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This is 'Liberation through Amplification.'
By: Richard Maw Album Type: Full Length Date Released: 19/04/2024 Label: MNRK Heavy
“Cometh The Storm” CD//DD//LP track listing: 1. Lambsbread
2. Burning Down
3. Trismegistus
4. Cometh the Storm
5. Karanlık Yol (instrumental)
6. Sol’s Golden Curse
7. The Beating
8. Tough Guy
9. Lighting Beard
10. Hunting Shadows
11. Darker Fleece The Review: Heavy music has a fine
tradition of power trios. It’s a great format for a band to cut the fat and
simply go for the throat- or to expand into free form jam territory. Thinking
about power trios, there are bands of both types in most of heavy music’s sub
genres; from The Jimi
Hendrix Experienceto Cream,
to Motorhead,
to the doomy likes of The
Gates of Slumber, the extreme likes of Dying Fetus, to the epic likes of Manilla Road(80s vintage) and on and
on. With High On Firefirmly in the
go-for-the-throat camp, their closest classic cousin is Motorhead. That’s not
to say there is no room for extended guitar freakouts, winding instrumentals or
laid-back vibes… but it’s at that Motorheadon steroids sweet spot that Mike Pike and friends really excel. After losing powerhouse
original drummer Des Kensel, the band recruited Coady Willis, toured to get him
bedded in and then embarked on the follow up to “Electric Messiah”.
Can the band cut it and deliver another pummelling feast of noisy pyrotechnics? Well, with Kurt Ballou
producing, this was always going to be a sonic war of an album. Since he hooked
up with the band for “De Vermiis Mysteriis”, the band’s sound has
got bigger and bigger. Jack Endino did a great job with “Death Is This
Communion”, but it is Ballou that has made his sound synonymous with
the band. “Cometh The Storm”
sounds massive. Huge. Crushing. Very noisy. Very heavy. Crystal clear, as well!
Of the eleven tracks, the band run the gamut of their repertoire. The opener, “Lambsbread”
is ferocious, heavy and absolutely primes you for what is to come. From there,
you get heavy and epic (“Burning Down”), noisy (“Trismegistus”), dynamic
and rhythmic AND crushing (the title track) and so on… In short, the band is
firing on all cylinders here. “Cometh The Storm”
has, perhaps, more light and shade than “Electric Messiah”, less
aggression than “Luminiferous” or “DVM”, but has
similar features to all three of those records. This is, quite simply, very
heavy stuff and right in my personal sweet spot for heavy music in general.
There is a welcome return for the middle eastern sounds heard on “Death
Is This Communion” (“Karanlik Yol”), which adds a nice diversion
into the mix and varies the texture of the record nicely.
At eleven tracks long,
this is no short sharp shock- the band spread their wings impressively on
closer “Darker Fleece”, alongside the aforementioned title track and “Burning
Down”. The band even revert to their more sludgy roots on “Sol’s Golden
Curse”, while simply beating the listener senseless on “Tough Guy”
and the aptly named “The Beating”. “Lightning Beard”
here is a great exercise in rhythmic beatdown, while “Hunting Shadows”
allows some melody and hooks into proceedings. By the time of the ten-minute “Darker
Fleece”, my ears are tired- this is a beastly sounding record. There are a
few tracks which allow for respite, but- to draw a comparison- much like Judas Priest’s “Painkiller
album”, this is as heavy as things get. It is just unbelievably weighty. Where this sits in the High On FireDiscography will be
revealed in time, but the band have never put a foot wrong and have pretty much
gone from strength to strength with each record. Now at the quarter century
mark, they show no signs of mellowing, slowing down or changing direction. Much
like Motorhead,
in fact. So, great songs, great sound, good variety, relentlessly heavy…
business as usual and probably the album of the year. “Cometh The Storm”
is available HERE
By: Richard Maw Album Type: Full Length Date Released: 06/03/2024 Label: Columbia | Epic
“Invincible Shield” CD//DD//LP track listing: 1. Panic Attack
2. The Serpent And The King
3. Invincible Shield
4. Devil In Disguise
5. Gates Of Hell
6. Crown Of Horns
7. As God Is My Witness
8. Trial By Fire
9. Escape From Reality
