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This is 'Liberation through Amplification.'
"Part Island" is a
beautifully aching, emotionally overwhelming and all consuming monstrous opus
"Part Island" CD//DD//LP tracklisting:
1.
Underlie
2.
Moorland Is the Sea
3.
Dovestone
4.
Fallowness
5.
The Great Past
6.
Part Island
The Review:
"Part
Island", the fourth full-length by Latitudes and their second under
the flag of Debemur
Morti Productions. On "Part Island", the UK
based sludgy post-metal band reinvent themselves on familiar waters, leading
into a mental image of a capsized ship representing a previously unseen side of
their own sound. The maritime references are more than fitting; The artwork,
song titles, lyrics and the albums name all blend together perfectly, keeping
the listeners close and feeding them protean visions they feel are apt at any
given time.
On
their earlier albums, the band has heavily relied on strong instrumentation,
often leaving the vocals abaft. The most notable change this time is that
instead of building up from a riff or drum pattern, all the songs were embarked
with an acoustic guitar and vocal melodies, other instruments following
afterwards. Soon after the album begins, you realise that the vocals are extremely
integral this time, and it's something you didn't know you missed on the
earlier albums.
The
album starts off with "Underlie",
which acts as sort of an introduction to the album, infused with soft plucked
acoustic guitars, keys and fragile vocals. The listener is instantly carried
away from wherever they are, into the drowsy and bleak world sealed within this
album. The following tracks "Moorland
Is the Sea" and "Dovestone"
are perhaps the heaviest pieces on the album, creating contrast and boundaries
to the otherwise vague and floating settlements. Adam Symonds' vocals sway
through the air stronger than ever, constantly reminding how the vocals are
indeed where the focus is at this time around. The pair is also mirroring their
past works more than the rest of the album.
"Fallowness" starts off with synth
swoops and picks up a more prompt pace until it comes to halt, again showing
how Latitudes
thrive in creating huge contrasts within short periods of time. There’s
currently a lot of bands going for that certain kind of variability, but Latitudes
excels in it better than most. Trailed by the most sinister track on the album,
"The Great Past", you
can't help but smirk, knowing how you will enjoy this release for countless
repeats. The albums titular closer, the grand ouvre of "Part Island", will take every
single mood and emotion strewn throughout the 43 minute album and compress them
into one magnificent entity. It is now when you realize words can't do enough
justice for the album, it simply has to be heard to be understood. This album
will drain you, but it's worth it.
"Part
Island" is a beautifully aching, emotionally overwhelming and
consuming monstrous opus, which shows that this band is ascending to a whole
new class and there's absolutely no limits to their creativity and what one
might expect from them in the future.
Album Type: Full Length Date
Released: 05/08/2016 Label: Sargent House
“Asa”
provides a gentle start to the LP. The calm is soon destroyed when “Vorel”
lumbers into view. A leviathan of rumbling drums, gritty bass and insistent,
buzzing guitar lines, the track sets the tone for things to come, and along
with “Mota” and “Afrika” it demonstrates an irresistible blend of intricate
post rock with subtle hints of black metal. “Calla” provides the album’s heaviest cut,
whilst “Overboard” and “Lisboa” are the closest the band come to traditional
post-rock but both tracks demonstrate how to avoid the pitfalls of the genre
with style.“Guidance” is a stellar
release from Russian Circles. The band breathe new life into an often dull and
played-out genre with dazzling results
‘Guidance’ CD//DD//LP
track listing:
1).
Asa
2). Vorel
3). Mota
4). Afrika
5). Overboard
6). Calla
7). Lisboa
The Review:
I
owe Russian
Circles a big apology. Many years ago I saw them play a couple of
times on bills with High On Fire and Earthless. At the time I
dismissed them as boring, generic post rock unworthy of sharing the stage with
such mighty riff warriors. One listen to the Chicago trio’s new LP “Guidance” was enough to make me realise I’d made a terrible
mistake.
The
sleepy drum less haze of “Asa”
provides a gentle start to the LP. The calm is soon destroyed when “Vorel” lumbers into view. A leviathan
of rumbling drums, gritty bass and insistent, buzzing guitar lines, the track
sets the tone for things to come. Along with “Mota” and “Afrika” it
demonstrates an irresistible blend of intricate post rock with subtle hints of
black metal. The effect is similar to what Latitudes achieved on their awesome “Old Sunlight” album earlier this year
but stamped with Russian Circle’s
distinctive identity.
