Welcome to The Sludgelord!
Presenting up to date news, reviews & interviews for riff addicts around the world.
This is 'Liberation through Amplification.'
Showing posts with label Ecstatic Vision. Show all posts
Showing posts with label Ecstatic Vision. Show all posts
When laid next to “Sonic Praise,” Ecstatic Vision sounds more in control
of their sound this time around. The band now steers the jams rather than
letting the jams steer them. The “Sonic Praise” approach worked well but now
that Ecstatic Vision is a little more in control of what they’re doing, “Raw
Rock Fury” packs a harder punch as a result
“Raw Rock Fury” CD//DD//LP track listing:
1
– You Got It (Or You Don’t)
2 – The Electric Step
3 – Keep it Loose
4 – The Twinkling Eye
The Review:
One thing’s for sure - the riffs, grooves and jams on Ecstatic
Vision’s sophomore outing
“Raw Rock Fury” are just that; raw, rocking, and furious. It’s hard to tell
where the one jam begins and the next ends, which is a trip in and of itself.
Doug Sabolick harnesses the full power of the six string, playing the role of
band leader. He’s backed by Jordan Crouse on drums, Michael Connor on bass, and
the saxophone is taken care of by gatemouth Kevin Nickles. With these players, Ecstatic Vision
open the floodgates for a hypnotic roll of heavy jamming.
When Ecstatic Vision’s debut came out two years
ago, it made the scene. The way the band gelled was what got them turning
heads. The album was called “Sonic
Praise” and the tunes did just that; the vibes on that record molded in
such a way that the aural delivery was what psych heads were looking for. In
other words, Ecstatic
Vision got it. So when this new album opens up with the cut “You Got It (Or You Don’t)” it’s clear
that Ecstatic
Vision knows exactly what they’ve got and how to use it.
Throughout, Crouse keeps up the tempo in such a way
the songs sound as though they increase in speed but never actually do. It’s a
vibe that pierces through each song, underpinning the band’s approach to
songwriting. Though these four boys from Philly heed the call of the jam, they
never stray too far into the outer realm of the solar system. With an insane
use of a saxophone and down and dirty application of the harmonica, Ecstatic Vision
stay grounded. It’s this control that makes these jams interesting.
Are the jams repetitive and hypnotic? Sure, but thanks
to the band’s awareness of this, these riffs don’t get played to a point of no
return. It’s this that keeps these jams on repeat. Case in point is when
Sabolick proclaims “if you wanna boogie, baby, you gotta let me know,” in “Keep it Loose.” Judging by the song’s
groove, Sabolick’s baby sure did let him know. He’s got her attention,
mesmerized her, even, and that’s just what she’s looking for.
When laid next to “Sonic Praise,” Ecstatic Vision sounds more in control of
their sound this time around. The band now steers the jams rather than letting
the jams steer them. The “Sonic Praise”
approach worked well but now that Ecstatic Vision is a little more in control of
what they’re doing, “Raw Rock Fury”
packs a harder punch as a result. The band sounds free, they keep their heads
on their bodies, and nail these raw, rockin’ and furious tunes
2015 was a year which brought out two heavy rock
masterpieces and one Clutch album. These
three albums are tied for my number one spot. The other seven records on my top
ten are there because of how god damn tasty the jams were and that a feeling of
guilt rose up inside of me every time I returned the album to its sleeve.
Though in terms of innovation and genre-defying riffs, there was little on
offer in 2015 but none the less, I got quite a kick out these ten albums and
will continue to do so for the foreseeable future. So without further ado, my
top ten albums of 2015 are: (click on the artwork for full review links)
10). Brent
Best – “Your Dog, Champ”
In the song “Good Man Now,” Brent Best
sings:
Momma, you always told me that the only good man was a
dead man
and I guess it had something to do with who you chose
to be your husband
So I go to him at night and I nailed him to his bed
And I stood there and I laughed while the sheets were
dripping red
So momma please don’t cry, he’s a good man now
It may be acoustic but hot damn, its heavier
than a slab of Texas BBQ Spare Ribs.
9). Ecstatic Vision – Sonic
Praise
Ecstatic Vision released a strong debut that
mixed elements of Hawkwind with Monster Magnet. So I ask you, what’s not to
like?
8). Weeed
– Our Guru Brings Us the Black Master Sabbath
These guys took me by surprise. I generally
let bands with such names pass me by because I’m a fan of subtlety but I
couldn’t deny the raw, spiritual groove in album opener “Bullfrog.” I don’t
remember why I put the song on in the first place but I’m glad I did.
7) The
Midnight Ghost Train – Cold Was the Ground
Aside from this album being 11 songs of
hard-rock riffs that pound you in the face, there’s not much here in terms of
wow-factor. That said this doesn’t take away from how good these songs are. At
times they miss a little depth but the amount of energy exuding from these
tracks makes up for it.
