ALBUM REVIEW: Tribulation - "Down Below"

By: Daniel Jackson

Album Type: Full Length

Date Released: 26/01/2018

Label: Century Media Records

I’ll stop short of calling this Tribulation’s defining masterpiece, if only because the band seem to keep outdoing themselves. For that same reason, it’s hard to imagine the band won’t have even more to show us as the years go by, and that’s a thrilling prospect.

‘Down Below’ CD//DD//LP track listing:

01. The Lament

02. Nightbound

03. Lady Death

04. Subterranea

05. Purgatorio

06. Cries From The Underworld

07. Lacrimosa

08. The World

09. Here Be Dragons

The Review:

By this point, most of you reading this are going to be familiar with the transformation Tribulation has undergone over the last decade or so. Beginning as a more traditional, yet unique and creative Swedish death metal band, and over time moving further and further into a lush, blackened goth metal kind of sound. That’s not exactly a common trajectory for a band, but then Tribulation isn’t a common band.

While I’m sure there are still people holding out hope for something closer to ‘The Horror’ or ‘The Formulas of Death’, 2015’s ‘The Children of the Night’ was a definitive clean break from the thrashy, progressive death metal of the band’s early years. The glowing reception with which the album was received by both critics and a large number of new and current fans of the band probably wouldn’t have dissuaded them from continuing on their current course.

All of that is to say that ‘Down Below’ is a further exploration of the sound Tribulation established with ‘Children of the Night’, leaning into the accessible nature of their previous album and further toying with the subjective boundaries each of us set as to what counts as metal vs. hard rock. In that sense a good comparison point might be a band like Ghost, even if the two are pretty different, stylistically. This correlation is particularly evident on “Subterranea”, with its subtle inclusion of classic heavy metal elements in the verse, and the theatrical nature of the song’s opening moments.

Tribulation’s current modus operandi is straddling the fence between commercial accessibility and the underground’s love of artistic indulgence and morose aesthetics. Johannes Andersson’s vocals—as decipherable as they may be—are still very much in a black metal vein, and will continue to limit the pace at which they can grow their fanbase. Looking at them purely as an artistic choice, it works for me, but I love vocals in that style to begin with. But it also means their ceiling will remain at a certain level.

Instrumentally and compositionally, it’s clear as day that the band is continuing to appeal to a larger audience, but Andersson’s vocals keep them tethered to their point of origin, and interviews the band has done in the past indicate that it’s a conscious choice. It’s a part of their identity that they value more than whatever potential growth might come from making a vocal change as drastic as their musical changes have been. The vocal situation illustrates that Tribulation is remarkably comfortable with who they are. Sure they could probably bring in a singer like Pelle Åhman (who I’ve been advocating for on twitter for a couple of years now), but then it wouldn’t be them. The songs are immediately catchy, the vocals are caustic and grim. That’s who Tribulation are.

Time has a funny way of proving statements like this next one wrong, but in this moment, ‘Down Below’ feels like an improved and stronger version of the vision they brought to life on ‘The Children of the Night’. This album is a refinement rather than another great leap forward, and I think that’s exactly what was needed. ‘The Children of the Night’ had the benefit of leaving an immediate impression because it was so different, and time has not been as kind to parts of that album because, in retrospect, the whole experience would have been much better served at forty minutes than at fifty-six. ‘Down Below’ is more concise, and the songs here are better realized and written, outside of the previous album’s opening pair of songs. I’ll stop short of calling this Tribulation’s defining masterpiece, if only because the band seem to keep outdoing themselves. For that same reason, it’s hard to imagine the band won’t have even more to show us as the years go by, and that’s a thrilling prospect.

‘Down Below’ is available a digitally here and on CD/LP here.

Band info: Official Site || Facebook

ALBUM REVIEW: DOOL - "Here Now, There Then"

By: Ben Fitts


Album Type: Full Length
Date Released: 17/02/2017
Label: Prophecy Productions

It is rare that an album is able to make one completely forget about their real world surroundings and bring them somewhere else entirely.  “Here Now, There Then” is an otherworldly brew of eeriness, effective hooks and nefarious rock and roll.  It is the soundtrack of a lost soul stumbling upon something evil and long forgotten, only to find it wide awake and waiting.