“Calla” provides the album’s heaviest
cut and brings some no-nonsense heavy riffs to the table. This track best
demonstrates the band’s serious low-end crunch bought by Brian Cook. His
four-string Midas touch is in full effect here, bringing a crushing density
redolent of his work in Botch and Sumac.
“Overboard”
and “Lisboa”
are the closest the band come to traditional post-rock but both tracks
demonstrate how to avoid the pitfalls of the genre with style. The former is an
affecting, dreamy soundscape, all the more effective for its restraint and lack
of distortion. The latter features quiet/loud dynamics and soaring delayed
guitars but both elements are employed in such a way to make them sound vital
instead of stale and predictable.
“Guidance” is a stellar release from Russian Circles.
The band breathe new life into an often dull and played-out genre with dazzling
results. Being proved wrong has never sounded so good.
Today's guests released one of the albums of the year
in 2014 with the brilliant “12 Areas”, indeed
Colchester-based instrumental sludge/post-metal band Telepathy are one of
the underground's best kept secrets.
They play unique and ambitious music, not so much songs, rather complex compositions,
music to get
lost in, the perfect juxtaposition of beautifully mellow and hideously brutal
passages which they execute with a remarkable intelligence. Telepathy are musical
conjurors, employing masterful tricks within the construct of their music,
which they deploy in unpredictable ways throughout their art and that is indeed
what they create, art in the truest sense, you never know what’s coming around
the corner but you can’t wait to find out.
With their demo EP "Fracture" and 2014 debut album "12 Areas" (Devouter Records/Tartarus Records)
receiving rave reviews, the band are on the cusp of creating their masterpiece
and their dedication to do things DIY, subscribing to their own rules, the band
are in a unique position of being embraced by fans of post-metal, hardcore,
sludge and progressive music alike, which is testament to the bands imaginative,
off-kilter and ambitious musical expressionism.
With Telepathy having
begun recording their second album and with a short European Tour set to kick off
next week, as we enter the final quarter of 2016, the band are confident that
they’re sonically better and in the throes of some much needed momentum than will
catapult their unquestionable talent to become one of the biggest and best
talents the UK has produced. Let us get
Amped & Doomed with the instrumental transcendents that are Telepathy.
SL: Can you give us an insight
into how you started playing music, leading up to the formation of Telepathy
Rich
(Guitars): I began playing music back when I was around 12/13,
I remember vividly my mother gifting me with a boxset of the first 8 Black Sabbath albums
for doing my 11+ (British school exam) and wanting to do nothing else but learn
to play the guitar and write music after that!
From there I learnt to play, and went through the
usual high school bands playing Kyuss covers and some formative original material. My first
semi-serious band was playing local shows and recorded a two track demo whilst
I was studying music technology at college, but ended soon after. That’s when
three of us in Telepathy
met and began working towards something more experimental, and representative
of our collective taste in music.
Piotr
(Guitars): Myself and everyone in the band, were always
interested in and inspired by all sorts of music. From classical, electronic
and dance to the heaviest metal. I
believe it took specific characters to meet and start creating the music that
this band plays. We all definitely have a love of instruments and sound, from
guitar to the synthesiser and of course, the belief that there is no such thing
as impossible.
Ted (Bass): I’ve been
interested in performing since I was very young. I used to write plays and
perform them for my parents; I sang in the school choir and also took acting
classes for several years. I actually started playing guitar when I was around
11 years old. My step-grandfather had a room full of vintage Fenders that I was
fascinated with. It was a jingle on a kid’s after school TV show that inspired
me to ask him to teach me. The jingle was just someone ripping a rad bluesy
solo and I thought it was so cool. I actually hadn’t played bass guitar in a
band at all until I joined Telepathy.
SL: Can you remember who or what inspired you to pick up
the guitar, bass? Are there any bands, guitarists, bassists currently on the
scene that continue to inspire you and push you to try new things?
Ted: I’m not necessarily impressed by a player’s technical prowess, what
matters to me most is how hard the player throws down. I caught Slabdragger at Red Sun Festival in
Cardiff a couple of weeks ago and Yusuf’s performance blew me away. I play
pretty hard but he’s on another level. Glenn from Grand Collapse is probably one of the best
drummers in the UK right now for me; that man can shred.
