Tuesday 30 June 2015

Strauss- ‘Luia’ EP (Review)

If you like you rock being fierce, full of riffs but with technical flair Strauss are definitely for you.

Album Type: EP
Date released: 26/05/2015
Label: Unsigned

‘Luia’ CD/DD track listing:

1). Mud at You
2). Humanphobic (to Mary Shelley)
3). For all the wrong reasons
4). Eclipse
5). 2015
Strauss is:
Stef Sacchetto | Vocals
Charles | Guitar
Nando | Guitar
Bill | Bass
Doc | Drums
These London boys have created a stirring in my soul with this EP. Moving, disturbing, up lifting are a few of the emotions which flowed over me when listening to this, their second EP. Riffs galore, aggressive vocals and melodic sections abound during this EP of rock excellence.
‘Mud at You’ bounces along like Clutch on speed. Riffs smash into your body from the start. Drums make your heart miss a beat while the vocals twist your eardrums into knots. It surely made me sit up and listen. ‘Humanphobic’ has a Tech Metal structure with a Rush influence. The riffs are crushing again, slow/fast tempo’s and vocals sang with power and vocation gives you an emotional ride through this track. Six and half minutes of awesomeness!  ‘For all the Wrong Reasons’. A quiet intro leads you into a false sense of security, riffs and thundering drums come to the fore again, making your face feel like it is being pummelled by 10G’s. Harrowing vocals wrap themselves around the song giving you a feeling of hopelessness.
Now to 7 minutes of pure excellence with ‘Eclipse’. A slow throbbing riff leads you into a track of technical excellence. Harrowing vocals take you to the depths of hell where you are trying to survive from being taken back and forth from the living. Where am I? I want to live! The track takes you to a dark place and definitely screws with your mind. The final feeling is that the sun is dying and the end of the human race is here. Absorbing this into my psyche was an absolutely awesome experience. ‘2015’ closes the EP with a funky bass line leading to crushing riffs, thundering drums and powerful vocals but this time all built around a more commercial sound structure. Don’t worry a wall of noise arrives to end the EP.
Having formed in 2011 and with various line-up changes along the way, I do hope these guys stick together as they have produced something special. Whether the diversity of their nationalities have helped to come up with this metal, sludge, stoner sounding EP I don’t know but it can only have helped as the music testifies. It’s raw but technical at the same time. The song structures have been produced by a band at the top of their game which knocks the socks off some of the new tech-metal, riff-rock breed out there. It took me a few listens to get it but when the penny dropped I was totally absorbed.  If you like you rock being fierce, full of riffs but with technical flair Strauss are definitely for you.
Words by: Brian Mclean
‘Luia’ is available here
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Live Review: Primus & The Chocalate Factory @ Tivoli, Utrecht (NL) 16 June 2015

I’m not a fan of Primus. I don’t mean I don’t like the band, I mean I don’t know the band. Primus has been an enigma for me. On the one hand, they have been associated with a lot of bands I listened to while growing up, I’ve always wanted to check them out, but nothing ever came of it. So when my buddies asked if I’d be interested in joining them on a Tuesday night for a Primus show, I jumped in head first knowing that this would be my opportunity to check one more thing off of my bucket list.  Primus took the stage in Utrecht’s brand spankin’ new Tivoli on Tuesday June 16th. The venue spilled over with people, all of whom wanted to be up front. So it was hot, crowded, cramped, and most of all, fun. Shortly after the clock struck 8.30pm, Les Claypool and his two friends came out on stage. Not a word was said, the crowd went apeshit.

A trilogy of songs that flowed nicely into one another was what got things underway. Les’ bass was high up in the mix, where it should be, overshadowing his secret weapons; Larry Lalonde on guitar and Tim Alexander on drums. This wasn’t to do with an ego trip or anything, as it turned out the guys were having a blast, but Primus is a bass-driven rock band as opposed to many of their contemporaries who fill the mix with blasting guitars. Primus doesn’t make ‘guitar rock,’ though, its bass driven. I suppose that makes it ‘bass rock?’ Whatever their sonic delivery is called, it was something that I got used to quickly and it certainly wasn’t the strangest thing to witness during the three hour set.