 

“Here Now, There Then” CD//DD//LP track listing:

1. Vantablack
2. Golden Serpents
3. Words On Paper
4. In Her Darkest Hour
5. Oweynagat
6. The Alpha
7. The Death Of Love
8. She Goat

The Review:

It is rare that an album is able to make one completely forget about their real world surroundings and bring them somewhere else entirely. On “Here Now, There Then”, that somewhere else is ancient, otherworldly, mystic and evil. Gloomy guitar chimes are interwoven with Ryanne van Dorst’s haunting vocals and a cryptic atmosphere. “Here Now, There Then” is the soundtrack of a lost soul stumbling upon something evil and long forgotten, only to find it wide awake and waiting.

The creators of this somewhere else are Dutch dark rock quintet DOOL. Given the natural ease with which DOOL administer their wicked mysticism, it might seem surprising at first that “Here Now, There Then” is actually the group’s first album. But DOOL’s obvious experience is explained, as their line-up boast membership in the occult rock outfit The Devil’s Blood, as well as the bands Gold and The New Media.

DOOL’s sound is in a similar vein to that of The Devil’s Blood (which featured both DOOL bassist Job van de Zande and drummer Micha Haring), and fans of The Devil’s Blood are sure to be satisfied with their rhythm section’s new project.  Both groups have a knack for crafting dreary but ridiculously catchy hooks, filled with arcane lyricism and bubble with witchy personality. But despite retaining many of the most lovable qualities of their former band, on “Here Now, There Then”, DOOL demonstrate they are very much their own band.

“Here Now, There Then” is packed full of headbangable guitar riffing, driving rhythms and nods to classic metal and doom that were not prevalent in the generally softer recordings by The Devil’s Blood. Although a rock band first, DOOL are not afraid to wander over the line where dark psychedelia gives way to heavy metal, as evidenced by tracks such as “The Alpha”, “Words On Paper” and “She-Goat”. Conversely, DOOL also demonstrate their ability to craft mellower sounds throughout the album, most notably on “The Death Of Love”. The standout track on the album is perhaps its second song, “Golden Serpents”. Striking the perfect balance between DOOL’s softer moments and their penchant for sinister heaviness, “Golden Serpents” features superbly crafted melodies, ghostly tones, powerful dynamics and general themes of the occult in abundance.  The blend of hooks and evil found on “Golden Serpents” will likely appeal to fans of Swedish breakout stars Ghost, and for good reason.

“Here Now, There Then” is an otherworldly brew of eeriness, effective hooks and nefarious rock and roll.  

 

“Here Now, There Then” is available preorder/buy here

Band info: bandcamp || facebook

ALBUM REVIEW: Dread Sovereign - "For Doom The Bell Tolls"

By: Brandon Green

Album Type: Full Length

Date Released: 03/03/2017

Label: Ván Records

This is a fantastic doom release for walking around in the woods when everything is dead.  This album deserves to be cranked, listened to on headphones in the dark with candles lit.

“For Doom the Bell Tolls” CD//DD//LP track listing:

1. For Doom The Bell Tolls

2. Twelve Bells Toll In Salem

3. This World Is Doomed

4. Draped In Sepulchral Fog

5. The Spines Of Saturn

6. Live Like An Angel, Die Like A Devil (Venom Cover)

The Review:

I’ve been a huge fan of Primordial for years, so when Dread Sovereign formed in 2013 (featuring Primordial vocalist Alan Averill) I was beyond excited. Their first full length, “All Hell’s Martyrs” was a fantastic doom release loaded with memorable riffs and catchy vocal melodies. When it came out in 2014, it was a frequent listen for me. Fast forward to 2017; Dublin’s doom trio have put together their second full length effort, and it’s dripping with evil atmosphere, soaring vocals, and huge riffs.

Compared to “All Hell’s Martyr’s”, “For Doom the Bell Tolls” sounds a bit more vintage and less noisy.  Fans of the occult/psychedelic doom genre may take notice and appreciate this approach more than their previous release. The album starts with an atmospheric intro loaded with bells, feedback, and then builds into the effort’s longest track “Twelve Bells Toll in Salem.” The song starts with pure Sabbath-worship riffs pushed with soaring vocals and layered psychedelic guitar leads which develop into slow bass-distorted drum/bass/vocal sections.  The sound of this track just oozes with imagery of witchcraft, occult symbolism, and appreciation for evil. Definitely my favorite from the album.

