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This is 'Liberation through Amplification.'
By: Richard Maw Album Type: Full Length Date Released:23rd August, 2024 Label: Napalm Records
“The Underworld Awaits Us All” CD//DD//LP track listing: 1 Stelae of
Vultures
2 Chapter for Not Being Hung Upside Down on a Stake in the
Underworld and Made to Eat Feces by the Four Apes
3 To Strike with Secret Fang
4 Naqada II Enter the Golden Age
5 The Pentagrammathion of Nephren-Ka
6 Overlords of the Black Earth
7 Under the Curse of the One God
8 Doctrine of Last Things
9 True Gods of the Desert
10 The Underworld Awaits us All
11 Lament for the Destruction of Time The Review: Five years after “Vile
Nilotic Rites”, Karl Sanders (and George Kollias et. al.) blast back
with this capable and muscled offering. “Stelae of Vultures” may start
slowly, but it soon blasts off- or down- into the underworld which apparently
awaits all who listen to this album. The vocals are impossibly low, the drums
impossibly fast, the solos impossibly fluid the album overall is… improbably
good. It’s over twenty years since “In Their Darkened Shrines” and
thirty since Nilestarted out, but their mix
of brutal death metal, Egyptian themes and middle eastern musical motifs is
still as irresistible as ever. “Vile Nilotic Rites”
was a fairly immediate listen- and so is “The Underworld Awaits Us All”.
It’s both familiar territory and wide enough in scope so as to bring the
listener in. Truthfully, I loved this one as soon as I heard it. It’s sonic
carnage in its most precise form and I still marvel at the musicianship on
EVERY Nilealbum. It’s simply
astonishing how far the boundaries of death metal have been pushed since the
likes of “Seven Churches” or “Scream Bloody Gore”
first dropped jaws in the metal world. “Chapter for Not Being
Hung Upside Down On A Stake In The Underworld and Made To Eat FaecesBy The Four Apes”
not only pads out this review’s length, but is also both a ridiculous song
title and an excellent track- lightning fast and with some hooks in the
riffage. Elsewhere, there is not much let up-“The Pentagrammathion of
Nephran Ka” may be a lovely instrumental interlude (echoing some of
Sanders’ solo work) but as soon as “Overlords of the Black Earth” kicks
in, the band simply lays waste to the listener. It’s fast, brutal and
effective, with a creeping slowness introduced after the frenetic first act. The dissonance of “Under
The Curse of the One God” is different again, with excellent time changes
between very slow and hyper fast, plus a female backing vocal on the chorus and
a kind of middle eastern acoustic outro. I like the fact that Nilebroaden their sound out on
each album, it brings unexpected moments and provides an aural break to the
metallic brutality. At 53 minutes in length, it’s not like this is an easy
listen, exactly, but it’s so uniformly good, that the playing time flies by. “Doctrine
of Last Things” may be buried in the track list running order, but it’s
strong- with experimental vocals and percussion- and as such represents another
worthwhile entry into the band’s catalogue. The album manages to keep
my attention all the way through- “True Gods of the Desert” is just
superb; a slithering viper of a track that mixes clean vocals with slow tempos
to excellent effect. It’s only at the penultimate point of the record that the
title track is deployed and it is worthy of the honour bestowed upon it. Epic
in length, while musically, it displays most of what Nilecan do- the insane speeds, the crazy time
changes and the excellent riffs. The production and mix, I note, are excellent.
Tight and punchy, crystal clear- exactly what music of this pedigree deserves. By the time the album
finishes with the morose and atmospheric “Lament For The Destruction of Time”,
Nilehave assuredly done what
they set out to do- they’ve made another excellent technical and brutal death
metal album; another classy entry into their discography. With Karl Sanders now
60 years of age, how much longer this can continue is anyone’s guess, but on
this evidence, the band are not ready to be interred into the pyramids yet.
