traverse a diverse number of styles and tempos during its 4 minute duration; eerie Faith No More keyboards, spiky guitar leads, crushing Melvins riffage, melodic breakdowns, the child of Josh Homme and Layne Staley on vocals, etc., etc. The band somehow execute this expansive variety of moods in such a way that it manages to come across as a catchy song rather than a queasy mess of incompatible ideas which is quite an achievement.

This sets the tone for an album which engages and excites throughout, throwing in new sounds and influences at every twist and turn without weighing down the music. Key to this is the prominence of keyboards. Often only really used in metal bands to provide subtle ambience or layers of atmosphere, here the synths are often the lead instrument and integral to FOPAW’s sound. An eclectic array of tones are used throughout from the skronking organ freakout in “Undo The Redo’s” to the strange BBC Radiophonic Workshop noises at the start of the proggy glam stomp of “Somewhere”. There are elements of the retro synth wizardry of Zombi throughout and the short mid-album instrumental “Ocean Sea Water” even recalls the woozy ambience of Boards of Canada.

The prominence of keyboards has not lead to any deficiencies in the riffs department though. Again, there is a wide palette on display here from the thunderous Torche stylings of “Undo The Redo’s”, plenty of spiky off-kilter Queens of the Stone Age vibes throughout and even a touch of noise titans Part Chimp and heavy pitch shifter abuse of “Jupiter” era Cave In on “Because”. It’s the likes of the aforementioned Torche and cheerful stoners Tweak Bird who provide the best point of reference though as FOPAW take a similar dayglo pop vibe and fuse it to the crunch of metal to create a colourful psychedelic sound. The overall effect is a bit like the Flaming Lips if they decided to dedicate themselves to the way of the riff.

This is particularly evident on the colossal 12 minute finale “Cotton Sheep”. Its lengthy duration and total lack of metal elements may sound like an incongruous and anticlimactic way to finish the album but it works a treat. Beginning with 5 minutes of swirling solo synth soundscapes before the whole band joins to begin a subdued electronic ballad similar to eclectic indie rockers Menomena. This builds to a soaring pay-off that wouldn’t have been out of place on an older M83 album.

“Faux Paw” is a highly impressive debut from FOPAW that reveals more and more with every listen. On this evidence I eagerly await the next dose of Wizardry from this intriguing trio.

Words by Charlie Butler

Thanks to Bucky Brown for arranging the promo. Faux Paw is available to buy now on CD and Vinyl through Zeal Records.

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Fog Cult - S/T (Album Review)

Album Type: Album

Date Released: 28^th November 2014

Label: Self Released

Fog Cult (S/T) – Track Listing

1.Witchcult 08:51

2.Dark Ones 06:49

3.The Beast 07:12

4.Blue Dream, Ice Queen 08:36

5.From Under Heavy Eyes 13:32

6.The Burning 12:39

7.Rise In The Fire 03:36

Members

Tom Patterson-Drums

Richard Kovacs-Guitars

Ian Hansson-Bass, Vocals, Noise

Review:

Fog Cult is a relatively new band from Pennsylvania who deals in Sludge, Drone, Doom, Grunge and Stoner Metal for one heavy and creepy time. Their music is mainly in the Doom Genre but it is good to see that Fog Cult know how to mix things up a bit on their S/T debut album. Its 61 minutes of great riffs and heavy atmospherics to thrill you with. The opening track - Witchcult - shows what Fog Cult is all about. Epic songs with a sense of menace in the air as they expertly blend the different genres they play with such confidence. I have not heard many bands mixing Grunge with Occult Rock though Fog Cult pulls this off superbly well. It has its fair share of Doom, Sludge and Stoner Metal for you to check out.

Fog Cult adds a lot of Fuzz to the mix as well. The vocals are clean and crisp through out. I will warn you now the album takes a sinister turn on the second half of the album but more about that later. Second Track - Dark Ones - starts as a slow-paced doomy affair with slow guitars and drums becoming ever louder and faster as time goes by. Shades of Sabbath, Sleep and Alice In Chains can be detected at times on both the music and vocals and that is no bad thing. As Fog Cult, keep things lively and fresh through out. A great hard-rocking track has a creepy sideline in Occult Rock vibe starting to appear through out the song.