Track 3, “This World is Doomed” starts with a classic heavy metal and more upbeat feel. The vocals and guitar riffs are more traditional in song structure, but this is a welcome addition providing the listener with a doom track perfect for pushing your speakers. There’s a brief break with “Draped in Sepulchral Fog.”  A two and a half minute atmospheric song loaded with atmosphere and feedback providing a build up to “The Spines of Saturn,” which is the final original song of the record. Clocking in around 8 minutes, the track has the feel of an 80s traditional doom song with loud catchy jam sections and upbeat repeated sections with vintage synths in the background.  The vocals overall in the intro provide more texture/melody than anything but are a welcome addition to the sound. Halfway through the song, the instruments open up to massive reverb/chorus drenched vocal melodies which build to the familiar heavy sound in the beginning of the track. The album closes with a Venom cover of “Live Like an Angel, Die Like a Devil” which is a ripping track loaded with the lo-fi evil feel of the rest of the record.  They did a fantastic job with this tune, and I can only imagine how huge this would sound live.

Dread Sovereign have created another worthy addition to their discography which is their own brand of filthy lo-fi sounding doom dripping with memorable vocal melodies. My only gripe with this record is I feel like it is a little on the short side.  I think another track would have rounded this album out nicely. This is a fantastic doom release for walking around in the woods when everything is dead.  This album deserves to be cranked, listened to on headphones in the dark with candles lit.

“For Doom the Bell Tolls” is available to buy/preorder here

Band info: facebook || bandcamp

FFO: Primordial, Candlemass, (old) Ghost, Pallbearer, Crypt Sermon

DECADES APART: 5 Albums 5 Different Decades, 1970, 1980, 1990, 2000, 2010

By: Aaron Pickford, Victor Van Ommen

& Phil Weller

Decades Apart

The idea of Decades Apart is pretty simple. I’ll choose 5 different albums from 5 different decades and I’ll share a little information about them and hopefully you’ll check them out if you haven’t already.   Today is 1970, 1980, 1990, 2000 and 2010.  Whilst some these albums may not all be considered classics, they’re certainly amazing records.  So be sure to check it out.    

Black Sabbath – “Black Sabbath” (1970)

An argument may still remain whether Black Sabbath truly invented heavy metal , however what is true to say, is that Black Sabbath impact and influence on heavy metal music remains unequalled.  Famously recorded in one day, Sabbath’s debut was released on Friday February 13, 1970.  The foreboding title track and “N.I.B” are perhaps the bands most potent examples of Sabbath’s fundamental power.  Indeed if you ask the question, what is doom?  Well you only have to refer to the title track and there you have your answer.  If satan had an anthem, “Black Sabbath” would be that song. Elsewhere on the album are traces of blues and psychedelia. Early reviews of the album according to Tony Iommi’s were “awful”. But in America, “Black Sabbath” sold a million. In the UK, it made the Top 10. And over time it would be acknowledged as a landmark album in the evolution of heavy metal.

The year proceeding would see the band develop further still morphing from the dark masters of  seemingly occult music to a respected hard rock band, who would help create the emerging genre of heavy metal.   Seemingly doing the impossible by today’s standard, the four brummies recorded not one but two classic albums in the 1970, with “Paranoid” following a mere 4 months later, an album that would cause further a tectonic shift in the rock world.   By the time “Paranoid” emerged, clearly Sabbath has developed greater compositional range to their music and their performances on their second album were further step up. 

To give some context to what Sabbath would go onto achieve, in 1968, bassist Geezer Butler and vocalist Ozzy Osbourne were in a band called Rare Breed when a certain unknown guitarist Tony Iommi invited them to form a blues rock group with drummer Bill Ward. This new band would settle on the name Earth, following the recording of some initial demos and some subsequent positive feedback, the momentum of the band was stunted slightly following Iommi’s brief dalliance with Jethro Tull. Iommi would soon return and the group reunited in 1969, deciding upon the new name of Black Sabbath.  In the Autumn 1969, the group was signed to Philips Records and entered the studio with producer Rodger Bain.

