Showing posts with label Jim Eccles. Show all posts
Showing posts with label Jim Eccles. Show all posts

Saturday, 16 May 2015

Demon Head - Ride The Wilderness (Album Review)

Ride The Wilderness cover art

Album Type: Full Length
Date Released: May 20th 2015
Label: This Charming Man Records

Ride The Wilderness - Track Listing:

1.Undertaker 05:47
2.Winterland 04:25
3.Revelations of April 04:35
4.Ride The Wilderness 06:53
5.Book Of Changes 04:44
6.Demon Head 06:29
7.The Greatest Lie 04:51
8.Worthless 07:20

Members:

J.W. - Drums
M.S.F. - Bass
B.G.N. - Guitar
T.G.N. - Guitar
M.F.L. - Vocals

Review:

Demon Head’s “Ride the Wilderness” is proof of the old adage, “it isn’t what you say, it’s how you say it.” While Demon Head doesn’t overwhelm you with complex or intricate instrumentation or song structure, they just know how to play their damn instruments extremely well with the kind of conviction, confidence, and emotion rarely seen now a days. A lot of bands substitute for digital recording to more easily smooth over parts or correct mistakes. The whole album is a time machine back to 1970. It’s a bunch of guys who set up in a studio with analog equipment and let everything just flow.

Marcus, the vocalist, has a very Bobby Leibling quality with a little Glen Danzing sprinkled in with his voice which suites the style perfectly. Blending wailing, moaning, and gritty growls, an eerie and almost surreal The vocals also seem to be double tracked and panned to each to each ear to give a false chorus effect. It just adds to creepiness of the album. The drums are a throwback and super clear. The bass has enough bit but isn’t drowned in distortion. The quality of the guitar tones is something to behold as well. This is all because the band recorded on a 16 track tape recorder. The retro style of recording really calmed down any clipping you may hear in a digital recording resulting in a smoother product. With bands like Demon Head, you are getting a sound similar to Witchcraft, Pentagram, and November, which get their heaviness from their riffs, emphasis on time, song structure, and lyrics rather than their distortion pedals.

The opening track, “Undertaker” begins with a twangy guitar that introduces the listener to the primary riff that they’ll hear for the next five and half minutes. Once the queue for the rest of bands comes in, it’s clear these guys are a huge fans of proto-doom bands and music from the 1970s. Crash heavy drums, lightly fuzzed guitars, walking bass, all complemented by a constantly humming organ. The rest of the album follows a similar style in song structure. Taking a blues sounding riff, mixing in the typical European time-breaks and false stops with wondering solos through bridges and chorus parts.

To some people this may sound tiresome but like many good things, you can’t have enough of it. The song “Demon Head” is probably my favorite off the album because it takes their formula for song writing and takes it to the next level. Adding in a dissonant sound while remaining true to the blues sound, the songs is what I image the Devil would sound like. Smooth yet disgusting, sweet yet bitter. “Worthless” which ends the album is in a similar fashion where dissonances is used heavily in their riffs but keeps the perfect trance inducing tempo the rest of the eight track album carries through most of the songs.

This is probably the best new album I’ve heard. This is what a band like Witchcraft should have become after their debut album. If there needs to be anything negative to say about the album, it would probably be the volume of the bass preventing it from being more defined and the guitar solos lacking crystal clear clarity that I prefer. Even writing those two minor complaints feels a bit blasphemous.

The album just kicks ass on a biblical level. In the bands own words, “Over the course of the following months, the winds took us to a small country home at the infamous Heather Hills where we finished what was already too alive to be buried.” If something unseen in the universe guided them to make this album, I hope that same thing speaks to the band again because this was just such a good piece of art.

You WON’T regret buying this and it may work a way into your daily listening playlist. Prepare to get addicted.

Words by Jim Eccles

Thanks To Chris at This Charming Man Records and Demon Head for the album promo. Ride The Wilderness will be released on CD/Vinyl from This Charming Man Records from May 20th 2015.

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Wednesday, 13 May 2015

The Magnificent Shit Hawks Of The Greater Northern Americas - The Monumental Misadventures of Skeeter Jennings .​.​.​in LOVE (EP Review)

The Monumental Misadventures of Skeeter Jennings  ...in LOVE cover art


Album Type: EP
Date Released: 13th October 2014
Label: Self Released

The Monumental Misadventures of Skeeter Jennings .​.​.​in LOVE - Track Listing:

1.KILL THE RAT 01:25
2.COVENANT 02:56
3.SPACEGHOST 04:53
4.DAYMAN 02:30

The Magnificent Shit Hawks Of The Greater Northern Americas is:

Bob - Drums
Nick - Guitar/Vocals
Les - Bass

Bio:

Bob and Nick had a band called Breechloader, they found Les. Together the sound evolved and has become magnificent, being the shit hawks that we are it was only right to change the name.

Review:

The Magnificent Shithawks of the Greater Northern Americas released their 4 song debut EP The Monumental Misadventures of Skeeter Jennings…in LOVE, back in October of 2014. Considering the fact that they are relatively new on the metal scene in Philadelphia, it’s not surprising that a gem like this like managed to slip through the cracks. The power trio comprised of guitarist Nick Macklin, bassist Les Schultz, and drummer Bob Warner blend various styles and genres into an intense, aggressive, and utterly unique brand of doom metal.

Nick and Les split the vocal duties on the EP. The dichotomy in their styles of singing is a perfect contrast in how the music evolves throughout the EP. The Shithawks, start out with “Kill the Rat,” which is an immediate punch to the face followed by a swift kick to the balls. “Covenant,” is the immediate follow up and features a Motorhead-esque attitude and construction and drops an impressive tempo change as part of the bridge. Probably the best song of the EP, “Space Ghost,” was constructed originally as a throwaway song. “Space Ghost was something I wrote to practice singing and playing,” said bassist Les. It is reminiscent of an early Matt Pike composition where a traditional blues structure is built, broken down, rearranged, and drowned in distortion and fuzz. A climatic end to the EP features an homage to the locally based show, It’s Always Sunny in Philadelphia, with the song “Dayman.” The song is a vicious pounding of hammers into the ear of the listener to permanently affix them into slowly head banging.

While the EP is extremely good, it is not without its faults. Most notably the gang vocals in certain areas. “If we could go back and do it again, I wouldn’t do any group vocals,” said Les, “I think we just wanted to try too much too soon.” I believe that the screaming and yelling of Les and Nick should stand alone in adding character and depth to the songs so because of the strange quality to their voices. Another issue I have with the EP is that while the songs over all, are very good, it is extremely short. The total run time is about 12 minutes, which in the Doom Metal community, could often times be one song or just the introduction in bands like Ennoea’s case. It is a solid foundation for a scrappy upstart band to build upon. If they bring half as much energy and twice the preparation time, their next release may make some serious noise.

The Monumental Misadventures of Skeeter Jennings…in LOVE has an endearing and lasting quality because of the raw and uncontainable power it brings to the table. It is also probably the greatest study of the various stylistic backgrounds each member comes from. The blues guitar of Nick, scale surfing bass lines of Les, and speedy thumping of Bob. If you are the type to comb through Bandcamp for affordable and seldom recognized recordings, this EP is right in your wheel house. It might be the first you’re hearing of The Magnificent Shithawks of the Greater Northern Americas, but I guarantee it won’t be the last thing you hear from them.

7.5 out of 10. Very good, very heavy, but short run time.

Words by: Jim Eccles

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