10. Sons Of Thunder
11. Giants In The Sky Deluxe edition bonus tracks: 12. Fight Of Your
Life
13. Vicious Circle
14. The Lodger The Review: It’s been six years since
“Firepower”, which was released 28 years after Judas Priesthad made their last
classic record, “Painkiller”. “Firepower”, as I
stated at the time- and as I still affirm now- was nothing less than a latter
day Priestclassic. Can a band that
is 50 years old still deliver the goods?! As soon as “Panic
Attack” opens this record the answer is emphatic: yes. Of course, this is not
exactly Judas Priestas we know them. KK
Downing is long gone from the ranks. Glenn Tipton is still credited and listed
as part of the band, but he must have taken a back seat in the recording
process at least, as he is sadly suffering from Parkinsons and is now in his
mid 70s. However, Rob Halford is back at the front, Ian Hill is as solid and
unflashy on the bass as ever and Scott Travis remains behind the kit- as he has
done for 34 years at this point. Richie Faulkner must be
given huge credit here; his guitar pyrotechnics are all over this record. He
plays like a demon from hell. He shreds. He soars like a bird of prey. He is
flashy, melodic, stone hard and occasionally delicate. Truly, the guitar work
on this album is stellar. The solos and rhythm work is uncredited, but I really
hope that Tipton got to play on here somewhere- if not every track. The production, courtesy
of erstwhile Sabbatman Andy Sneap is state of
the art. It is slick, incredibly well mixed and it sounds, to be frank,
incredible. Personally, I prefer more rough and ready sounding albums and drums
that sound ‘live on stage/in a room’ but I cannot fault the production here for
what it is: a modern, huge, and slick sounding metal behemoth. Judas Priestgot things right with “Firepower”
and they get things right again here. Metallica: take note. The album covers a lot of
ground and a lot of moods and approaches. Yes, Priestsound like Priest,
but each record is different with its own identity. “Turbo” is a
far cry from “Painkiller”. “Stained Class” is very
different to “British Steel”. “Jugulator” is
totally different to “Nostradamus”. If comparisons are to be
drawn, this is not dissimilar to “Firepower” but is perhaps
closer in some ways to “Redeemer of Souls” in terms of moods and
melody. Indeed, “Redeemer…” could have been a Priestclassic, were it not for a
lacklustre production and mix and too many mid paced moments. Priestdon’t
make those mistakes here. The first three tracks are simply headbanging heaven.
Neck-snapping nitro-glycerine for newbies and oldies alike. “Panic Attack”,
“The Serpent and the King” and the title track simply put the pedal to
the heavy metal and fly. Screaming vocals, searing guitars and pounding drums
create an adrenaline fuelled vehicle- made of metal. Halford sounds incredible
and once again Travis is awake and on fire with his effortless and ambidextrous
precision behind the kit. It’s nice to hear the
Halford lyricisms present and correct as well; instead of ‘desolisating’ we get
‘volatise’ and so on. A nice nod to the group’s history and Rob’s approach to
words and the English language: if it sounds right… it’s in! The band drop down the
tempo for “Devil In Disguise” and it reminds me of a kind of throwback
to “Killing Machine/Hell Bent For Leather”- a dose of melody, a
dose of groove, some heavy riffage and a big chorus. It’s a really solid track
and not one I would have expected on “Firepower”. This is the
band spreading their sad wings wider. “Gates of Hell”
is again at a different tempo, utilises some excellent guitar motifs and
features an excellent Halford performance. This one could have fitted in on “British
Steel”, or “Screaming…” or “Defenders…”
it’s that kind of track. Quality hard rock/metal. “Crown of Horns” is up
next and represents the slower and more melodic side of Priest. A side, to be
honest, I don’t much care for. This would indeed have worked on “Redeemer
of Souls”, “Point of Entry” or even “Turbo”.
It’s well crafted and catchy, but NOT what I want from Judas Priest, even at
this late stage of their career. Pleasingly, “As God Is
My Witness” sprints out of the blocks with the double bass drums rolling.