The vocals are superb as Fog Cult unleash another expertly written song. Fog Cult make great use of the different genres they play through out on the album. Some people maybe put off with the change in tone and direction the album goes through with each song. Though I think, it is a sign of Fog Cult's wonderful creativity, as each song sounds so different to each other. Third track - The Beast - is a faster paced affair compared to the opening two tracks. It sees Fog Cult venturing into 70s/80s classic Hard Rock/Doom Metal territory for one of the albums standout tracks. It features some of the albums standout riffs for you to rock out to.

The 4th track - Blue Dream, Ice Queen is my fave track from the album as it is a fast paced and intense affair with Fog Cult opting for a more Stoner Metal vibe compared to the other tracks. Fog Cult adds different noises once again to show they thrive on experimenting with their sound. It is purely an instrumental track as Fog Cult let their music become the focus here. Now it is time for me to warn you as after this track the album moves into darker and sinister territory as Fog Cult bring elements of distorted Ambient and Drone noises to the album.

Up next is the 13 minute epic From Under Heavy Eyes is firmly rooted in Doom Metal as the band unleashes a whole wave of loud slow-paced gloomy riffs and vocals to match. Around the 7 minute mark is when the whole mood of the album changes for everyone. Fog Cult unleashes distorted and ambient noises for a few minutes, as the mood turns violent and bleak for one of the albums most unsettling moments. However, things do go back to a more slightly normal feel with the band playing loud and heavy sludge/drone riffs to end the song with.

The last two songs - The Burning and Rise In The Fire - take up the final 16 minutes of the albums run time. The Burning is an almost 13 minute epic where Fog Cult experiment with ambient noises once again before playing the more normal Doom/Sludge/Stoner metal sound they played earlier on the album. It is another creepy as heck song to impress you with. The last track - Rise In The Fire - is entirely made up of distorted drone and ambient noises without a riff in sight. It is a shame the guys end the album with this track as it does not really go anywhere. Fog Cult should have ended the album with The Burning as it a more fitting way to end the album on a loud angry finish.

I admire Fog Cult's creativity on this album as they have created a truly superb debut album that offers something different and wholly rewarding if you are into bleak based music. The album sounds superb, as the production is excellent through out. A truly epic and thunderous debut album. Check this out now. You won't be sorry.

Words By Steve Howe

Fog Cult S/T debut album is available to buy on BandCamp now.

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Space Fisters - Vol. 1 (Album Review)

Album Type: Album

Date Released: 20^th December 2014

Label: Self Released

Vol. 1 – Track Listing

1.Short Daze

2.Yellow Hills 07:10

3.Goddess Of Love / Priestess Of Pain

4.Bozz

Bio

Space Fisters is a power trio of Heavy/Psych influenced by Sungrazer, Mars Red Sky, Earthless, Sleep, The Melvins...

Members

Clément Baltassat : Bass/ Vocals

Robin Pruchon : Guitar

Léo Moraiud : Drums

Review:

Space Fisters are a band that came to my attention when I was carrying out my usual BandCamp research on which bands to feature on the blog in the future. I came across them as their debut album cover intrigued the hell out of me. I listened to the track – Yellow Hills – currently streaming on their BandCamp Page. It impressed the hell out of me. Loud, brash, epic Stoner/Space Rock riffs laced with high amounts of FUZZ.

I contacted the band for a copy of their debut album and they gladly sent me one right away. So I pressed play and Vol. 1 simply crushed my whole world. Vol. 1 is 36 minutes of bone-crunching Fuzz that will appeal to fans of Sleep, Earthless, Truckfighters and Kyuss. Opening track – Short Daze – is a 9 minute plus monster where the emphasis is primarily on LOUD VIOLENT SOUNDS. Space Fisters sound ventures from Desert Rock, Space Rock, Stoner Rock and Fuzz that is held together by a drone based jamming atmosphere. Clément's vocals are not your usual standard fare as he brings a more grizzled, spacier and trippier type of vocals compared to other lead vocalists within the genres. Space Fisters have the same sort of heaviness as their fellow countrymen – Mars Red Sky.