“Black Sabbath” was recorded live on the floor in the studio with very few overdubs added ad if you don’t already know the story, due to the loss of a few fingertips, Iommi down tuned his guitar for easier playing, with this new tone giving that synonymous “doomy” effect.

Having been turned on to Black Sabbath by my own Father, listening to this self-titled 1970 is arguably the definitive debut heavy metal record. In terms of a general concept “heavy metal” and it’s development of the genre was moulded not only tone of the music, but because of the band underlying lyrical themes, with Sabbath’s devotion to darker themes that others perhaps  had not dared undertake.  The band’s environment, in terms of living in poverty and career choices being limited to factory worker or petty criminality, Black Sabbath were far removed from hedonism hippie music that was popular when the band formed in 1968, considering themselves a blues band. Instead it is said that Tony Iommi observed the lines that formed at the local movie theatre whenever it showed horror films and remarked that if people were so willing to pay to be scared, perhaps they should try playing evil-sounding music. So with that in mind, they took their name from a Boris Karloff film.  Indeed the title track to “Black Sabbath” capture the essence of horror, with Iommi playing a slow, ominous riff based on the “devil’s tritone,”. The sluggish pacing of the track is truly something to behold and perhaps personifies what is indeed heavy, with the slow and ominous motif becoming the primary influence of the doom metal genre.  There is no filler on this record, “The Wizard” with their inspired use of harmonica, ably backed up by Geezer on bass and a masterful performance from drummer Bill Ward. “Behind the Wall of Sleep,” inspired by psychological horror writer H.P. Lovecraft. “N.I.B.” a Sabbath song for bass-lovers, man that Butler solo and with Osbourne at his mercurial best. 

Sabbath’s cover of “Evil Woman” by Crow was their first single from the album, a straightforward blues rocker and arguably the most accessible song on the record, Sabbath truly but their own stamp on it, particularly with Iommi’s riffs replacing the brass of the original. 

The title of “Sleeping Village” speaks for itself, a sombre dirge with Osbourne crooning over the top of Iommi’s acoustic guitar from the outset. With dramatic shifts in tone throughout, from a 60s inspired jam to the rigid structure of an menacing, plodding riff. “Evil Woman”is up next into another cover, this time in the form of “Warning” originally by The Aynsley Dunbar Retaliation, clocking in at an immense 10m30s, and taking up most of the album’s second side. This track was the least accessible on the album with “Wicked World” completing the album with politically charged lyrics, A politician’s job they say is very high, For he has to choose who’s got to go and die, They can put a man on the moon quite easy, While people here on Earth are dying of old diseases catchy riffs, booming bass guitar and a master class of intricate drumbeats from Ward.  Black Sabbath made music that personified their environment, dealing with the harsher realities of life in their lyrics, married with dark and sinister tone of the guitar and the flawless display by Geezer and Ward.  Sabbath truly have no equal and the next time someone asks you what heavy metal is, reach for your copy of “Black Sabbath” and utter not a word, because this album speaks for itself. 

Diamond Head – “Lightning To The Nations” (1980)

“Lightning to the Nations” also known as “The White Album” is the debut album by British heavy metal band Diamond Head. The album was recorded in 1979 and released on the 3^rd October 1980 through their own label Happy Face Records.  The album stands in history as possibility one of the most influential heavy metal records of all time. Speaking as a Metallica fan, the band first came to my attention, due to their cover of “Am I Evil?” which featured on the “Lighting to the Nations” album.  One can not be certain whether Diamond Head’s  would have remained in heavy metal shadows without their association with Metallica , however this union certainly helped gain the band more widespread attention, given Metallica  covered no fewer than 5 of the 7 songs from the album. To put it bluntly if Metallica fans thought these tracks were cool, the same fans would check out Diamond Head.  Conversely and perhaps unfortunately so, Diamond Head's were associated more as the inspiration to Metallica rather than composing one of the best heavy metal records of all time.  "Lightning to the Nations" combines great guitar-driven elements with epic sounding vocals and a sound unique to them and whilst Diamond Head never reached the heady heights that Metallica would achieve 10 years later, they deserve enormous praise from creating a legendary record, one that would go on to inspire the biggest heavy metal band of all time. 