Les Claypool’s voice was in form but not in any sort of traditional sense. His stoner mumble oozed out of the side of his mouth, as he went on about some girl’s beaver, his name being Mud, and Jerry, a friend of his who is a race car driver. (Well look at that, I guess in passing I did pick up a few Primus songs in my time). Claypool flapped, tapped, swigged, strummed, and picked his bass, moving his fingers along both meticulously and effortlessly, which somehow transformed into a precise melody. My mouth hit the floor, as did those of the bassist friends I was with. This wasn’t particularly heavy music but it’s not necessarily music for the light of heart. This wasn’t stoner rock, either, but the guy behind us gobbling up truffles didn’t come across as too out of place. This was mellow, well executed, music for the music lover.

And then the band left the stage, prematurely. The curtain was closed, house lights went up, and life returned to normal. This wasn’t the end of the show; however, this was merely the intermission. A short thirty minutes later, the curtain was opened, revealing a stage that was decorated with props that were one part twisted, one part industrial, and two parts sexual. The occasion, of course, was the Primus and the Chocolate Factory Show! And what a show it was! Electric stand up basses were played by bows, xylophones were being hit with frantic passion by a man whose grey hair did not match his vivaciousness or talent. “The Candyman” started things off hauntingly, the rest of the set followed suit, and Primus spiralled out of control one song at a time. All of a sudden, this innocent movie that I loved as a child was put through a filter for adults, which added a whole new layer to each character. And then real life Oompa-Loompa’s with over sized heads came out for what at first served as comic relief but later came across as a judgmental parent. Oh boy, did Primus know how to twist this well-known story around and do a fantastic job of it.

Once the Oompa-Loompa’s left the stage for the last time, the band followed. The ridiculous roller coaster that the audience had been through was docked, it was time to put our feet back on the ground. Or so we thought. Primus returned to the stage again for a double whammy of “Here Come the Bastards” and “Too Many Puppies,” which since I recognized these songs not only was proof that somehow Primus had seeped their way into my life, but that they have a following who eat this bass-crazed-post-polka-rock up. A quick look at their tour dates shows me that they’re playing Las Vegas in September with Clutch, so I’m going to sign off now and figure out how to get my ass out there.

Words by: Victor van Ommen

Monday 29 June 2015

Skinless - ‘Only the Ruthless Remain’ (Album Review)

‘For the most part, ‘Only The Ruthless Remain’ is an album that’s good at what it feels most comfortable doing, with it’s best moments coming when it steps outside of that comfort zone’

Album Type: Full length
Date Released: 2/6/2015
Label: Relapse Records

‘Only the Ruthless Remain’ CD//LP//DD track listing:

1. Serpenticide
2. Only the Ruthless Remain
3. Skinless
4. Flamethrower
5. The Beast Smells Blood
6. Funeral Curse
7. Barbaric Proclivity

Skinless is:

Sherwood Webber | Vocals
Noah Carpenter | Guitar
Dave Matthews | Guitar
Joe Keyser | Bass
Bob Beaulac | Drums


Skinless released their first full length album. ‘Progression Towards Evil’ in 1998, which puts them in a similar timeline with bands like Dying Fetus, Deeds of Flesh, and Disgorge as part of a wave of mid-to-late 90s brutal death metal bands that culled their sound from the likes of Cannibal Corpse, Suffocation, and Broken Hope of the early 90s. There were a number of other notable—along with hundreds of uninteresting— brutal death metal bands around that time as well, as the style was going through something of an oversaturation at the time. I can recall reading in magazines during this time that a lot of it seemed to be a result of Cannibal Corpse’s popularity and unprecedented visibility.

As usually happens with these things; once a subgenre’s moment in the sun winds down, many bands disappeared or moved on to the next thing, likely including a few that got their tips frosted, and then picked up some JNCOs and a Coal Chamber album to help their next endeavour. Others, like Skinless, continued to fight the good fight, even as they’re closing in on the twenty year anniversary of their debut album. While they might be capable of producing better-sounding albums in 2015, the musical formula is essentially “business as usual”.

‘Only The Ruthless Remain’ is one of those rare albums wherein  the quality gets better as the album moves along. It’s no coincidence that the strongest material on the album happens when they open things up a bit more in the second half, especially when they start to throw in those suspended 4th chords Suffocation loved so much on ‘Pierced from Within’. The best example of this is “The Funeral Curse”, particularly in the last two minutes, where those chords are really able to breathe before a wah-driven solo takes over as the focal point. It’s kind of reminiscent of Sepultura’s “Desperate Cry” at that point, which is another song built around those same kinds of chords. The album is good in general, but moments like the that are where I think Skinless may find they truly excel. “Barbaric Proclivity” is another album highlight for its surprisingly catchy opening riff, complemented by a bouncing, galloping beat before breaking down into an excellent, but deliberately-paced solo section at about a minute and a half in.