Piotr: It was
simply the love of the sound of heavy guitars and epic melodies. Since I was a little kid it has always grabbed
my attention. Guitar wasn’t my first choice, it was thanks to my parents and
older brother who introduced me to playing guitar, and the fact that people
around me listened to good music. During
that period I heard many bands and artists for the first time like Jimi Hendrix, Black Sabbath, Led Zeppelin and Pantera.
Rich:Sabbath,
Soundgarden, Kyuss and the Melvins were my
earliest inspirations to play guitar and write music. Out of the current active
bands, we’re of course inspired by the bands we get to share the stage with,
recently we’ve really enjoyed Svalbard and Conjurer, always tight and giving 100% each time. I’m also
really loving SubRosa
and JK Flesh
at the moment.
SL: Whilst we’re
on the subject of inspiration or heroes for example, do you have 5 records that stand out as favourites, what influence did
they have upon you and what is it about those records that particular resonates
amongst others?
Rich: Here’s a few favourites and one new discovery. The list is always expanding.
Mamiffer: “Mare Decendri”
I had the
good fortune to catch Mamiffer
along with JK Flesh
and Sumac in
London recently and they really stole the show for me. This album is a masterpiece: beautiful
arrangements, a deep and rich sound and a haunting atmosphere.
Beach
Boys:
“Pet Sounds”
The
density of the arrangements and how experimental the song structures are still
amazes me and continues to be an influence on how I craft songs. It’s an
eye-opening album for me, in the sense that music can be so inventive, dynamic
and compositionally experimental and still pack a huge emotional punch.
The
Cure:
“Pornography”
An
incredible album. Darkness permeates through every song, it could have only
contained “One Hundred Years” and it would still be one of my all-time
favourite records. Robert Smith is one of the most under-rated guitar players
of all time for me.
Botch: “We are the
Romans”
A classic.
“C Thomas Howell as the Soul Man” is one of the best hardcore songs
ever. Hydrahead Records
in particular has been, and continues to be, a big inspiration for me.
Fall
of Efrafa:
“Owsla”
A genius
first chapter in a conceptual discography. This record opened up a whole world
of underground crust and post-metal for me, along with the DIY subculture it
was birthed out of.
Piotr: It’s hard to choose only five, so I’ll only name rock albums.
Metallica -
“...and Justice For All“,
A big
inspiration on song structure
Pink
Floyd
- “Dark side of the moon“
Without a
doubt, amazing melodies.
Tool - “Lateralus“
Just
genius, isn’i it?!
Deftones - “White pony“
Atmospheric,
great drum beats, it is what I would call romantic metal, if that makes sense.
Micheal
Jackson
- “Bad“
Because it
needs to be mentioned as one of my first musical influences.
Ted: There are too many albums that I could list in my top 5. These are just
a few that spring to my mind immediately.
Pentagram- “First Daze
Here”
Led
Zeppelin-
“IV”
Black
Sabbath-
“Sabbath Bloody Sabbath”
Fleetwood
Mac-
“Rumours”
Converge- “Jane Doe”
SL: Can remember your first
electric guitar, bass?
Piotr: Yes, and it’s still on my bedroom wall, an Epiphone Les Paul.
Ted: Yes, It was an old Encore
Strat copy that my Dad bought for me I think. Pretty standard but it
did the job for a few years.
Rich: Yes. It was
a Stagg, in that old ZZ Top shape. Truly a
terrible guitar, The neck broke within a couple of months!
SL: What guitar(s) bass (s) are
you using today and how did you gravitate towards the guitar you currently use?
Rich
& Piotr: We both use Ltd Ec1000’s. We both really love Les Pauls and humbuckers, and the
Ltd’s are great, hold low tunings really well and are fairly light for Les Paul style guitars.
You can also pick them up at a reasonable price second-hand which is a massive
plus. In all honestly we are both continually expanding our sound, and for sure
there will come a time for different guitars and pickups
Ted: In Telepathy I use an Epiphone Explorer bass.
SL: What do you like about the
guitars you currently use and has there been any specific modifications to
it?
Rich
& Piotr: No modifications currently other than a basic
set-up to allow us keep our low tuned strings stable. We’re both toying with
idea of adding a single coil pickup though at the moment.
Ted: I love it because I’ve never seen anyone else use one and it’s just a
massive, gnarly lump of wood that looks rad when slung nice and low. I’m going
to have to change the pickups in it at some point because it runs so hot that
you get a lot of feedback if you play too close to your rig, so playing on a
small stage can be problematic.