Megadeth – “Rust in Peace” (1990)

“Rust In Peace” is the fourth album by Megadeth, released on September 24^th 1990.  It feels poignant and only fitting to be discussing this album, given the tragic loss of drummer Nick Menza earlier this year, appropriate then that he be remembered for playing a pivotal role in the creation of perhaps the greatest thrash metal album of them all.  It is safe to say, Megadeth was never the most stable band, disgruntlement of an ousted guitarist from Metallica, which perhaps Mustaine would never recover from, coupled with drug addiction, tragedy and a revolving line up, Megadeth were always on the cusp of creating something huge, but up until this point, the band never quite reached their peak.  Following the release of their 1988 album, “So Far, So Good, So What” drummer Chuck Behler and guitarist Jeff Young would leave the band, to be replaced by Nick Menza and an emerging guitar virtuoso, Marty Friedman, who was known as one half of the speed metal band Cacophony, who also featured Jason Becker, indeed it was the release of Friedman’s debut solo album “Dragon’s Kiss” that piqued Mustaine’s attention, remarking in his biography and I paraphrase that Mustaine was so intimidated by Friedman, it created some anxiety, that he was hiring someone technically superior to him.    Irrespective of this apparent tension, “Rust In Peace” is one of the most technically brilliant thrash albums, indeed it is the sheer technical complexity of the album that would truly define Megadeth and perhaps set a new benchmark for thrash metal standards.

“Hangar 18” and “Holy Wars… The Punishment Due”, with their continuous tempo changes, elegant neo classical inspired solos, along with Mustaine at his magnificent songwriting peak, these two songs would set the tone for the album and inspire it to go down in history as Megadeth’s apex in terms of album output.   Thematically “Rust In Peace” is centered around politics, nuclear warfare, religion, UFOs, and personal issues such as drug and alcohol addiction. “Rust In Peace” is a) an album written by Mustaine at his creative, b) it was performed by members with the technical capabilities of Menza and Freidman members, it is little surprise then that “Rust In Peace” is one of the greatest heavy metal album of all time and the best Megadeth album ever. 

Queens of the Stone Age – “Rated R” (2000)

The year 2000 was a turning point for the stoner rock genre and this had a lot to do with Josh Homme’s band Queens of the Stone Age. Referred too as trance robot music for ladies, the conception of the band was to make the desert sound more widely known and to make something that women could dance to. If you take these two goals and prop them up against QOTSA’s 2000 sophomore album “Rated R,” then there’s no denying that even this early in the band’s career, Homme could already mark this as his second greatest musical accomplishment, the first of course being Kyuss.

Homme was able to turn heads and grab attention. At the time, “Rated R” was something new for the mainstream, while for the heavy underground, those involved felt like they were finally getting recognition. That’s not to say the underground wanted this recognition, but QOTSA was arguably the catalyst for many bands like Red Fang, Mastodon, and Truckfighters to spread the stoner rock gospel and influence a generation of their own.

It’s interesting to note that the year 2000 also saw the release of Limp Bizkit’s “Chocolate Starfish and the Hot Dog Flavored Water,” a record that went on to sell millions and was at the time regarded as a would-be classic. In the meantime, that album has faded from our memory, but “Rated R” continues to mature like a fine wine. So what was it that made QOTSA a band to notice?

The album is 11 songs long and ranges from stoned riffing to catchy grooving. “Rated R” leaned in the direction of experimental rock music without neglecting the need for a strong hook. Different instruments were used and the songs were structured in such a way that they could stand alone as a hit single while simultaneously being an integral part of the album as a whole. The album’s lyrical content was for mature audiences, but that didn’t stop radio stations from playing “Feel Good Hit of the Summer,” regardless of the season. And to top it all off, Homme invited several friends from the desert – amongst which Dave Catching, Chris Goss, Mark Lanegan, and Pete Stahl – to contribute to this masterpiece. With all of these creative minds who came from the same scene, it’s no wonder “Rated R” turned out to be a template for the burgeoning stoner scene which has since then exploded.