For the most part, ‘Only The Ruthless Remain’ is an album that’s good at what it feels most comfortable doing, with it’s best moments coming when it steps outside of that comfort zone. It’s hard not to be satisfied with what’s already on offer, but as someone who picked up  ‘Progression Towards Evil’ all those years ago, I’m ready for Skinless to take a few more chances musically, especially when the chances they are taking result in the best moments on the album. They toyed a bit with some of these elements on ‘Trample the Weak, Hurdle the Dead’ as well, so my hope is that this album is Skinless dipping their toe in the water before they finally decide to cannonball the next time around.

Words by: Daniel Jackson

You can pick up a digital copy here and a CD/LP copy here.

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Sideburn - 'Evil or Divine' (Album Review)

‘Their genuine, honest musicality offers diversity backed by superb talent’

Album Type: Full Length
Date Released: 09/06/2015
Label: Metalville Records

‘Evil or Divine’ CD//DD//LP track Listing

1). Masters and Slaves
2). Sea of Sins
3). When Darkness Calls
4). The Seer (Angel of Death)
5). The Day The Sun Died
6). Evil Ways
7). Presence

Sideburn is:

Morgan Zocek | Guitar, Background vocals
Dimitri Keiski | Lead vocals, Guitar
Martin Karlsson | Bass, Organ, Background vocals
Fredrik Haake | Drums, Percussion


Sweden; the world third biggest exporter of music after the US and the UK is a fertile ground for great musicians and Sideburn are living, breathing and damn right rocking proof of this. Blending melodic doom metal, a dash of classic rock and a bong full of stoner vibes with aplomb has created their 5th album ‘Evil or Divine’ (Homage to Dio anyone?).  From the first grunge infused riff in ‘Masters and Slaves’ I was hooked, already on my review hit list the urge to listen to the album in its entirety was compounded when Morgan sent me a link to ‘Sea of Sins’. Thankfully, for my aural leanings, my hunch paid off; the riffs were a’building; the sludge getting heavier; the guitar play hitting epic status and all before song 3 began. Oooh, I am in love.

‘Masters and Slaves’ is a superb offering and a seemingly gentle introduction, there is just enough classic rock vibe here to appeal to the 70’s rock freak in us all without aping the greats. Veering off piste, they add that extra kick of groove; surrounded by the smooth gravel flecked tones, Dimitri on vocals harnessing his inner Sabbath, it is a perfect start.Sea of Sins’ follows; the intro- immediate thumping drums surrounding by a perfectly timed groove flecked riff that is undoubtedly ear porn. Once more the dense vocals of Dimitri kick in with superb timing as he sings his heart out on this increased tempo number all surrounded with some insane riffage. Just, yes.

‘When Darkness Calls’ is decidedly more sludge filled than the previous 2 offerings, the stoner vibe oozes its way out of the speakers, subtle in its presentation yet in no way lacking, it is a superb display of talent. Sending chills up the spine, the vocals heart wrenching, simple, overflowing with emotion as the soul, the tortured victim, is bared, naked and bleeding. Jazzed up towards the end with epic guitar screams; the strings are played to within an inch of their lives howling in their misery they go on to end with a flourish.

‘The Seer (Angel of Death)’, can we say groove? Slap a bit of doom tinged boogie in there and you are close to what this is. With a Maiden meets Sabbath vibe- the persistent drums thrumming away in the background, the heavy whining guitar work; it just works.  ‘The Day The Sun Died’ is haunting from the start, this sends a chill down the spine, touching on the bands earlier work, the doom and gloom vibe this emits is fitting of the title. Mournful and Melancholic it gouges out the senses replacing all thought, feeling and emotion with black swirling apathy.

‘Evil Ways’ again moving to the up tempo, keeping the listener on their toes, changing the pace and ensuring comfort is kept at bay. Touching on the classic rock once more this shifts the mood once more. Dimitri once more singing his arse off, offering the odd scream, whilst the guitar/drum/bass background snuggle up to offer a stonking backing track. Two thirds of the way through there is an epic amount of guitar pyrotechnics that will leave one hankering for more.