It's a great track to open the album with. From then on things only get better as second track – Yellow Hills – continues the bombastic approach of the opening track. The Desert Rock/Stoner Rock vibe takes centre stage with some fast-paced instrumental work to show Space Fisters know how to play those instruments they called weapons of mass fuzz-destruction. Clément's vocals take centre stage with strange tales of weirdness to take you on a cosmic journey. This song has a progressive rock feel to it as the music can be very complex at times. Or that could be the Psychedelic Rock vibes of the band coming to hypnotise you. No matter as this is one of the albums standout tracks. It's a weird as hell psychedelic mind-trip that demands your full attention.

Third track – Goddess Of Love – is an interplanetry Stoner Rock love song. Well I think it is but what the hell do I know. I can tell you it's another finely tuned song full of insane Stoner/Fuzz/Space/Desert Rock riffs to rock out to. The FUZZ effect will make even the mighty Truckfighters feel jealous. Space Fisters venture from slow-paced riffs to more dangerous fast-paced riffs which will leave you breathless. This song feels like an extended jam session between friends and where everything feels out of control. Just enjoy the ride as you're gonna need your wits about you for the final track.

Space Fisters leave the best track till last with the majestic and weirdly captivating 14:30 minute epic – Bozz. This is where Space Fisters throw caution to the wind and say – FUCK IT – with a ton of great riffs to impress you with. It's the albums most creative song as it ventures into murky psychedelia with elements of Doom being added for one final battle. Clément's vocals are so out there as I haven't clue what he is singing about at times. It feels that he is struggling to breath at times. Unsettling to say the least. Just enjoy the ride as this is work of insane and twisted genius. It may not fit into the conventional Desert/Stoner Rock mould but it does make for one thrilling and disturbing encounter.

The production on Vol 1. is first rate through out. Space Fisters have created an excellent debut album that I hope finds them many fans within the Stoner Rock/Metal scene. It showcases another great band to check out from the awese French Stoner Metal scene.

Words by Steve Howe

Thanks to Space Fisters for the promo. Vol. 1 will be available to buy on DD/Vinyl from December 20^th 2014. I have already bought my copy on Vinyl.

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Camel Driver - S/T (Album Review)

Album Type: Album

Date Released: 31^st October 2014

Label: Pink Tank Records

Camel Driver – S/T – Track Listing

1. Minor Cause

2. Wedding

3. Talus

4. Devil's Marbles

5. Heraklion

6. Megalith

7. Party Ogre

8. Outro

Members

Christoph - Bass

Lutz - Guitar

Alex - Drums

Review:

I usually go nuts over Instrumental Stoner Rock albums as it's one of my fave genres. Though the debut album by Desert Rock/Stoner Rock experimentalists – Camel Driver – didn't appeal to me right away as it should. I found it hard to find any emotional connection to the music. Sure they have some pretty cool riffs that ventures between Jazz, Desert Rock and Stoner Rock but it's a very hard album to like at first.

I suppose that's the point for Camel Driver's debut album. Mainly to try something different and standout from the crowd. Camel Driver excel on that level alone by delivering a debut album that dares to be different with jazzy musical interludes split with the Desert Rock/Stoner Rock riffs. Opening tracks – Minor Cause and Wedding – are two fine examples at what Camel Driver thrive at. Both songs are dripping with finely tuned Desert/Stoner Rock vibes that have a lot of fuzz running through it's soul. Over time I started enjoy this album immensely compared to my first listen. It started to speak to me more and more each time I listened to it.

I have had this promo for a couple of months now and only now I am writing the review for this. It's one of the hardest Stoner Rock albums I have listened to this year. That's one of the albums strongest points – It's a challenging and frustrating listen at times but you can't deny the talent or power that Camel Driver posses. The album is a finely tuned and complex album within the realm of Desert/Stoner Rock. Devil's Marbles perhaps the albums finest track sees Camel Driver showing off their musical skills with deft touches of Americana inspired guitar worshipping. Though the Desert/Stoner Rock vibe is never to far away. It can be a complex song to listen to as Camel Driver include many different layers of noise for you to experience.

Camel Drive have delivered a stunning debut album that only now I am starting to appreciate. It may of took me some time to come round but Camel Driver have a very bright future indeed if they deliver more creative and majestic albums such as this.

Excellent and Highly Recommended.

