By: Dan C.
Album Type: Full Length
Date Released: 22/09/2015
Label: Artificial Head
These guys definitely remind me of a slightly sludgy/doomier Queens of the Stone Age. This is apparent on the opening track, “There Shall be Vultures’ the guitar rips, the drums are pretty punchy, vocals sound like they’re in a box or modulated somehow and the bass is pacing it all along. They’ve got some serious talent as I had my doubts in the beginning but they deliver and you should check them out. Now go home and steal your parent’s credit card and donate to Funeral Horse.
“Divinity for the Wicked” DD//LP track listing:
1). There Shall Be Vultures
2). Underneath All That Ever Was
3). A Bit of Weed
4). Gods of Savages
5). Yigael’s Wall
6). Cities of the Red Night
7). Gifts of Opium and Myrrth
Funeral Horse is:
Jason Argonaut | Bass
Paul Bearer | Guitars, vocals
Chris Bassett | Drums
The Review:
I’m down with simplistic album covers which I’ve failed to do numerous times with my own band, but I always lean towards the tried and true less is more approach. Maybe that’s why I was curious to what Funeral Horse had to offer. The logo for the band name is spot on as well. These guys definitely remind me of a slightly sludgy/doomier Queens of the Stone Age. This is apparent on the opening track, “There Shall be Vultures’ the guitar rips, the drums are pretty punchy, vocals sound like they’re in a box or modulated somehow and the bass is pacing it all along. My technical jargon sucks but they have a very old time sound in general.
“Underneath All that Ever Was” has a very Black Sabbath feel, it sounds real old and gritty. Slow like a funeral parade on the street. This song also introduces some keys in the background later in the song which more or less sounds like an organ. The guitar solo wails later on. This is definitely a good driving song. “A Bit of Weed” is their acoustic track that has a western feel to it. Some bongos or muffled drums are in the background. It’s short and sweet, very to the point and now it’s on to the next track. I kind of think they should have left this track for the end of the album, but what the fuck do I know.
“Gods of Savages” kicks back in with some steam. The vocals sound different hear, audibly a bit clearer and definitely some great riffing here with the drums throwing in fills here and there. Overall it’s a pretty catchy song that deserves some attention. The solo shreds but you don’t hear much of the bass, though my speakers could just be sucking ass. Keyboards come in late and fill the song out which makes me think that the singer probably plays keys live but sparingly. “Yigael’s Wall” has an intro that brings back Sleep memories. It’s slow and dreading as if someone is about to get his/her neck sliced. In come the drums a bit late and now they’re off to a dooming start. The singer kind of sounds likes Jack White here with the dragged out wobbly voice. Don’t get me wrong, it sounds good, but it’s just another curveball in the tracks for this album. I definitely dig this song and it makes its mark.
“Cities of the Red Night” has a flute?? Which is interesting to say the least? Very simple song with a timid guitar track that’s not distorted, with bells and a flute!? What the fuck ever, I’m down. “Gifts of Opium and Myrrh” brings closure to the entire LP. It’s pretty heavy and punishing. Kind of brings back in the “Gods of Savages” track but this track definitely stands out with some genuinely good riffs. The solo in the middle rips as usual and now I’m humiliated as a guitarist. They close out the song with a pretty fucking decent bag pipe solo and overall they definitely bring out some interesting elements. They’ve got some serious talent as I had my doubts in the beginning but they deliver and you should check them out. Now go home and steal your parent’s credit card and donate to Funeral Horse.