‘Presence’ is the final offering on this album and it comes all too soon, to begin; so soft and melodic, the gentle metallic squeal of guitar strings alongside the easy flowing almost new age drum work, sets the scene for a heart wrenching finale. Quickly upping the ante the track moves to heavy, to floating peaceful and calm then to doomy, all within a heartbeat. An epic 7 minute journey that leaves you on a high and with a backing beat engrained on your soul, one that is not easily replaced.

Their genuine, honest musicality offers diversity backed by superb talent, Sideburn manages to produce a cohesive, sonic, groove filled journey of an album. Gliding from groovy to heavy with immense amounts of power and sludge tinged Easter eggs, this album is a fantastic effort. It brings a new taste with each song, blends numerous genres and displays some epic talent; an album that has to be listened too, repeatedly.

Words by: Kat Hilton

‘Evil or Divine’ is available now

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Thursday 25 June 2015

C R O W N - Natron (Album Review)

Album Type: Full Length
Date Released: June 15th 2015
Label: Candlelight Records

The Fifth Element - Track Listing:

1 Serpents - ( feat Neige / Alcest )
2 The Words You Speak Are Not Your Own - ( feat Frederyk Rotter / Zatokrev )
3 Wings Beating Over Heaven - ( feat Michiel Eikenaar/Nihill - Neige/Alcest )
4 Fossils - ( feat Khvost/Grave pleasures ex Beastmilk )
5 Apnea
6 Tension Of Duality - ( feat Frederyk Rotter/Zatokrev )
7 Flames

Band Members

Stephane Azam : Guitars, Machines, Vocals
Frederyk Rotter : Guitars, Vocals
Pascal Guth : Guitars


Hailing from France, C R O W N, are three men and a machine who tune their neutron guitars to the Richter scale, and deliver the sound of a molten universe collapsing. Touching on early Isis, Godflesh, Floor and even Killing Joke, C R O W N explore the depths of slow tempos on their debut album, The One, and their split EP with St Valley through sheer exuberant heaviness.

The trio’s depth-charging guitars and buried melodic tendencies snake around hissing electronics, a tribal / military percussive thwack, and the splashing cymbals of a minimal-yet-completely-effective drum-machine. Their sound is further emboldened by a massive bestial roar, heavy and oppressive, leading to an abyss of nothingness…. Welcome to the dark, spiraling, and obscure experiments of C R O W N.

Since January 2014, Frederyk Rotter from Zatokrev joined forces for a three piece crushing live act.


Combining metal with electronic elements is a tricky business that often ends in tears. There have been some notable triumphs in this area, namely projects involving Justin Broadrick, but these are greatly outnumbered by embarrassing failures. French trio CROWN are a band that sit firmly in the “triumph” category.

On paper, their combination of heavy riffs with periods of melodic calm sounds like any post-metal band, but CROWN’s execution really sets them apart. Quiet/loud dynamics are a commonly-used tool of the trade but CROWN have gone a step further on “Natron” with strong usage of quiet/REALLY LOUD dynamics. The opening riff of “Serpents” kicks the listener straight in the gut with a distortion tone that feels like wading through tar whilst retaining a buzzing sharpness. This intensity is present through all of the loud sections of the album and is most potent during the gut-churning crawl of “Tension of Duality”. Playing this over the mechanistic thud of a drum machine gives the music an unrelenting heaviness, freed from the limitations of puny human drumming. Quieter passages with subtle electronic overtones break up the noise, giving an overall sound that brings to mind A Storm of Light if they had been given a robotic combat upgrade.

Fossils” provide a welcome chance to catch your breath in the middle of “Natron”. Free of distortion, the track has a post-punk feel propelled by driving basslines and a considerable increase in tempo from the surrounding torpor. It offers a stark contrast to the rest of the album but feels a little too polished to completely work. CROWN shake things up to better effect on finale, “Flames”. A brooding slow-burner, it begins with sparse piano and keyboards before distortion slowly creeps back in, albeit in a more muted and controlled fashion than the bludgeoning elsewhere. This track ends the album in fine style and gives an idea of other sonic avenues the band could explore on later releases.

By stretching all of the constituent elements of a post-metal band to their extremes and setting them against an electronic backdrop, CROWN have created a very distinctive sound. “Natron” breathes life into a genre that can be a bit stale and does so in considerable style.can't wait to get my hands on the double gatefold LP. Be thankful that music like this is being made again.