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?
These are all in a constant state of flux, but here
are our current set-ups..
Rich:
Guitar > Tuner - Vox Delaylab - Maxon od808 - Empress Heavy – Little Big Muff - Boss RV-5 > Orange Rockerverb 100
and Orange PPC412
cabinet
Piotr:
Guitar > Tuner – Digitech Whammy – Empress Heavy – EHX Micro Synth – EHX B9 Organ Machine – MXR Analog Delay – TC Electronic Flashback Delay
(mini) – EHX
Super Ego > Fender
MH Head and Cab.
In the studio, we’ve been tracking with Jaime Gomez
at Orgone Studios
who has a wealth of vintage gear. We’ve tracking with an 80’s Marshall JCM800 and Peavey 5150 blended for
heavy guitars and a silver
face Fender Twin Reverb for cleans. We’ve used our own boards and
guitars, except for some clean passages on which we’ve used a hybrid super
strat Gomez has knocking about. We’ve also used an old EPIPHONE acoustic Ted
has which sounds amazing. For bass we used a vintage Ampeg SVT and Fender P Bass.
SL: What one pedal could not live
without and why?
Ted: My Boss TU-2
Chromatic Tuner. Can’t go wrong with it.
Rich: Aside from a tuner, my Empress Heavy. It has two great, responsive gain channels
and has added in a lot of the low end that my Rockerverb was missing on its gain channel,
via its brilliant weight control. It’s also been great to EQ to different rooms
with.
Piotr: Tough one... I guess it must be
my Mxr Analog Delay
– it’s just too good!
SL: What are your amp/ pedal settings?
Rich:Orange
clean channel, bass about 2 o’clock, mids and treble around 12 (dependent on
what room we’re playing). Very loud. I use the Heavy Empress for both a crunch channel and
distorted channel
Piotr:As of this moment I’m using
my Fender MH
amp, my settings are around 12 o’clock for clean gain, with a lot of bass,
little treble and about half on the mid channel. When it comes to pedals, it is
the Heavy Empress
that adds all the heaviness, with similar settings to the amps just with less
bass and more gain.
SL: What tunings do you use and
why, and as a result is there a specific brand / gauge of string you prefer ?
We tune to BEDGBE for guitars. Ted tunes toBEAD, it’s like standard 5 string tuning but without
the high G. He prefers that tuning because it allows him the freedom to move
through the scales without having to worry about any dropped strings. We all use
Ernie Ball strings generally.
Piotr:Ernie Ball
Heavy top Slinky Bottom
Rich: I use Power
Slinky’s but exchange the two lowest strings with a .42 and .54
Ted: I recently switched to Ernie Ball Power Slinky, they’re 110’s and I was using
130’s before. They’re just a lot better to play than the heavier ones SL: Do you have any
advice for up and coming guitars players, bands?
Practice, do whatever the hell you want musically
and most importantly play from the heart.
SL: Do feel
there are deeply held misconceptions about being in a band?
I’m sure there are many, most of which are based on
70’s excess and the boom years of the industry.
SL: Moving on a little then, what
can you tell us about any of your current projects, tours, cds, etc and anything
else band related we should know about?
We can tell you our next record is nearing
completion. We have been recording periodically throughout the year with Jaime
Gomez Arellano (Cathedral,
Paradise Lost,
With the Dead,
Sunn O)))
& Ulver,
etc)
We’re about to hit the road in Europe and have some
great off-shows coming up around the UK, including Noizfest in Manchester in October.
SL: What springs to mind when you think about the completion of your upcoming
record and how is the mood in the camp at present?
Well, currently we’re
demo-ing overdubs and textures to add when we return to the studio on 23rd
August. We’re all incredibly proud of this new work, and the mood in camp has
never been better, especially after the addition of Ted on bass. We’re
currently buzzing to get back on the road in Europe for some headline shows and
a performance at Incubate
2016 in Tilburg.
SL: Who are some your favourite bands you have toured with and what have been
your proudest moments and/or performance of your playing career?
It’s tough to name just a few moments or shows, but
playing Desertfest
this year was pretty insane, there was a queue out to the street to catch our
set at the Black Heart
which was pretty crazy.
Incubate in 2014 was a similar situation, we ended up headlining our stage due to
a cancellation, and playing to packed room in Tilburg at such a prestigious
festival was an honour.