Essential for all fans of the band and genre. “The Underworld Awaits Us
All” is available HERE
By: Richard Maw Album Type: Full Length Date Released: 18/11/2022 Label: Napalm Records
“Sweet Evil Sun” CD//DD//LP track listing: 1. Wizard Of The
Vortex
2. Sweet Evil Sun
3. Angel Battle
4. Black Butterfly
5. When Death Sighs
6. Scandinavian Gods
7. Devil Voodoo
8. Crucified
9. Goddess
10. A Cup Of Coffin (outro) The Review: Swedish doom legends Candlemassreturn with- depending how
you look at it- yet another album or an exciting new album! There are no Iommi guest
spots this time, but original vocalist Johan Lanqvist is still there and with
material written for him in mind, this is lined up to be a more cohesive and
convincing album than “The Door To Doom”. Now, it goes without
saying that Candlemassare one of THE seminal
doom bands- usually mentioned along with Saint Vitus, Trouble, Cathedraland so on- that legacy,
though is a blessing and a curse. When a band makes a
record as seminal and legendary as “Epicus Doomicus Metallicus”,
it’s hard to follow it. Fortunately, for many Candlemassfans records like “Ancient Dreams”
or “Nightfall” are even better. It would be hard to find fans who
pick their latter-day output above the debut and the Marcolin classics, but
there must be some out there. For me, I enjoy most of
their records. I thought the aforementioned “The Door To Doom”
was a good album- catchy, solid, well produced and overall a quality return to
form. “Sweet Evil Sun”, for me, continues that trajectory. “Wizard
of the Vortex” is a suitably riffy opener and the BIG song of the album-
the title track- follows with big choruses, pagan references and big riffs. Is
it groundbreaking? Does it match up to EDM? Does it need Iommi soloing away?
The answer is… no; to all of those things. However, this is good stuff. Sure, it sounds like Candlemass. Yes, it’s
doom metal. As the likes of “Angel Battle” and “Black Butterfly” rolled
by, I found myself enjoying the record for exactly what it is: one of the
classic doom bands still doing what they do best. Good songs. Good epic
sounding riffs. And, honestly, it’s great that they are still around, let alone
actually producing cohesive bodies of work like this. The band still plough the
Sabbathfurrow like few others- it
has that Nordic darkness along with the Iommi-esque menace. The writing uses
good and tested methods; faster riffs for the middle sections, dramatic vocal
shifts when required, female backing vocals (“When Death Sighs”), solid
production and a dark and ethereal atmosphere throughout. Overall, it’s probably best
not to compare this to the early records- or even to attempt it. A lot of time
has passed since then, a lifetime really. The band just cannot be the same. I’m
just happy that there is still a Candlemassand they still make records I enjoy. Yes, I’m not that keen on “Scandinavian
Gods”, or the intro to “Devil Voodoo” but that’s ok. The fact is
that most of the stuff here I DO like and I’ve liked it more each time I’ve
listened to it. This is another solid
entry into the canon of Candlemass.