Words by Charlie Butler

Thanks To Darren at Candlelight Records for the promo. Natron will be available to buy now on CD/DD from Candlelight Records.

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Trapped Within Burning Machinery - The Filth Element (Album Review)

Album Type: Full Length
Date Released: July 21st 2015
Label: Midnite Collective / Black Voodoo Records

The Filth Element - Track Listing:

2.Korben Dallas
3.Diva Plavalaguna
4.Jean-Baptiste Emmanuel Zorg
5.Mr. Shadow
6.The Divine Light

Band Members

Zak Esparza - Guitar/Vocals
Geoff Jones - Drums
Ernie Ballerz - Bass
Rob Trujillo - Guitar


Trapped Within Burning Machinery began as a one-man sludge project in 2007 when Zak Esparza (lead guitar/vocalist) needed an extended outlet for the ideas and riffs plaguing his consciousness. After recording a few demos, Zak recruited close friend Geoff Jones to play drums and Juan Rodriguez to fill in on bass. The trio wrote and recorded their raw, powerful first demo, Evolutionary Transmitted Disease, and self-released it in the summer of 2009. In January 2011, the band entered the studio to record their first full-length album, The Putrid Stench of Decaying Self, this time with new bassist Ernie Ballerz and second guitarist Robert Trujillo. TWBM then released the album through Black Voodoo Records on October 5th, 2012. In early 2014, the band released a limited split tape with Long Beach's bass-and-drums sludge duo Pigeonwing.

After a period of extreme discontent with life in general during the Putrid Stench Of Decaying Self-era, TWBM wanted to continue with the same kind of dark subject matter but from shifting perspectives. So, with the addition of a third guitarist, James Inglett, they began writing music and thinking of lyric ideas. One day, guitarist Robert Trujillo got inspired and blurted out something involving "the blue lady from The Fifth Element.” They had all been huge fans of the movie, and after pondering on it, became obsessed with the idea of riffing off of themes from the movie. 

One song about the Diva Plavalaguna turned into an hour long, doom metal space opera and they submerged themselves into it. Using the characters in the story as hosts, they found that they could write from many different angles and bounce around stylistically without straying from the core sound of the band. The idea of an ancient being traveling to future Earth in hopes of saving it from the epitome of evil really spoke to them, because, as said by Zak Esparza, “We're fuckin’ nerds and the lessons of love and compassion in the story really round out the negativity we usually spew in our music.” They got to write songs from the perspectives of characters that don't have much too back story in this two-hour film, so it gave them some breathing room to do their own thing without being confined to some strict canon or lore.

Ultimately, the marriage of sludge and lore comes together to create The Filth Element, a more hopeful-sounding record than ever recorded before by TWBM, though the sludge is very much alive and well—and the dark places are never far from the theme at hand


This is the 2nd full length from a band of tarpit workers who excel in doom & sludge and live up to their brutal name. The album is based on "The Fifth Element" which is a science fiction tale about a supreme being who saves the earth with the help of an unlikely earthling. Each song on the album is dedicated to some of the characters (as well as entities:"Mr.Shadow"-the grand evil destroyer who grows in size when absorbing negative energy and "The Divine Light"-the combined power of the elements to eradicate the ultimate evil. This is where the similarity ends between them. The movie is colorful and entertaining with a cast of characters all involved in the destruction or deliverance of mankind. The album and it's songs are dirty and filthy, unlike the vibrant futuristic cast costumes and vivid fanfare associated with the movie.

This is a rewarding sonic experience that will at times paralyze in order to prepare transport, not unlike a cryogenic coma during flight to another dimension. You will hear grand riffs, shrieking feedback & goblin roars. You will hear subdued instrument work, earth tones and human pleads. You will hear plucking, shimmering, growling, pulsating, droning & pounding throughout this doom metal saga.

All these different sounds culminate in telling a story based on the universe being saved by an alien love. The science fiction epics of The Fifth Element, Alien and Blade Runner all share similar subject matter dealing with the destruction of mankind through mankind and the search for love, but the music on this album reminds me more of the bleak, technical, wet, slimy machine-Gigeresque landscape associated with Alien or Blade Runner.