Ghost – ‘Opus Eponymous’ (2010)

First impressions are pivotal and from the moment the eerie, mysterious swelling organ chimes of ‘Opus Eponymous’, Ghost have had thousands captivated. Their anonymity, a driving factor in their success, is pure theatre, the cold, occultish feel of Black Sabbath and the horror loving, hip swinging charisma and humour of Alice Cooper potent flavours on this hors d'oeuvre. Yet, where dark, 70s rock whetted the appetite of so many, they juxtaposed all that with the kind of melodies that made ABBA so irresistible. From the human sacrificing stadium rock of ‘Ritual’ to the poetically haunting ‘Elizabeth’ and the beguiling, lofty sounds of ‘Satan Prayer’, while it may not stand as a classic album – especially when compared to the ever increasing quality of their later releases – ‘Opus Eponymous’ provides us with a thrilling first encounter. With the gift of retrospect we can hear their naivety in some ways, this is a band still developing, still laying down the building blocks for a sound that has, today, become truly irresistible.

INSTRUMENTAL INTERPRETATIONS Part VI: Kylver - "The Island"

By: Phil Weller

Album Type: EP

Date Released: 06/10/2016

Label: Independent

An evil and hypnotic concept album that will have your imagination racing.  ‘The Island’ is an encapsulating and fascinating release which heeds new reward upon repeat listens. It is the closest any metal act has gotten to lucid dreaming.

“The Island” CD//DD track listing:

01). The Great Storm Of 1703
02). Hy-Brasil
03).  Monolith
04). The Abyss
05). The Great Race

The Review:

Battered and buffeted by a tempestuous storm, a privateer ship begins to sink beneath imposing clouds and ravenous waves. Hired in 1703 to scout out a mysterious island which is believed to host a portal to another world, Kylver’s epic new concept album ‘The Island’, follows the ship’s sole survivor as he explores the alien landscapes of The Island, having washed up on its ominous shores, with the unnerving feeling of being followed a constant prickling in his senses.   

A picture, they say, can speak a thousand words. But here, through the musical imagery conjured from this band’s unique sound – one characterised by gigantean, whirling Hammond organ, droning bass and expressive, artisan guitar work – speaks far more than that. Though no words are spoken throughout, the cinematic experience which unfolds, as their progressively lavished doom metal twists and turns like a writhing beast, is powerfully moving.

‘The Great Storm of 1703’, at nearly fourteen minutes does more than just set the scene as it ducks and dives through dynamic peaks and troughs. From Opeth-meets-Mastodon inspired sections, to demented Deep Purple, surreal psychedelia and beyond, the canvases they create in your resolutely racing imagination are vast and vibrant. They work to create an incredibly immersive body of work that not only follows up their debut offering ‘The Mountain Ghost’, which helped secure the band a nomination at the Prog Magazine Awards earlier this year, it proves the band’s class and worth was not a one time only deal. And in such style too.  

‘Hy-Brasil’ is arguably the record’s most imposing and immediate song. It’s thick, gooey sludge tones are played out at a rapid tempo with mescaline tripping organ screams weaving in and out of guttural guitars. The drums carry the thunder of the opening act into a new setting to great effect, closer ‘The Great Race’ meanwhile an evil and hypnotic song, coming across like a perturbed Ghost (BC).

Beautiful and nuanced, their booming sound may replicate the footsteps of giants and ogres, but the intricacy of the guitar and keyboard playing helps make this an altogether more wholesome piece. This is heavy and threatening and elegant and intelligent. So much goes on across every song, with the band drawing graciously from such a feast of influences and techniques, it would take an age to work through this record’s aural treats and surprises in such a methodical way. Just be sure to know that ‘The Island’ is an encapsulating and fascinating release which heeds new reward upon repeat listens. It is the closest any metal act has gotten to lucid dreaming.

“The Island” is available here

Band info: bandcamp || official

Ghost - "Popestar" (EP)

By: Bobo Coen
 
Album Type: EP
Date Released: 16/09/2016
Label: Loma Vista Recordings

 

 

At times both bombastic and over the top, rocking and rampantly commercial, this EP is a complete vindication of everything that Ghost stand for.