6). Death
Alley – Black Magick Boogieland
There are a surprising amount of fantastic
Dutch bands out there – I’m looking at you, Astrosoniq – and now we can add
Death Alley to that list. Check these guys out, you won’t regret it.
5). Snail
– Feral
I had never been completely impressed by
Snail but I also never gave them a fair chance. This changed when I was sent
their new album “Feral,” to review. As an album, it pits heavy riffing against
a light vocal delivery which is a combination that will get me every time.
4). The
Atomic Bitchwax – Gravitron
This shit-kickin’, diesel-fueled barn burner
of an album is all things that I like about stoner rock. Speed, riffs, solos,
drums, and strong choruses. I can’t get enough of these guys.
3). Clutch
– Psychic Warfare
I can’t remember the last time a Clutch
album didn’t rock. I’m hearing a lot of grief that “Psychic Warfare” sounds too
much like “Earth Rocker.” My response to this is, “so what, that was a damn
good album, too!” In my book, Clutch can do no wrong.
2). All
Them Witches – Dying Surfer Meets His Maker
All Them Witches is a band that I wish had
more than just three albums out. With their new one, “Dying Surfer Meets His
Maker,” the band has crafted something that is heavy according to every
definition of the word while never really going over the top. They take their
time unfolding these tunes yet the album is still too short. I can’t get enough
of these guys. An absolute classic that I will be talking about for years to
come.
1). Elder
– Lore
I never liked Elder very much. And then Lore
came out. Now I can’t stop listening to them.
A
synonym of “Noise” refers to a din, racket, clatter and blast, indeed to
describe the sound of today’s featured artist Fight Amp, those words would not
be out of place. Hailing originally from
NJ, but natives to Philadelphia for the last 5 years, Fight Amp have been creating their own brand
of off kilter dissonance for the last 8 years, noise rock as their music is
affectionately known, is nothing new of course, indeed the genre perhaps
garnered notoriety due to the influx of more popular bands during the early
90’s, with bands commonly known in the AmpRep style stemming from the formation
of the influential label, where many of the purveyors of the off kilter style,
found their home during perhaps the scenes most influential period.
Bands
such as Helmet
would eventually sign to major labels and as was the case back in the day, with
any specific trend of music, other labels followed suit, signing up bands such
as Barkmarket,
featuring renowned producer D. Sardy.
Of course bands such The Jesus Lizard would have their day with Duane Denison,
perhaps gaining wider recognition years after their split for his contribution
to Mike
Patton side project, Tomahawk.
But
for me on a personal level Steve Albini is synonymous with the scene and
his work with Big
Black, Rapeman and latterly Shellac, who continue to produce some of their
best music to date has had perhaps the biggest influence and his/their
influence can still be heard in new bands today. Indeed whilst it would be unfair to specially
credit those bands for creating the “noise rock” sound or style alone, what is
true is that those bands especially Albini are often name checked by many or
most people when referring to “noise rock”.
All in all, whilst I do not profess to be an expert on this scene, it is
clear the sound is in the ascendency once more, with artist such KEN mode,
Great Falls, Whores. and
Fight Amp
helping to continue the tradition of producing superior and yet off kilter music,
latterly you could also add Kowloon Walled City into the group, indeed the
list is endless. Just this month Grizzlor and Kowloon Walled City featured in
our very own “Sour 16” feature, so clearly top quality music is still being
produced and remains an integral part of the heavy rock/metal scene.
Having
released their strongest album to date with “Constantly Off”, Fight Amp is certainly a band who needs to be
heard and having stumbled across them back in 2012, following their
contribution to the awesome Hell Comes Home 7inch package, I have been
following them ever since. Therefore I
am stoked that guitarist Mike McGinnis agreed to talk to us about his love for Melvins,
Kowloon
Walled City, Gibson SG’s and his response to folks who ask
him “how much pussy you got on tour” So
check it out and thanks for reading.
SL). Mike, welcome to Amped
& Doomed, could you perhaps give us a brief history of your playing
career?
Mike
McGinnis)It’s a little hazy, but I started playing
guitar when I was around 13. It all stemmed from skateboarding and being
exposed to the music surrounding that culture and from liking Nirvana
and digging deeper into their influences like Black Flag and The Melvins.
At some point playing guitar started cutting into my time skateboarding and it
eventually took over. I took maybe 3 guitar classes and two years of music
theory/history in high school, but the book always bored me and I found a lot
of flaws in my peer’s use of music theory in that they would generally use the
rules to write music instead of writing what they heard in their head and using
theory to transcribe it and communicate with other musicians.