This is headphone music. This is a constant storm with periods of tumultuous wind, lightning flash, and thunder claps mixed with quiet rainfall and rustling leaves all wrapped in sporadic heavy fog or mist.This is a special gift...a dark prophecy wrapped in a Harkonnen steam bath. According to the story, the "grand evil" only comes around every 5,000 years...I hope we don't have to wait that long for another old, yet futuristic, adaptation concept experience and fantastic human survival album masterpiece. I can't wait to get my hands on the double gatefold LP. Be thankful that music like this is being made again.

Words by Nick Palmisano

Thanks To Cat Jones at Southern Cross PR for promo. The Filth Element will be available to buy from Midnite Collective / Black Voodoo Records on DD/Vinyl from 21st July 2015.

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Tuesday 23 June 2015

Lightsabres - Beheaded (Album Review) - STB Records Vinyl Information - Exclusive Video Premiere Of Dirty Lies

Album Type: Full-Length
Date Released: June 27th 2015
Label: STB Records

Beheaded - Track Listing:

1.Beheaded 03:46
2.Dirty Lies 01:39
3.Flesh And Bone 02:50
4.Wolves 02:08
5.Fleeting Shadows 01:46
6.Sleep It Off 02:18
7.Rat Poison 01:58
8.Receptor 01:43
9.Knife 01:13
10.Kingdom Come 02:45


Beheaded is Swedish one-man band Lightsabres' third album in just over 1,5 years, and the first that's not self-released. All songs are written and performed by John Strömshed (also singer/guitarist in HeviSike band Tunga Moln) and were recorded at home in the same lo-fi fashion as previous albums. I've used more guitars on this one, working a lot with guitar harmonies on several songs, which gives the album a sound that sets it apart from its predecessors.


One-man Swedish Punk/Stoner Rock band – Lightsabres is back with his new album – Beheaded – and it's 22 minutes of Fuzz-Laiden Punk/Stoner Rock attitude that has a very gritty attitude towards life with a dark cynical edge compared to his previous albums.

Opening track – Beheaded – is almost 4 minutes of angry fuzz given a punk-rock makeover with a certain Truckfighters style Fuzz/Stoner Rock vibe. The vocals are pissed off as hell as Lightsabres plays to his strengths and unleashes some powerful riffs for you to devour.

Second track – Dirty Lies – carries on a more darker and twisted path than the opening song as the album becomes more bleaker with the music going slightly more psychedelic as Lightsabres lays down impressive dark-rock almost Gothic riffs as this one-man virtuoso lays his soul for everyone to see. Impressive stuff indeed. It only lasts for 90 seconds or so but this is one of the albums stand out tracks.

Third track – Flesh And Bone – goes down a QOTSA route with the fuzz laid one very thick as the music feels it's being played at 100mph. The vocals do have a certain early-QOTSA Josh Homme sensibility to them but this is Lightsabres show and he's not going to take any shit from any of us. The nightmarish based fuzz/stoner rock licks are the main attraction here and Lightsabres isn't going to let you forget that.

Fourth Track – Wolves – is a more hard rocking affair with the vibe primarily in the Stoner Rock mood and ready to play a ton of action packed riffs. The vocals have a more direct approach and the music may have a slight tendency to venture into almost Computer Game territory. You'll understand when you hear the song though it's still an absolute blast to listen to as Lightsabres brings in a great sideline of Psychedelic Rock.

Fifth Track – Fleeting Shadows - carries on the vibe from Wolves. It feels Fleeting Wolves and Shadows are the same song but split into two parts as I didn't realised that Wolves ended and Fleeting Shadows had ended. It ends the first half of the album leaving you hungry for more. And it's a great job that Lightsabres has 5 other tracks to impress you with. I'm not going to a song by song review of side B.

Though let me tell you the 2nd half of the album is exciting as the first as Lightsabres creates more stunning and dangerous Fuzz/Stoner Rock riffs with traces of Grunge and Punk Rock giving this album a more darker tone. Especially on tracks such as Sleep It Off, Receptor, and Kingdom Come. The production is fantastic through out the album. It's just a shame this album is only on for 22 mins as you start to get to grips with the crazy environment behind you and it FUCKING ENDS!!!

I just wish Lightsabres included a few more songs on this album as it would have been an even better album. Well you can't have anything. Maybe on the next Lightsabres record. Until then – Beheaded is a full-throttle, kick-ass Stoner Rock record packed full of great tunes to rattle your anger to. Awesome and Highly Recommended.