If you like/d the band, you might well like this. The band won’t reinvent the
wheel again, but at this stage I don’t want or expect them to. Epic Doom metal,
as it should be. “Sweet Evil Sun”
is available now
By: Richard Maw Album Type: Full Length Date Released: 14/10/2022 Label: Napalm Records
“Pawns & Kings” CD//DD//LP track listing: 1. This Is War
2. Dead Among The Living
3. Silver Tongue
4. Sin After Sin
5. Stay
6. Holiday
7. Fable Of The Silent Son
8. Season Of Promise
9. Last Man Standing
10. Pawns & Kings The Review: Alter Bridgeare
now one of a very few select rock acts who hold arena headlining status- or at
least one of the few who have existed for less than twenty years- there is no
shortage of should-be-retired-bands around. On that basis, I greet every
release of theirs with interest as they represent a gateway to harder rock and
metal as well as being a fine band in their own right. They have a surprising
breadth of styles within their sound- from soaring melodies to thrashing riffs-
all delivered with a slick production sheen that is ready made for rock radio
and arena stages. “Pawns & Kings”
is their seventh studio effort since their 2004 debut- testament to their work
ethic. It is also much more focussed than recent outings. There are ten tracks
here- a proper album length! After some poppier diversions on “The Last Hero”
and synth-ier diversions on “Walk The Sky”, the band are back to
what they do best here: guitar pyrotechnics, rock songs, rock sounds. This is easily the best ABalbum since “Fortress”
and sits nicely alongside their holy trinity of “Blackbird”, “AB
III” and “Fortress”. The album starts pretty heavy with “This
is War” and the band makes use of the thrashier leanings of Mark Tremonti
on “Silver Tongue” with its lightning fast riffage and time changes. Even
on the slower material- such as “Sin After Sin”- the band sound darker
and more focussed than they have for some time. In terms of musicianship,
the drumming from Scott Philips is excellent throughout- varied, great use of
the kit and some tasteful double pedal work here and there. It blends
seamlessly with the bass of Brian Marshall and the two together form a
distinctive rhythm section that sound fluid no matter what the tempo. The
guitar work- as per- is sublime. In Myles Kennedy the band have a frontman with
a golden voice- no signs of deterioration whatsoever even in his 50s. The band still have some
melodic syrup too- “Stay” is slick and sweet in equal measure and closed
the first half of the album. Side two kicks off with a pretty belting rocker in
the form of “Holiday”, though. From there, it is more melody and less
foot on the pedal. However, the likes of “Season of Promise” and “Last
Man Standing” are well crafted songs; with no shortage of solos and riffs.
The title track closes this impressive selection of songs in some style. The
band have a knack for strong title tracks and this is no exception. It’s dark,
varied, anthemic and essential Alter Bridge. Overall, then, this is
strong throughout and an impressive return to the kind of dark heavy rock that
the band do best. Indeed, everything good about the band is to be found over
the course of these ten tracks and “Pawns & Kings” is easily
up there with the best in AB’scatalogue. “Pawns & Kings”
is available now
By: Richard
Maw Album Type: Full Length Date Released: 19/08/2022 Label: Napalm Records
“Existence of Immortality” CD//DD//LP track listing: 1). A Cleaved Head No
Longer Plots 2). Levitation Hoax 3). Ritual of
Anonymity 4). Equilibrium of
Mankind 5). Righteous
Alliance 6). Grief Sequence
The Review:
Conanreturn to battle after a pandemic
enforced break with this monster of a record. The band have carved out their
own very specific and very special niche in the doom genre (caveman battle doom
to be precise) and they have the unique sound, presentation and artwork that
marks them out as a band in a category of one.
Messrs Davis,
Fielding and King have created a savage beast here. The band have been reliable
on record, but for me their high-water mark remained “Blood Eagle”.
“Revengeance” added differing tempos, “Existential Void
Guardian” was solid with a superb production job but is now-
incredibly- four years old. “Evidence of Immortality” has
delivered a hybrid of all the band’s best traits.
The opener, “A
Cleaved Head No Longer Plots”, has the title, the weight and the riffs-
it’s massive and heavy in the way that Conanare. Davis’ vocals are reverb drenched and deep in the mix;
the Skyhammer/Foal Studio sound is in full effect as the drums and guitars are
just huge. Chris Fielding has done an excellent job with the production and mix
as per- it is crushing.
“Levitation Hoax”
brings a nitrous injection of blasting speed and thus brings in a dynamic
element to the presentation which is welcome and noteworthy. It’s a great track
and one of the advance offerings for those who have taken note.
There is the much
shorter “Ritual of Anonymity” up as track number three and it offers a
catchy rolling riff and more up tempo shenanigans (although not blast beats
this time). It’s a sharp shock of a track and a reminder that doom doesn’t have
to be slow or drawn out.
That said, “Equilibrium
of Mankind” is just that, both this and “Righteous Alliance” come in
at just over eight and a half minutes but- crucially- neither track feels like
it. They are both made for the live venue; dinosaur like in their enormity and
insistent in their creation of the urge to bang your head. The murky atmosphere
of “Righteous Alliance” is particularly effective.