This is what I’m here for; HEAVY METAL. Yep, this rules and sprinkles liberal
doses of lead work throughout as Travis simply pulverises the kit. “Trial By
Fire” drops tempo again, but more effectively this time. Interesting timing
and clever riffing coalescing for a big chorus with a nice rolling feel- again
shades of the best “Redeemer” material. Changing up again, “Escape
From Reality” has a Sabbathvibe to the riff, before
using dynamics to build the tension and another strong chorus. Halford channels
Ozzy for the middle eight and it really works. The last two tracks of
the album proper are “Sons of Thunder” and “Giants in The Sky”. “Sons
of Thunder” is a distant cousin of “Hell Bent For Leather” with a
‘freedom biker’ theme- and a gang backing vocal on the chorus. It’s fun, it’s
metal; it opens the throttle up for the solo sections and allows Halford to
once again give voice to his open-highway fantasies. “Giants In The Sky”
is a celebratory affair but tinged with a little sadness. A tribute to the
fallen gods of the metal world, Halford remembers his friends and pays
heartfelt tribute to them here; you can imagine Lemmy, Dio et al voicing their
approval and raising a glass in return. It’s lovely to hear Halford’s passion
for the legends of the genre- he remains a fan, even after all these years. It’s a nice closing
statement and a reminder that Priestwon’t
be around forever. If this is the last studio album, it’s a very good one to go
out on and represents everything that is good about the band; varied material,
masterful metal and a real ear for melody missing from much of the modern-day
genre. Halford’s final scream is excellent, as well. If you are streaming the
album, or if you shelled out for the special edition CD, you will also hear
three bonus tracks. “Fight For Your Life” is a grooving stomper with
another melodic chorus. It’s a decent track, but not quite up to the standard
of the rest of the record, perhaps. “Vicious Circle” is a chugging
monster and- for my money- could have made the main body of the record easily;
a quality slice of steel. Finally, there is the
outlier. The oddball. The bonus track that wouldn’t have fitted on the main
record. “The Lodger” is a strange one. It’s not written by the band. It
is the work of Bob Halligan Jnr who wrote “Take These Chains”, in the
band’s early 80s golden years on “SFV”. As a point of note, I
dislike “Take These Chains” intensely. I don’t like “Some Heads are
Gonna Roll” from “Defenders…” either. This song is like
something out of a Broadway musical. It’s kind of a crime drama, but for me is
far too close to Spinal
Tap’s “Jack
The Ripper” musical idea for comfort. He’s a naughty one, that Bob
Halligan Jnr. All of that said, it is a bonus track and the band is to be
commended for trying something different and giving the fans more for their
money. Many will love it. So, what’s the verdict?
It’s a latter-day Priesttriumph. I don’t think it
quite matches up to “Firepower”, but some will disagree. This is
a quality record through and through and certainly better than everything the
band did in the latter half of the 80s and then better than everything other
than “Painkiller” and “Firepower” since. Really,
for a band half a century in, I could absolutely not ask for any more than
this. The band is still firing on all cylinders and the vast majority of the
eleven tracks that make up the album proper are excellent. Of the three bonus
tracks, one is a killer, one is a filler and one is not for me at all. Overall,
this is superlative heavy metal and absolutely worthy of one of the best bands
in the genre. Sign on the line and let
The Priesthave your soul, indeed. For my own bonus track,
here is my list of Priest studio albums in order of preference. Don’t get too
upset, it’ll change tomorrow. And next week. And on and on.
1).
Sad Wings of Destiny 2).
Stained Class 3).
British Steel 4).
Firepower 5).
Killing Machine (Hell Bent For Leather) 6).
Painkiller 7).
Sin After Sin 8).
Defenders of The Faith 9).
Invincible Shield 10).
Jugulator 11).
Screaming For Vengeance 12).
Rocka Rolla 13).
Redeemer of Souls 14).
Angel of Retribution 15).
Point of Entry 16).
Ram It Down 17).
Demolition 18).
Turbo 19).
Nostradamus
By: Richard Maw Album Type: Full
Length Date Released: 16th February 2024 Label: Ripple Music
“Gilded Sorrow” CD//DD//LP track listing: 1.Daughter of an Echo 2.It's Not OK 3.Realize a Dream 4.Gilded Sorrow 5.Stoned Back to the Bomb
Age 6.Wellspring - Dark
Sunshine 7.Jailine 8.Yen Sleep 9.Lucky Free Nice Machine The Review: The first album in well
over half a decade, the first as a new four piece- Dave Sherman sadly departed
this mortal coil in 2022- so we are in somewhat untested waters here. Well, to
an extent; as Wino is The
Obsessedin
the same way that Lemmy was Motorhead. He is in fine voice- it’s
fully intact and not ravaged by age or touring. He sounds great. In fact, the
whole album sounds great- a big beefy sounding thing with real drums and real
playing. Musically, you know what to expect here: traditional doom metal and
doom rock. This is the street level doom of Maryland, not the more epic variety
bandied about by Candlemassor similar. In that regard, The Obsessedare closer to their
stateside cousins Pentagramand closer family members
like Saint Vitus.