Words by Steve Howe

Thanks to Jan at Pink Tank Records for sending me a promo to review. Camel Driver – S/T – is now available to buy on DD via BandCamp. Vinyl here and here from Pink Tank Records.

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Hands Up Who Wants To Die - Vega In The Lyre (Album Review)

Album Type: Album

Date Released: 25^th Sept 2014

Label: Learning Curve Records

Vega In The Lyre - Tracklisting

1. Now Beacon, Now Sea.

2. Scoops.

3. Burnt Yesterday.

4. False Dawn.

5. No Big Deal.

6. Dreft.

7. The Brotherhood.

8. Beauts Malone.

Bio

HUWWTD are four. Based in Dublin. Make abrasive noise-rock which has been described as "all angles and noise, edges and respite, razor riffs, visceral vocals, heinous hooks, yet on the face of it, as smooth as a mirror, as sheer as cliff-face", "Big'N and enablers in a blender" and "socially aware slab punk with constant discordant meanderings".

- 2 tracks on a Richter Collective Singles night CD with Guilty Optics & BATS released in 2009

- 10" Split with I'll Eat Your Face from Cork released in 2010 on Richter Collective

- LP 'Buffalo buffalo buffalo Buffalo buffalo' released on Richter Collective in 2012

- Second LP 'Vega in the Lyre' released September 2014 on Learning Curve, Art For Blind, Whobrain, Gabu, Triplejump & Wahshtuff

- Split 7" with B.O.B. from Montpellier for release late 2014 on Gabu

Members

BL - Words

PC - Guitar/Bass

MH - Bass/Guitar

JB - Kit

Review:

You really have to be absolutely sodden with audacity, to release a two-year-old record that ends up trumping some of the most touted noise rock releases of the last six months. Hands Up Who Wants To Die have essentially proved themselves to be that little shit that arrives late to an exam, leaves after the first half an hour, and you just know deep inside that the little fucking prick has aced it.

Setting a foot firmly back in reality though, it’s easy to imagine the weight a band may have to carry on their shoulders when they’re on the cusp of releasing a record that they’ve had a long time to lay in bed with. Weight, pressure, anxiety, none of them necessary if there ever was any, because 'Vega In The Lyre' is an unhinged joy, more perversely deviant than 2012’s Buffalo Buffalo Buffalo Buffalo Buffalo, but every bit as hazardous.

This ditty gets started up with very little foreplay, straight in, no kissing. ‘Now Beacon, Now’ jerks and rattles to life with abrasive math-rock strings, a controlled discordancy that carries on over to ‘Scoops’ and sets you up for this audio equivalent of a malfunctioning robot. ‘Burnt Yesterday’ twitches anxiously before finally fracturing into a full-blown panic attack, vocalist Barry Lennon’s deranged yells caught hopelessly in a current of inhuman distortion that thrusts and batters.

If ‘Burnt Yesterday’ indicates that 'Vega In The Lyre' is an incredibly moody record, then ‘False Dawn’ seals that deal with pounding bass and percussion that frames and marries a sepulchral, cumbersome drone. ‘No Big Deal’ arrives all jittery with its dancing shoes on, boasting of a good, stout bass sound that turns disgracefully heavy and ominous on ‘Dreft’, a track that really embodies the musicianship on this bad boy.  Harmony and noise clashing in a melodrama that’s as despondent as it is aggressive.

‘The Brotherhood’ is helter-skelter restlessness that only takes time to breathe right before ‘Beauts Malone’, a strident bastard of a track that pummels and shudders with the reminiscence of Croatian noise rock baby-makers, Sexa. A rush of digital noise and feedback brings this monument to dissonance to a close, and you’re back.

Alongside psychedelic maniacs, Wild Rocket, HUWWTD have offered up another reason why everyone should be keeping an ear out for new Irish tunes. 'Vega In The Lyre' is the sound of a band who have had been able to put out exactly the kind of record that they wanted to, no rushing and no fussing, and it’s clearly evident in the quality of the recordings and in that of the musicianship and song writing. It’s a writhing, snarling mutant that shows moments of humanness throughout, but never for long enough to trick you into thinking it’s benevolent. This is one that I’m sure will go down a treat in the live arena as well, and I look forward to spilling booze all over myself to it. It’s been a good year for wholesome, home-grown Irish turbulence.

Words by Liam Doyle

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