Well, all the
previous tracks are great- not a dud amongst them- but it is the closing track,
“Grief Sequence”, that really lifts this record. It is absolutely
brilliant. It deftly uses synths over a near-fifteen-minute runtime to weave
together an epic tapestry of atmospheric doom. It may be the best thing Conanhave ever recorded. Have a
listen and find out for yourselves.
Overall, then, “Evidence
of Immortality” finds Conanonce
again at the front of the pack in terms of British doom and with “Grief
Sequence”, they’ve laid down a marker which other bands will have to try to
reach. This is massive, heavy and savage in its brutality and direct approach.
What is best in life? The answer is contained herein.
By: Richard Maw Album Type: Full Length Date Released: 03/12/2021 Label: Napalm Records
“Blood & Iron” CD//DD//LP track listing: 1).
Ahab 2).
Hellespont 3).
Blood & Iron 4).
A King’s Land 5).
Broken Sword 6).
The Voyage 7).
Winter White 8).
Garden of Hesperides 9).
The Mare
The Review: Indiana's
Wolfooth are
back with their third album. Now signed to the mighty Napalm Records, it
appears that the band may follow the oft-referenced metal lore of 'making it'
with the third release. Of course, that knowledge refers to commercial as well
as creative success, and seems to be based around Metallica, Iron Maiden, Def Leppard, Slayer, Anthrax,
Sepultura and so on... but not around bands from recent history. Regardless
of what may or may not happen to the band from here on out, they have
international dates booked (Desertfest, London et. al.) plus real label support
behind them so, they might just be the next big thing- with a small 'b' as this
is traditonal metal mixed with stoner doom in the vein of The Sword's early work.
This isn't a radio friendly unit shifter. This is for real metalheads.
Having
reviewed, loved and bought both previous Wolftooth albums, I had high hopes for this
record- I see Wolftooth
as modern-day renegades fighting alongside the likes of Visigoth for real
metal- yes, I know, I know; I'm a metal loser. Opener “Ahab” quickly
nestles into the groove that the band have made their own for the previous
records; this time referencing Moby Dick for epic story telling, referencing The Sword for riffs and
marking a continuation of the sound that has brought them this far. The
material here is stellar; “Hellespont” is all glorious harmonies,
glorious subject matter and glorious playing. Great track. Musically, we are in
classic Wolftooth
territory; epic, majestic: metal. That could also accurately describe the title
track. “Blood & Iron” is Irish legend done right- judging by the
band members surnames, a couple may have some interest in the history and
folklore of the Emerald Isle. Even if they don't, this is a great homage to a
great hero. As
the record progresses, there are flashes of Thin Lizzy/Celtic riff stylings, lots of
chugging riffs and some really magical music. Whether it is the shuffling
rhythms of “A King's Land” or the more speedy and aggressive attack of “Broken
Sword” there is just so much to enjoy here. The latter is particularly
strong and it's no surprise that this was chosen as an advance track. It picks
up where “Sword of My Father” left off and just evokes images of Conan, Elric
and any other number of mythical pulp heroes.
Wolftooth do escapism
very well; this is pure enjoyment, delivering pure entertainment and the band
chooses to dwell in the realms of myth, legend and fantasy. It's a wise choice
and the bread and butter of many metal bands- but done exceedingly well here.
The heavy hits keep coming; “Garden of Hesperides” is mighty, “Winter
White” is weighty as hell. There are no bad tracks and if you aren't too
keen on one riff, well, another one you will like will be along in a second! The
riffs are massive, the vocals crystal clear, the sound is warm, the mix is...
unusual. The drums are too quiet. Play the record on headphones, they're quiet.