 

“Popestar” CD//DD//LP track listing:

 

1). Square Hammer
2). Nocturnal Me (Echo & the Bunnymen)
3). I Believe (Simian Mobile Disco)
4). Missionary Man (Eurythmics)
5). Bible (Imperiet)

 

The Review:

Let’s get this out of the way. There are defiantly bands that wrongly or rightly, divide opinion. Ghost are very high up that list. Maybe it’s the naked ambition to become hugely successful, maybe it’s the image which could be called gimmicky or that they are just not heavy enough. Possibly all are true, but either way love them or loathe them, there is no ignoring them.

 

Their latest release called “Popestar” is a second (almost) covers EP. Their last one “If You Have Ghost” was very well received, so can they pull of same trick twice? The answer is a resounding yes. Ghost do not go for the usual Sabbath, Metallica, Maiden covers, instead and as always Ghost do the unexpected and deliver a set that shows an influence beyond a classic rock record collection. With the exception of one track I’m unfamiliar with the originals and that for me is always a plus point.

 

It starts off with a brand new Ghost song “Square Hammer”. A keyboard riff plays before crunchy guitars kick into a medium paced stomp. Papa Emeritus III’s vocals gift this song with a simply beautiful melody. A towering chorus that is as catchy as is expected underlines the Ghost mission statement. In other words, a chorus to be sang by the masses in stadiums worldwide, which it more than likely will be. A pre-thrash 80’s style guitar solo carries the song back to that huge chorus, which in turn wraps up the song. Everything their fans love about them is delivered in less than four minutes.

 

 The next track “Nocturnal Me” is an Echo and the Bunnymen song. Although familiar with the name I don’t know this song at all. After a wavering keyboard intro, a waltz time riff kicks in. A double tracked vocal delivers a lyric that could have come from a Viking metal album. “In an ice-capped fire/of burning wood/in our world of wire/ignite our dreams of starry skies”.  Ghost however gives it a flavour of gothic splendour before a keyboard driven, almost spoken word chorus. This motif is repeated in the third verse before biting guitars kick the song goes up a gear. Military style drumming brings us to a bigger chorus. The song finishes with the keyboard driven waltz time riff replacing the guitars. A dramatic song that feels short at just over five minutes.

 

The next track “I Believe” is by Simian Mobile Disco, whom I have never heard off. I assume it is a dance act which is something Ghost did on their last EP covering “Army of Lovers”. It starts off with phased keyboards, a dance music reference point. An electronic sounding string riff introduces melody of song before a laidback vocal takes a casual preamble into action. Ghost gets straight down to the bones of song. Don’t bore us; get to the chorus seems to be point here. There doesn’t appear to be any guitars on this track at all. It is covered in washes of atmospheric keyboards and its saving grace, an unsurprisingly beautiful vocal by Papa Emeritus III. Although this can in no way be described as rock music it does the same job as the Disturbed cover of “Sounds of Silence”. It highlights the vocal powers of the front man and is a nice change in pace from previous songs.

 

Track four is perhaps the best known song on the EP. I’m sure most people know “Missionary Man” by Eurythmics. It starts with vocals underpinned by a keyboard, before kicking into a crunchy stomp. The guitars are dialled up high giving a nice contrast to the last song. When the chorus crashes in, it has added female backing vocals which rather than diminishing power, it elevates the chorus and lyrical content, taking this Ghost treatment of the song to an even more epic scale. This is Ghost at their most rocking with nasty guitars and a lyric that is snarled with venomous intent. A huge keyboard riff pushes the song along until a blues drenched harmonia solo, which is backed by gospel type female vocals and staccato guitars. It builds to wild abandon before stepping of the gas to let the verse kick in again with double tracked vocals. A final pause as the hammond organ starts building it up for the inevitable finale of repeated chorus. In the same way Marlon Manson made “Tainted Love” his song. Ghost have claimed “Missionary Man”.