It’s a style of doom I particularly like, and one I find endlessly
entertaining. The opening one-two of “Daughter of an Echo” and “It’s
Not Ok” set the stall out; grooves & riffs, Wino pissed off and
switched on. The record is a little more cohesive than “Sacred”
was- it hangs together nicely. I mentioned rock as well
as metal earlier. I say that as there is a distinctly classic rock vibe to the
songs here, kind of like how there was with Place of Skullsand Victor Griffin’s best material. You could
imagine Thin Lizzylaying down some of these
riffs, or even Nazareth.
It has that kind of timeless quality to it. Whether it be the mellow title
track that creeps and teases out of the speakers or the more traditional doom
of Stoned Back to the Bomb Age, this is very convincingly played and presented. It’s not all absolute
gold; a couple of song intros are a little drawn out for my liking and the
record has some songs that are clearly stronger than others. But, for every “Wellspring”
there is a “Jailene” and Wino’s story telling is on point throughout. The
record is perfectly paced and curated at nine tracks- and closing statement “Lucky
Free Nice Machine” is a minute lone instrumental. There is no need for any
more than that and each track offers something different. Eight tracks was
often the magic number back in the halcyon days of the 70s and so it proves
today. Overall, then, you get
another quality album from The
Obsessed, full of fire and venom as well as some pleasingly hazy
vibes at times as well. Where this will sit in the band’s discography, I am not
quite sure as repeated listens will bring big rewards, I think. For fans of
Wino, this is essential and for fans of ‘doom’ that doesn’t have any songs,
have a listen to this and enjoy some actual songwriting for a change. A still
magnificent beast, refusing to toe the party line. Business as usual, then. “Gilded Sorrow”
is available HERE
By: Richard Maw Album Type: Full Length Date Released: 23rd February 2024 Label: Blaze Bayley Recordings
“Circle of Stone” CD//DD//LP track listing: 1. Mind Reader
2. Tears in Rain
3. Rage
4. The Year Beyond This Year
5. Ghost in the Bottle
6. Broken Man
7. The Call of the Ancestors
8. Circle of Stone
9. Absence
10. A Day of Reckoning
11. The Path of the Righteous Man
12. Until We Meet Again The Review: Blazereturns
with another fiery and anthemic album of heavy metal. Blazehas been on a roll for the
best part of a decade now. Since harnessing the considerable talents of British
metal heroes Absolva-
now further bolstered by Luke Appleton joining the team to work alongside his
brother- Blazehas been on a musical
winning streak. He managed three albums in three years with the “Infinite
Entanglement” Trilogy, followed that up with a superb collection of
songs in “War Within Me”, plus a couple of live albums and DVDs. Blazeand
band are exceptionally hard working- the pandemic was a cruel period as it left
them kicking their heels while they couldn’t tour. Significantly, Blazesuffered a near fatal
heart attack in 2023, so the fact he is still at all here is a blessing. The
fact that the quality of his records is still very high is a real gift to the
fans. After coming close to death, Blaze could be forgiven for dialling things
down, going acoustic, reducing touring or even just retiring. However, a short run of
UK dates last year were a triumph- the voice, the energy and the life force
were still there. That life force runs right the way through this record. “Circle
of Stone” is a life affirming winner, that’s for sure. Things start confidently
with “Mind Reader”, “Tears of Rain” references Blade Runner and
is even better. “Rage” is a darker proposition and finds Blazedelivering a superb vocal
performance. It delivers a Welsh folk tale, via heavy metal. Excellent. As
usual with Blaze’srecent records, the pacing
and sequencing is great; each track is different from the last and has its own
personality- but it doesn’t sound disjointed. On the contrary, Chris
Appleton has done a good production and mix job here, allowing the album a
distinct sound and character. Sonically, it sounds much better to my ears than “War
Within Me”. I’m unclear as to whether a pro studio was used or if this
was a home production, but it doesn’t matter as it sounds great. The drum sound
is significantly improved and the instruments are nicely blended with Blaze’svoice front and centre. According to the man
himself, the first six songs here represent tales of resilience, fighting