Play it on a streaming device while other things are going on (you're cooking or
typing or doing pretty much anything other than listening intently to the
music) and the drums are just too low in the mix. Is this a minor gripe? Not
exactly. It is important, but not a deal breaker. The drums sound great. The
guitars sound great. It's just that the drums should be the loudly beating
heart and instead they are like a backing track (in a bad way) to the guitars.
The record is also quite quiet- but this is better than it being clipped and
brickwalled, for sure. These are minor criticisms but I find them a little
frustrating, as both prior albums sounded unique to the band and quirky in a
good way- they also fairly leapt out of the speakers (I bought the vinyl and CD
of each- as I have of this album) The
album does sound better when it is turned up loud; I bet it sounded superb on
the studio speakers. I warmed to the mix after a few listens, so give it some time. There is
no way I'm going to let a mix or production gripe let me judge an album too harshly
(to illustrate this point, Manilla
Road are one of my favourite bands, “...And Justice For All”
is one of my most listened to records etc.). The most important thing here is
not the production or mix or artwork or anything other than the music itself.
And the music is uniformly excellent. By
the time of “The Mare”, Wolftooth have made a pretty powerful statement- it closes
the album out with a solid slab of metallic mythology. The final stretch is
particularly good. There we have it; “Blood & Iron” is not as
immediate as the previous two Wolftooth records, but it is a grower with hidden depths
and full of all the best of the band's musical traits. It has great riffs,
songs and playing while the vocals work perfectly with clear storytelling
throughout.
If
this is the album that does see the band get much wider recognition, then it
will be well deserved. They've now made three excellent metal albums and
absolutely deserve the credit coming their way. From the moment I listened to
their first album, I knew I'd love this band. This album only makes me love
them more. “Blood
& Iron”
is available HERE
“When We Are Forgotten” CD //DD//LP track listing:
1.
When We Are Forgotten
2.
Bis ich bin
3.
My Solace I (Choirs of Solitude)
4.
Trauma
5. A Cave Called
Wisdom
6.
Transcendence
7.
Seance
8.
Absenz Elysium
9.
My Solace II (Paths of Perception)
10.
Reverie
11.
Frozen in Time
12.
Behold the Flame of Time (Bonus Track)
13.
Owl of the Black Forest (Bonus Track)
The Review:
There
are so many great bands in the metal-multiverse that don’t receive the
recognition they deserve. The reasons are simple…they may not be part of your
favorite genre of the moment, or your friends aren’t talking them up, or more
than likely, popular media sources pass them over. Personally, I believe that Imperium
Dekadenz is collateral damage from all three of those reasons. Being this is the first time I’ve listened to
Imperium
Dekadenz, my sample size of them is only their most recent album, “When
We Are Forgotten.” I’ll make a
bold statement right now. It’s one of my favorite albums of the year…and I’ve
listened to a lot of them.
Imperium
Dekadenz
is labeled as an atmospheric black metal band and I believe that’s a very
accurate description. Their music is very
composed and has a lot of headroom for their melodies to breath and their
heaviness to cut through. The production
is very crisp and is not reverb-laden compared to other “atmospheric black
metal” bands. Every instrument can be
heard in the mix in addition to the vocals.
Producing a clean mix on an album like this is difficult and Imperium
Dekadenz nailed it.
There
isn’t a weak song on the album but a couple tracks do stand out for me from the
rest, those tracks being “Absenze-Elysium”
and the title track, “When We Are
Forgotten.” I won’t put you through
a play by play for each of these songs, but I just feel that both of these
tracks summarize the sound of the album.
Both of them are very emotional and contain crafty tempo changes to keep
your interest throughout the whole song.
Another thing to mention is that “When We Are Forgotten” consists of
eleven songs plus two bonus tracks depending on what version of CD or LP you
purchase. If you prefer digital
downloads (Blasphemy! Get a physical
copy you cheapo!), you’ll get the bonus tracks regardless.
“When
We Are Forgotten” is an album worthy of your collection, or at
the very least a play through on your favorite streaming service. During a year of so many outstanding
releases, unfortunately there’s a good chance this album will be “forgotten” by
the time those annoying Top Ten Album lists start popping up on every music
blog site. I can tell you without a
doubt if I’m called upon to create a list, “When We Are Forgotten” will be on
mine.