More recently, it’s been rad playing shows with Rosetta, Svalbard, Conjurer, Grand Collapse (two
words: water) and Latitudes.
However,
the thing we take most pride in is that everything we’ve achieved up until this
point has been 100% our own work, and we have never compromised our vision in
any way.
SL: What can
fans look forward to from you over the
next 12 months? How is your schedule
shaping up?
The release of a new record and A LOT of live shows.
Watch this space.
SL:Finally, do you have any final comments/word of wisdom you’d like to bestow upon
us?
A big thanks to The Sludgelord for the continued support!
The Sludgelord’s ‘Sour 16’ is back to present another selection of the finest riffs around. You know the deal, each month, you the
reader are unwittingly compiling a list of the top 16 records of the month,
covering all genres of metal. Is it not a chart, in which reviewers or
contributors extol their opinion about their favourite music. To put it
simply, the ‘Sour
16’ are the records that have been trending the most at SludgelordHeadquarters.
So here is the The Sludgelord’s ‘Sour 16’ for
March 2016. Dig in, spread the word and perhaps revisit some
records you may have overlooked. The results are compiled based on page
views alone and calibrated into the list below. So roll up, kick
back, chug a beer and Hail the riff! All reviews can be viewed by clicking the
artwork and we have included album streams wherever possible. (Total views
since their publication are highlighted in red)
16). Mondo Drag – “The Occultation of Light” (316) Compared to their self-titled from last year ’The Occultation Of Light’is more intense and direct in its offering. Yet similarly to that previous effort, the album’s strength again lies rather in that which is left unsaid. What can also be heard is a matured band more comfortable in delving into different frames of mind, knowing full well how to stay the course on an even keel, paying reverence to their array of influences yet earnestly exploring previously uncharted territories.
The album starts with "Hydroponics," a killer
track that pulls out all the stops. This song sets the tone immediately with a
rough and tumble riff and monotone vocals. In a nutshell, this is the Burn Thee
Insects sound. "Concrete Pillow" carries the torch of the opener into
some heavy plodding, reminding a bit of Mars Red Sky, an influence that rears
its head again in the slower "Through the Fog.” The riffs that Burn Thee
Insects bring to the fore are compelling enough that even though we are four
months removed from the release date; it’s still worth noting that "Droid
Intelligence" exists and that it is recommended by us here at The
Sludgelord.
14). Latitudes – “Old Sunlight” (326)
Their
crunchy take on Pelican’s colossal ambition shot through with Mastodon’s
progressive grit is as potent as ever, particularly evident on the monstrous
“Altarpieces”. “Old Sunlight” is no retread of former glories though, every
track crackles with the energy of the band expanding their horizons.“Ordalian”
and “Gyre” are riddled with frantic black metal-influenced tremolo picking,
injecting an air of grandiose melody to the Latitudes already epic sound. “Old
Sunlight” consolidates all that was great about Latitudes and stretches it in
intriguing new directions to intoxicating effect. Hopefully they won’t leave
another four years until the next time.
13). RIP – “In The Wind” (333)
This
is a doom record, for sure, but of the vintage variety and with a distinctly
American flavour. Retro in approach, satisfying in content, R.I.P. are a
welcome addition to the great tradition of rebel outsiders which litter the US
cultural highways; get your motor running: R.I.P. are here!
12). Beastmaker – “Lusus Naturae” (346)
“Lusus
Naturae” is a fine entry into the Book of Doom; and one that points towards
great things to come. With the backing of Rise Above Records, the band are sure
to become cult favourites. The upcoming April UK tour seems like one to catch
while the band is still playing smaller venues. Definitely check this record
out and find out for yourself.
11). Ifrinn – “Ifrinn” (355)
I’ve
spent a lot of my life listening to 90s black metal, and those bands seeking to
duplicate that sound in the present. There are bands that that can do it well,
even if they’re outright re-using another band's ideas. That’s not Ifrinn. This
isn’t a clone band. They’re a band entrenched in the past creating music that
would be revered alongside the classics of that era, were it released at the
same time. Instead, “Ifrinn”is one of the great black metal albums of
2016, despite looking backward rather than forward.
10). Station Twenty7 – “Beyond The Darkness” (364)
“Before The Gates”lets you
know exactly what you are in for; thrash metal, no more and no less- resolutely
traditional but with strong production, world class hooks and world class
performances on display.