against the odds and so forth. It’s prime Blazestuff and expertly delivered. As the band blast through “The
Year Beyond This Year” and “Ghost in the Bottle” the record flies
high. It comes back to earth with “The Broken Man”,which is more
introspective and a slow burning emotive listen. Any listener might think this
was written in the wake of Blaze’s
health problems, but in fact this entire album was recorded before his dance
with death. The latter six tracks
here represent six connected tracks that tell a story of connection to the past
and redemption. “The Call of the Ancestors” kicks side two off in
grandiose (mostly) instrumental style; bagpipes, guitar, ethereal vocals…. It
sets the scene for the mighty title track. It’s majestic, it recalls “The
Clansman” and is a killer. “Absence” is a straight up rocker, with
killer riffage and guitar work in general. From there, it’s three
tracks remaining. Numerous moods and approaches are covered; the melancholy and
murderous tale told in “A Day Of Reckoning” gives way to hopefulness,
while “The Path of the Righteous” engages the turbo charger for a
convincing metal romp. “Until We Meet Again” caps the album off with
acoustic atmospherics and a haunting guest vocal from Tammy Rae-Bois, who duets
stirringly with Blaze.
It’s a folk-y and hopeful conclusion to an album with hidden depths and themes. To summarise, “Circle
of Stone” continues the high-quality music that Blazehas been putting out since
2016 and offers some different aspects to his writing and sound. It’s a
triumph, it’s a tour de force and I’m so glad he is still here. “Circle of Stone”
is available HERE
By: Richard Maw Album Type: Full Length Date Released: 24/11/2023 Label: Profound Lore Records
“Obsidian Refractions” track listing: 1. Charnel Passages
2. Abhorrence Evangelium
3. Necropolis Of Obsidian Mirrors
4. Scorn Manifestation
5. Interminable Rebirth Of Abomination
6. Drowned The Review: British death metal?
Well, there are some great examples out there; Bolt Thrower, Carcass… Cruciamentum?! Yes, them too- even if they
have US and UK blood. While we are a few years on from “Charnel Passages”,
this sophomore full length picks up where that nasty slab of malevolence left
off. Indeed, “Obsidian Refractions” opens with a song called “Charnel
Passages” which is creepy and packed with riffs, blasts and double bass
drum carnage. This type of death metal
is nothing like the other two mentioned British dead legends. Cruciamentumare dark and complex with
an arcane and sinister atmosphere pervading their compositions. It’s not hooky
or necessarily song based- it’s atmospheric and evil but not ‘br00tal’ in the
way of USDM like Cannibalor Morbid Angel, or Cryptopsyetc. The six songs on offer
here offer up epic soundscapes, during which growled vocals tell tales of
suffering and woe. It’s bleak stuff and made bleaker by some black metal type
riff progressions here and there. “Abhorrence Evangelium” is more of the
same style; lots of tempo changes, some dynamics, a solo of atonal delights and
it’s all wrapped up in a very solid production job. “Necropolis of Obsidian
Mirrors” is the best title on the album and it’s this kind of fantasy
horror that lends itself to death metal so well. In fact, the whole album
is the aural equivalent of a nightmarish landscape, filled with horror both
seen and unseen. It’s unsettling and violent. With the second half of the album
opening with “Scorn Manifestation” at quite a thrashy gallop, the band
manages to engage the listener straight away (on every song) and the blasting
verses alternated with slower passages. “Interminable Rebirth of Abomination”
starts slower and uses reverb drenched riffage to excellent effect. As you might expect from
the short tracklist, the songs are lengthy; the band stretches to over ten
minutes on closer “Drowned” (not an Entombedcover!) with only “Abhorrence…” clocking
under five minutes. Epic and sprawling is the order of the day, then, which is
perfect for the band’s expansive sound. Drowned mixes sinister atmospherics-
imagine Dragged Into
Sunlightcrossed
with Dissectionand something American,
maybe that’s close-ish to the vibe here. Overall, it’s six dense compositions
of thorn filled death metal, played expertly. If you are a death metal fan,
this is simply a must hear. Come and get lost in the
labyrinthine nightmare that is “Obsidian Refractions”; you won’t
escape these charnel passages unscathed. “Obsidian Refractions”
is available HERE
By: Richard Maw Album Type: Full Length Date Released: 03/11/2023