The
foremost disciples of tone are back with this superbly titled fourth full
length studio record. Ever since “Horseback Battle Hammer”, Conan
have carved out their own niche and become hugely influential in doing so. Amp
and pedal worship was never the same after these guys, but really it is the
music that matters here. Conan have done the almost impossible and
become a kind of Iron Maiden-esque entity within the doom scene. They don't
sound like anyone else, have their own unique artwork, tour endlessly and write
about things their audience is interested in. They are unique and whilst being
labelled “doom” they operate in a field of one.
Opener
“Prosper On The Path” is massive in
sound, the contrasted vocals of Jon Davis and Chris Fielding work superbly and
the drum sound is absolutely immense- the playing of Johnny King also deserves
mention as it has slotted right in with the band and added an extra dimension
to their sound. Conan
work their magic by weaving soundscapes and moods rather than catchy tunes.
It's riff worship, it's “the sound” but despite all their success (and what is
effectively brand identity), they won't be troubling the radio airwaves anytime
soon. Provided this is no problem for you, then the likes of “Eye to Eye to Eye” will bludgeon you
effectively and introduce no small amount of time changes into the bargain. The
throwaway grind of “Paincantation”
is a huge departure, but only a brief one. The rest of the album takes things
back to low and slow territory- with fast bits, of course- that have been part
of the sub-genre since Sabbath.
Interestingly,
there is nothing that extends beyond seven minutes here and of the seven
tracks, perhaps “Amidst The Infinite” feels
epic- but is not necessarily so. Certainly, the tempos are low and the riffs
are creeping horrors in places. Chris Fielding has excelled himself with the
production; it really is fantastic. It is Conan's best sounding record, which is saying
something as they have all been sonic terrors. It is as huge as “Blood Eagle”
and “Revengeance” but with more clarity and power.
Advance
single “Volt Thrower” is the most
immediate track on here, with its off kilter rhythms and head nodding groove, finding
the band sounding almost like High on Fire and is a great track. It's
vicious as well as huge. “Vexxagon”
is similarly insistent and swinging and again shows Conan to be more catchy than you
might have expected. Truly, this is headbanging stuff.
Just
like that, the beastly bass groove of “Eternal
Silent Legend” ushers in the last track on the record. Only seven tracks,
but is there any need for more? For me, a little of Conan can go a long way; six
tracks proper is about right. The live bonuses are well performed and sound
fantastic- but they are superfluous to requirements and are just cool to
hear/nice to have as add ons... come to think of it, they are quite literally
bonuses!
All
fans will have their favourite Conan album. For me, it is “Blood Eagle” and “Existential
Void Guardian” has not changed that so far. It is a close second, I'll say
that. I prefer this to both “Monnos” and “Revengeance” as it shows the band
doing what they do best. If anyone wanted to hear Conan for the first time, I
could not argue with directing them to this masterful work. I am enjoying the
record hugely; I'm reviewing this after buying the CD. I heard the stream,
liked it and wanted to own it. I'm glad I did, as Conan need all our support if
heavy music is to press on effectively. We need leaders as well as followers.
They have become standard bearers of sorts and even if you don't like them...
you know them when you hear them. Such is their power and the source of appeal.
They have “something” and have managed to capture that “something” in the
studio again. No mean feat.
On September
7th STONED JESUS will
deliver their next solid load of progressive stoner rock on Napalm Records entitled“Pilgrims”. With their fourth album the Ukrainian trio
offers much more than your usual Kyuss wannabe or your
average desert session band and let’s face it Kyuss hasn’t
but out a record for nearly 25 years and we need some fresh jams.