From that
point on I was self-taught and playing guitar was just a means to an end;
writing the riffs and music that I was hearing and still hear, in my head. I
played in some weirdo hardcore punk bands with friends in high school in the
late 90s (Pride
of Youth) being the first and only that really played shows),
bounced between a couple metal/grind type bands shortly afterwards in the early
00s, and spent a couple years doing short tours in a punk band called The Funeral
Bird (which had members of Creepoid, Into It. Over It., Ladder Devils, Gunna Vahm).
After a short lull I started writing what would become the first Fight
Amputation riffs sometime in 2003, played our first show in 2004,
and really didn’t start putting out real albums and doing any real touring
until 2008 when we became something a little more “serious” than a part-time
band.
SL). Are
there any bands, guitarists, currently on the scene that continue to inspire
you and push you to try new things?
MG). The obvious answer for me is always The Melvins /
Buzzo. Their / his approach has always been extremely influential to
me. It’s never anything but honest and my playing/writing style is very similar
to his. Steve
Albini is another obvious answer for me. It’s weird because those
guys are classic examples yet they remain on the scene currently because of
their prolific nature, which is exactly why they’re so hugely inspirational to
so many musicians. Lately I’d have to say Scott Evans and Jon Howell of Kowloon Walled
City. Yeah, they’re my buddies, but they put together some of the
best dual guitar interplay I’ve heard lately, and it’s tonally on point yet
simple.
SL). Whilst we’re on the subject of inspiration or
heroes, do you have 5 records that stand out as favorites, what influence did
they have upon you and what is it about those records in particular that
resonates amongst others?
MG) Man, top 5
of all time? That might be impossibility for me. I’m not a fan of top lists in
general because they’re so steadfast and concrete. My moods often dictate my
taste and my favorites list probably changes every day. I’ll use this as an
opportunity instead to tell you my five favorite albums of 2015 because
all-time is gonna dig back decades and turn into a top 20.
So my 5 this
year are:
Cherubs –“2 Ynfynyty”
Kowloon
Walled City – “Grievances”
The Hex Dispensers
– “III”
Ecstatic Vision
– “Sonic Praise”
Spray Paint – “Punters On A Barge”
SL). Can you remember your first electric guitar?
MG) A black Squier
Stratocaster. The only Fender-ish guitar I've ever owned. Still had
its remains until recently.
SL). What guitar(s) are you using today and how did
you gravitate towards the guitar you currently use?
MG) I play a Gibson SG.
I gravitated towards SGs early in life, love the way their necks feel,
how lightweight they are and their simple setup. I don’t exactly know why, but
I’ve never been comfortable playing most other guitars. I also use a rebuilt Epiphone SG
that I’ve owned since maybe ‘99. I generally only play that on songs that are
tuned below drop C# and as a backup guitar/extra tracks in the studio. I do
like Jaguars
and Les
Pauls though and if I feel like adding guitars in the future it’d be
one of those next.
SL). What amps and pedals do you currently use?
Do you use a combination of amps, or a full/half stack? Talk us through
your set up both in the studio and in the live environment.
MG) I really
subscribe to a bare-bones (yet oddball) philosophy when it comes to rigs. I
play two half stacks currently, a Peavey Classic 100 tube amp through a Marshall 4x12
and an Acoustic
Model 450 solid state amp through an Ampeg 2x15 loaded with EV 100s.
I’ve always tried to pair a tube amp with a solid state amp to get the best of
both worlds; some warmth from one and some attack from the other. I basically
get the best clean tone I can out of them and then run a RAT and an MXR Micro Amp to boost the
signal. I occasionally use a delay pedal for certain riffs but I’m not a big
pedal guy and focus on tone and riffs more than effects or bells and whistles.
I use the same setup in the studio but generally go back with accent riffs and
a third guitar track with different combo amps and/or a Musicman HD150 through a 2x12.
SL) What’s one pedal you could not live without and
why?
MG) My tuner.
And I’m still out of tune sometimes because I strum hard naturally. Kill
me.
SL) What tunings do you use and why, and as a
result is there a specific brand / gauge of string you prefer?
MG) Mostly in
drop C#, lately some songs have been way down in double drop G#.
I like D’Addario 11s.
SL). Do you have any advice for up and coming guitar
players, bands?
MG) Yeah, a ton,
but I doubt they’d listen, and maybe they shouldn't. Do what makes you happy,
not what other people are telling you you’re supposed to do. Anyone that tells
you there’s a strict set of rules for bands has an agenda and can fuck right
off.
SL). Do you feel there are deeply held
misconceptions about being in a band?
MG) Yes. The
next person that wants to know “how much
pussy I got” on the last tour can take a fuckin hike.