Label: Nuclear Blast
“This Heathen Land” CD//DD//LP track listing: 1. Prologue
2. The Forest Church
3. Mountain Throne
4. Maxine
5. One for Sorrow
6. Song of the Stones
7. The Ancient Ways
8. Hunters in the Sky
9. Oceans of Time The Review: Green Lungare
the best ‘new’ band in the UK today. This is their third album and takes in folklore,
esoteric and occult albion (Britain) and so on. “Woodland Rites”
was rough and ready with the artwork, the vibe and the songs in place. “Black
Harvest” was nothing short of a modern classic; beefed up production,
better arrangements and songs with vibe and artwork intact. “This Heathen Land”
is more developed and varied than the previous albums. It has the muscle of
Nuclear Blast behind it- once again, the artwork is stellar (kind of a Wild
Hunt pastiche), the production is superb and the songs, well…. A spoken word prologue
sets the scene for a journey into a hidden, pagan, Britain. The first track
proper, “The Forest Church”, should have you invested. If it doesn’t,
please give the rest of the record a chance. The track takes in epic soloing,
doom like pacing and some dynamic tempo shifts- plus a more prominent role for
the keys. Having as they do the line-up of classic Deep Purpleor Jethro Tull, it makes sense to make use of the keys to a
larger extent. The grooving tempo of “Mountain
Throne” makes for an excellent and headbanging track, while advance track “Maxine
(Witch Queen)” is just brilliant. Catchy, clever and full of hooks and
ideas. Essentially, this is for fans of folk horror, films like The Wicker Man,
Straw Dogs, Witchfinder General, A Field In England, The Devil Rides Out etc.
It’s got that hard-to-define aspect that makes it somehow otherworldly- much
like compatriots Pagan
Altar. The doom vibes are back
for “One For Sorrow”- it’s slow and creepy, with a dose of melancholia
woven into the grim portents. Reference points abound in terms of the band’s
sound. This is not doom, per se, but the spectre of Sabbathlooms. However, classic 70’s rock like Heep, Jethro Tulland Purpleis also present- as is, in
particular, Queen.
Backing vocals, varied instrumentation, varied styles, well orchestrated guitar
parts and hooky vocals. Yep, Brian et. al. would approve. The band has expanded
their sound- not just by the use of keyboards, either. “Song of the Stones”
mixes folkloric ghost story telling with acoustic instrumentation and is much
further from Sabbathand much closer to Tullat their ’77 peak or even Led Zeppelinat their most arcane. It’s
fantastic and transportive. Crucially, this is also music played by younger
people; these aren’t a load of middle aged old hands trying their luck at
occult rock. It feels organic and authentic. The UK, even the world,
needs younger rock bands who are not yet into their 40s to keep the genre alive
and thriving. Sabbathare done. Priestand Maidenare in various stages of
their twilight, other large bands are now just embarrassing corporations or the
core of the bands are dead and buried. Elsewhere on the album, Green Lungdelve into the distant
past and fictional horror with strong success. The band keep the vibe on point
with a forty two minute playing time. It’s all here; Ley Lines, barrows, stone
circles, paganism, sorrow, despair and hope. Modern day Britain is
becoming increasingly out of touch with its past (the good and interesting
parts of it in particular) in favour of a culture of individualism, consumerism
and distrust. Bands like Green
Lung and albums like “This Heathen Land” place the
listener firmly in a different time and a better place. While some of the
material here may be a little more stately (“Ancient Ways”) and grand,
there are also the headbanging thrills of “Hunters In The Sky”, so the
album comes off as balanced and considered in its track list. The record closes with a
take on the vampire myth- “Oceans of Time”- referencing memorable
dialogue from the early 90s film with Gary Oldman in the lead role. Again, it’s
clever and effective and hugely enjoyable, with some Type Ostyle production and arrangements. Green Lung
haven’t put a foot wrong with this record and it may well be the one that puts
them over the top from underground prospects to legitimate headliners. They
deserve it, as having witnessed the band live at Desertfest I can confirm that
they have that indefinable extra factor; charisma, mystery, x-factor- call it
what you will. In short, this band is unique and this album is excellent. Treasure
them both. “This Heathen Land”
is available HERE