With
“Pilgrims”, STONED JESUS have delivered a multi-faceted album mixing
groove with noise rock elements, lots of proggy infusions and giant such as Mastodonand Melvinscome to
mind in terms of tone and texture. Make
no mistake STONED
JESUScan’t be pigeonholed and “Pilgrims” is very fine album
indeed. The band comments on the new
album:
"This record was inspired by our relentless touring and the feelings
you get - or more precisely you lose - because of it. It's weird how
disconnected one becomes when constantly surrounded by people. Musically it's
pretty different from what we've done, it's more song-oriented but
simultaneously more challenging than before - sonically and structurally"
Today THE SLUDGELORD is stoked to host UK premiere
of STONED JESUS’ brand new video for “Hands Resist Him” which you can check
out below
If you’re ready for a simple space rock record
that’s sturdy, hooky and well written, take “Mindfucker” out for a spin.
“Mindfucker” CD//DD//LP track listing:
1).
Rocket Freak
2).
Soul
3).
Mindfucker
4).
I’m God
5).
Drowning
6).
Ejection
7).
Want Some
8).
Brainwashed
9).
All Day Midnight
10).
When The Hammer Comes Down
The Review:
Monster Magnet’s evolution has been fun to follow. Back in the day,
when front man and key driving force of the band, Dave Wyndorf, got his band of
psychedelic gods together, they got weird. As time progressed, the ‘Magnet remained a psychedelic powerhouse, but one that
consistently moved forward from where they began. The days of long, drawn out
and druggy jams are behind us. Now, we’re reveling in a period of shorter,
leaner songs with big hooks. Fans of Monster Magnet are
sometimes divided in the camps of “early” and “modern” Monster Magnet.
There’s no need for these camps, though, because Monster Magnet
has always been - and will always be - a band that knows when it’s time to get
weird and when it’s time to rock out. Isn’t that what stoner
rock is all about?’
So it’s now 2018, almost five years removed from Monster Magnet’s last studio album, “Last Patrol.” Where that album, and certainly the redux albums
that followed it, brought both hooks and jams to the fold, this new album, “Mindfucker” is all about the rock and
the roll. “Mindfucker” tells a simple
story to the tune of compact riffs and songs that move pretty quickly. About
half of the songs are around the 4 minute mark, which reflects the simple song
structures.
But rest assured, simple isn’t bad, by any means. In
the case of “Mindfucker,” simple is
even somewhat a breath of fresh air. There’s that MC5 vibe
in these songs and punk rock is never far out of reach. The hooks are firmly
mounted and effortlessly carry the weight of the songs. Bob Pantella and Chris
Kosnik play their asses off, running the sturdy rhythms up and down the dance
floor.
Like any good Monster Magnet set
list, the weirder tracks are spread out evenly between all the ragers. “I’m God” (exclusively streaming below) rears its
head after the three songs that open the “Mindfucker”
party. This track is the largest of the bunch, with a huge chorus that has
Wyndorf stepping to the mic to proclaim that he, in fact, is God. Kind of a
strange claim to make, sure, but Wyndorf’s lyrics have always been pretty out
there, rather arrogant and more or less out of this world. After all, he
delivers these lines with such conviction that he makes the lyrics work. The
song uses every second of its 6:16 run time to fly off into space, in
only the way that Monster Magnet knows
how; Wyndorf at the helm, one foot on the monitor, colorful, flashing lights
everywhere…all seen through a fish-eye lens.
The songwriting aside, the production of this album is
also top notch. “Mindfucker” is a
party, despite some of the themes in the lyrics. The way the guitars sound and
how this is mixed with Pantella’s cymbal work, makes this record sound
rambunctious. “Mindfucker” even goes
so far as to sound like a live recording, one that has Wyndorf pulling in the
crowd and having the audience scream their lungs out for the entire duration of
the record.
If you’re ready for a simple space rock record that’s
sturdy, hooky and well written, take “Mindfucker”
out for a spin. Go on, let loose of the hopes that Monster Magnet
are going to make another “Spine of God.”
The band’s moved on and is having a great time doing it. Join them for the
ride, you won’t regret it.