09). Zun – “Burial Sunrise” (379)
The slowness of “All That You Say I Am” or the moment
in “All For Nothing” that the bass loses its raunchiness and transforms into a lush
swelling of lower tones, define this record. The mood is laid back, the
pretense is absent, and the vocals that drift by like a breeze on a cold night
add up to something special. “Burial Sunrise”
is a record that is musically spot on as well as one that encapsulates the
spirit and soul of Desert rock.
08). Monomyth - “Exo” (380)
The
quintet from The Hague
deal in a potent brand of Hawkwind-style space rock, driven by relentless
krautrock rhythms, coated in a sticky stoner fuzz. The band employs hypnotic
repetition to cosmic effect throughout the five tracks that make up new
LP“Exo”. The languid “Uncharted” begins the voyage, a minimal groove emerging
from a cloud of intergalactic synth squall. The highlight of “Exo” though comes
in the form of the hulking robotic funk of “LHC”, a huge ten minute propulsive
groove, powered by layers of pulsing electronics and choppy riffs. Imagine
Zombi covering the theme from Knight Rider with a little help from Colour Haze.
“Exo” is a compelling journey to the outer limits. Monomyth will have no
problems enlisting willing recruits to join them on this trip to the beyond.
07). Capsized – “Overwhelming the Circles” (386)
Gravelly
harsh vocals collide with discordant riffs that get glued inside your mind very
quickly and the off centre type riffs remind me of what Hydra Head Records used
to do. The weight of this album is intense and at times an immeasurable force
that can be uplifting and downtrodden at the same time, which is great to hear
in songwriting these days. Things are stirring in the South, that’s for sure,
and I know for a fact it has more to offer than just NOLA. Keep listening, keep
looking. Capsized is one that’s moving and gaining momentum!
06). Tombs – “All Empires Fall” (407)
Tombs
are swiftly becoming a force to be reckoned with in today's bloated extreme
metal landscape. They are a band that take no prisoners and continue to push
the envelopes in terms of originality. This EP is quite simply exceptional.
Mike Hill's vocals are more acerbic than in previous efforts as the blackened
riffs from Hill and Evan Void are full of contempt as they burn and scrape like
razorwire being dragged across bare skin.
05). New Keepers of The Water Towers - “ Infernal Machine” (517)
Whilst the tracks are lengthy, the album as a whole does not feel
too long. Not once will you find yourself wanting to hit skip. New Keepers of
the Water Towers are a hidden gem of a band, mixing the influences of heroes
such as Pink Floyd and King Crimson along with modern day prog masters such as
Opeth and Steven Wilson is not an easy trick, but New Keepers …pull it off
excellently.
04). Elephant Tree – “Elephant Tree” (680)
If you’re on a quest for the next hit of
sludgy psychedelic riffing to satisfy your music addiction, Elephant Tree is
the thing to go for. They offer up the heaviness of slow, European doom and
counter it with a classic rock swing. This is blended seamlessly with melody,
both in the riffing as well as the vocals, drawing as much from the annals of
rock music as it does from the modern stoner scene. The album is made up of
riffs that beg to be played over and despite the amount of repetition Elephant
Tree does in fact use, the inherent quality of these riffs is that they aren’t
given their due no matter how many times they get thrown at us. The quality of
this album will prove itself once year-end list season comes around.
03). Curse The Son – “Isolator” (720)
Massive fuzzy riffs, wailing vox and swinging rhythms abound from the
off. The production is spot on; nice and live sounding with care and attention
applied (double tracked vocals) to make the record sound thorough and mapped
out. The title track shows all of the aforementioned in abundance. Ron Vanacore
delivers his vocals with full conviction, all the while laying down tar thick
riffs. “Gaslighter” is more
Sabbathian with its swinging riff and plodding pace. Overall this is a very
strong record which mixes doom and stoner in equal amounts to equally great
effect
02). Lord Mantis – “NTW” (800)
01). Goya – “The Enemy” (916)
"The
buzz saw grind that so powerfully embodies Goya is, on this four track EP,
infested with a horripulation that sees the Arizona three-piece sounding
creepier and more terrifying than ever before."
A
big thank you as always to our amazing writers, your dedication knows no
boundaries and for that I am truly grateful.
March’s “Sour
16” features reviews by, Chris Bull,
Philip Weller, Richard Maw, Daniel Jackson, Dominic Walsh, Victor Van Ommen,
Charlie Butler, Joosep Nilk and Eric Crowe