 

The final track “Bible” is by a Swedish band called Imperiet and because I am not familiar with this track or band, it is easy to approach it with fresh ears. Epic is a word used a lot to describe Ghost’s vocals, but it is very fitting description here, because this track starts off with one. It kicks straight into a chorus filled with pomp and grandeur which finds Ghost at their most bombastic and commercial. Pomptastic anyone? In less skilled hands this song could easily come across as mawkish and sugary rather than life affirming, fortunately, this band know exactly how to walk that tightrope and do it with a subtle dexterity. Understated drumming allows the lyric and music to soar. It is almost all chorus and key change to the finish line till an ominous spoken word passage in conjunction with almost reverent finale brings it to conclusion.   

Overall Ghost deliver one new song and four covers and stamp their identity all over it. At times both bombastic and over the top, rocking and rampantly commercial, at least four of tracks here you will dig their way into Ghost‘s live set and stay there for many a year. For fans of this band it delivers exactly what you expect and surprises as well, which no matter what you feel about this band must be admitted is a very neat trick. A complete vindication of everything that Ghost stand for.

 

“Popestar” is available here

 

Band info: official || facebook

Arcana 13 - "Danza Macabra" (Album Review)

By: Doza Hawes

Album Type: Full Length

Date Released: 11/03/2016

Label: Aural Music

This album is all about the groove, mixing swampy simplicity with killer vocal hooks. The production is modern and clear, but without sounding overproduced. The guitars are nicely fuzzed out, the bass is growling, and the drums sound crisp and natural.  Creepy keyboards and psychedelic sound effects weave in the background, tying the album together and never letting you forget that these are songs inspired by one thing:  horror.  Overall I would go so far as to say “Danza Macabra” is a contender for the Sludgelord list of top Doom releases of 2016

“Danza Macabra” CD//DD//LP track listing:

1. Dread Ritual

2. Arcane XIII

3. Land of Revenge

4. Oblivion Mushroom

5. Intermezzo (Bonus track for limited vinyl)

6. Suspiria (Goblin cover)

7. Blackmaster

8. The Holy Cult of Suicide

9. Hell Behind You

The Review:

When I heard about a new band from Italy that were inspired by classic Horror films and featured a Goblin cover on their debut album, I expected to hear creepy, all-instrumental progressive rock with insane technical wizardry, influenced by bands like classic Yes and King Crimson. I was wrong. Dead wrong. Instead, I got what could be a contender for the Sludgelord list of top Doom releases of 2016. Instead of proggy technical instrumentation, Arcana 13 delivers crushing riffs. Instead of the mind-bending arrangements and bizarre time signatures that we usually get with prog rock, Arcana 13 keeps it simple and brings us a classic Occult Doom album that is masterfully put together.

Titled “Danza Macabra”, the album is inspired by legendary horror classics by Dario Argento and Mario Bava (among others), such as “Inferno”, “Suspiria”, and “Mask of Satan”. Sealing the deal, they enlisted classic horror poster artist Enzo Sciotti to paint the album cover, of which he commented, “This is my masterpiece…perhaps the best horror ever!” It is truly a beautiful album cover.

What is interesting about this album is that, while paying tribute to the classic Doom masters such as Sabbath and Pentagram, the band have clearly been doing their homework and staying in touch with what is current in the Doom scene. I hear tributes to bands like Ghost, Sleep, Witchcraft, and Church of Misery, but without sounding like overt plagiarism, more like love and respect for these great bands. The vocals are clean with some fantastic harmonies; the only screaming you’ll hear is from the various horror movie samples that meander throughout the songs. The production is modern and clear, but without sounding overproduced. The guitars are nicely fuzzed out, the bass is growling, and the drums sound crisp and natural.  Creepy keyboards and psychedelic sound effects weave in the background, tying the album together and never letting you forget that these are songs inspired by one thing:  horror.

Their cover of Goblin’s Suspiria theme is a super cool rendition, taking the song in a groovy hard rock direction that is sure to make your head nod. If you’re looking for insane double bass blasts or technical guitar shred, you won’t get that here. This album is all about the groove, mixing swampy simplicity with killer vocal hooks. “Danza Macabra” is a great rock album, a great Doom album, and its infused with the band’s clear love for classic horror. Give Arcana 13 a listen and turn it way up. You might want to pick up one of their limited edition red blood spatter vinyls, if they haven’t already sold them all!

“Danza Macabra” is available here

Band info: bandcamp