SL). Moving on a little then, what can you
tell us about any of your current projects, tours, CDs, etc you’re currently
promoting, completed and anything else band related we should know about?
MG)Fight Amp
put out a new album, ‘Constantly Off’, in June on Brutal Panda
Records, we also released a new two song 7” on Reptilian Records in September.
We recently wrapped up a west coast run with KowloonWalledCity
and currently have no shows scheduled and are pumping out new material for
future releases. I was also part of a self-released EP last year with a band
called Pale
Shelter with the guys from Bubonic Bear, but that's now defunct.
SL). What springs to mind when you think about the
completion of your new/current record and how is the mood in the camp at
present?
MG) We’re
happier than ever with our new releases and view it as a jumping off point for
our future sound and albums. Personally when I listen to “Constantly Off” I hear the album I’ve wanted to make for the last 8
years. We hit the nail on the head with the new stuff and now we’re ready to
make more. Hopefully people get as excited as us about it, but either way we
make the albums we want to hear and if it doesn’t please people then that’s
just a by-product of us having off-kilter taste I suppose. Every second on “Constantly Off” was calculated.
SL). What are your favorite songs to play live? What
is it about them that makes them so good to play live? Anything from your
catalog that you wouldn’t play and why?
MG)
Currently all the songs from “Constantly
Off” and the new 7” have made their way in heavily. We’ve never made an album
that was front-to-back so much fun to play live. Every other album has some
songs that ended up being “studio” songs that we’ve never played live. Other
than that, personally I love playing “Dead
is Dead” from “Hungry For Nothing”
and “Fly Trap” from “Birth Control”. There’s probably
nothing we’d ever take off the table for playing live depending on the
circumstances.
SL) Who are some of your favorite bands you have
toured with and what has been your proudest moment and/or performance of your
playing career?
MG) We’ve
seriously formed such great relationships with almost every band we’ve toured
with and there’s not a single band we’ve toured with that we don’t enjoy
musically. I’d have to say standouts are definitely Black Tusk, KEN Mode, Weedeater, Whores.
and Kowloon Walled City.
Proudest
moment…. Hard to say, first thing that comes to mind is playing the Naked Raygun
reunion show in Austin
in 2008. Crazy show and an honor to play with such an influential punk
band.
SL). What can fans look forward to from you over the
next 12 months? How is your schedule shaping up?
MG) We’re
writing heavily. Maybe some shows in 2016 but we’re not hell bent on playing
live unless the circumstances point towards killer shows for the bands and the
crowd. We’re focused on new material above all else, but it’s too early to talk
release schedule especially with how current production times are so lengthy
because of pressing plant backups.
SL). Right on man, thanks for taking the time to
talk us. Before we sign off, do you
have any final comments/word of wisdom you’d like to bestow upon us?
MG) Don’t
believe everything you read on the internet.
‘Like Sleep jamming with The Heads whilst Dave Wyndorf tempts you to join him on the ride of your life’
Album Type: Full Length
Date Released: 26/06/2015
Label: Relapse Records
‘Sonic Praise’ CD//DD//LP track listing:
1). Journey 2). Astral Plane 3). Don't Kill The Vibe 4). Sonic Praise 5). Cross The Divide
Ecstatic Vision:
Doug Sabolick | Guitars / B3 / Vox Michael Field Connor | Bass Jordan Crouse | Drums / Percussion
Review:
Philadelphia trio Ecstatic Vision claim they got together in order to "play what they wanted to hear". After listening to “Sonic Praise”, it seems they wanted to hear heavy, mind-altering psychedelic rock of the highest order, which is fine by me.
The band combine hypnotic krautrock grooves, scuzzy garage rock and fuzzed-out stoner rock to devastating effect across the five tracks on offer here. “Journey” kicks things off in fine style, like Sleep jamming with The Heads whilst Dave Wyndorf tempts you to join him on the ride of your life.Douglas Sabolick’s vocals are a key element of Ecstatic Vision’s sound. The relentless cosmic repetition of the music is enough to transport you to a higher plane, but it’s the shamanic vocals that convince you that there is nothing cooler than following the band on their voyage into oblivion.
Another key element of the band’s sound is their rock-solid rhythm section. Every song is based on minimal bass and drum patterns which, once locked in, seem to drive on to infinity, raising the intensity of the guitars and vocals around them. This is particularly evident on epic album highlight “Astral Plain” as riffs ebb and flow before building to one last freak-out with added wailing sax. As the album progresses, the bands attack seems to tighten. The final track “Cross The Divide” is focused around a single chord but still reaps maximum rewards.
“Sonic Praise” is an impressive debut from Ecstatic Vision that should have a broad appeal to fans of heavy riffage, blissed-out psych rock, hip-shaking rock’n’roll and everything in between.