If you want to buy this on Vinyl you better be quick as it's getting the full STB Records treatment and those fuckers sell out fast. Details of the vinyl details are listed below.

Beheaded is released by STB Records on Saturday, June 27, 12:00 EST (18:00 CEST in Europe). It's getting the usual STB treatment with three editions:

* Die-hard (oxblood/mustard w/ black splatter, limited to 50 and including a huge vintage-horror-movie-style poster. The die-hard will be available exclusively from STB)

* OBI (ultra clear w/oxblood haze and mustard splatter, 100 handnumbered copies)

* Euro/standard (black/mustard, 125 copies. Available exclusively from lightsabres.bigcartel.com)

Words by Steve Howe

Thanks To Steve at STB Records and Lightsabres for the promo. Check out the exclusive video for Dirty Lies.

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Coffinfish - I Am Providence (Album Review)

I Am Providence cover art

Album Type: Full-Length
Date Released: May 21st 2015
Label: Unquiet Records

I Am Providence - Track Listing:

1.Zadok Allen 04:31
2.The Expedition 08:44
3.Watchers 12:10
4.Against Life 09:25
5.Staring at the Abyss 12:06

Band Members

czapla - guitar
jasiek - keyboards
kołek - drums
lobo - vocals
michał - bass
prymas - guitar


Founded in 2011, Coffinfish is still evolving, growing, and widening the scope of musical inspirations. Although staying within the scope of “weird fiction”, they’re not limited to one particular theme. Onirism, human mind, oceans, and mountains. I Am Providence is a follow‐up to the 2013 EP called Staring at the Abyss and is a huge step forward both musically and lyrically.


Coffinfish is an Experimental Sludge/Post-Metal band that takes influence from ISIS, Neurosis and Cult Of Luna. Their debut album – I Am Providence – more than establish Coffinfish to give a damn about in the Sludge/Post-Metal world as their take on Sludge/Post-Metal has intelligence and brawn to match. Shades of Post-Rock are used throughout the album with the heavier Sludge/Post-Metal brutality holding the destructive mood altogether.

Opening track – Zadok Allan – has a slight Pelican influence but Coffinfish offer a more brooding and darker style that Pelican haven't been able to match for their last few releases. Coffinfish aren't an instrumental post-metal band but they prove they can offer a different take on instrumental post-metal if they ever decide to go down that route in the future. A great track to open the album with.

Second track – The Expedition – sees the real Coffinfish arrive with slabs of heavy pounding sludge metal riffs and shattering vocals to match. The band offer a bleak insight to the realm of Atmospheric Sludge. It's good to see a band play to their influences but still showing the world they break through on their own terms and vision. And that's what Coffinfish have achieved here. A stunning bleak vision against a pissed-off hardcore/sludge backdrop that only adds to the angry and volatile atmosphere that the band have created. Coffinfish add subtle hints of ambient post-rock to soothe your senses but this is a false sense of security as the band unleash their true identity and musical vision for everyone to witness.

Coffinfish create epic volatile moods of nature than songs as each song feels like the whole world is coming to an end and there is nothing that we can do about but just watch the end of the world. With scientists having just announced that the world is in the midst of a Sixth Mass Extinction then Coffinfish have created the perfect album to play out as the soundtrack to the end of the world. It's a bleak and unflinching vision that you can't help but witness.

Third track Watchers opens up with a lengthy post-rock/post-metal instrumental riff that lasts for days before shades of Ambient Noises and sounds pile on the misery until Lobo's vocals kick in and pile on the misery. It's possibly the darkest track on the album and one that will leave you feeling slightly depressed by it all. This is one of the most gruelling and punishing songs I've listened to this year but it's still a powerful ride I can't recommend highly enough.

The remaining two tracks on the album – Against Life and Staring At The Abyss – carries on the gruelling Sludge/Post-Metal riffage as Coffinfish leave no stone unturned leaving your life slightly more depressing but it's one dark and unforgettable ride that will appeal to long-time fans of ISIS and Neurosis. The instrumental work is stunning throughout the album. Coffinfish definitely earn their rising reputation within the Sludge/Post-metal scene.

Do yourself a favour and hunt this album down as it's a superb debut album. Coffinfish deserve your attention and more. This album is a powerful ride into the unknown. Lets see what future twisted works of art that Coffinfish will come up for us in the future. Spellbinding and brilliant. End Of.

Words by Steve Howe

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