Latitudes - "Old Sunlight" (Album Review)

By: Charlie Butler

Album Type: Full Length

Date Released: 22/01/2016

Label: Debemur Morti Productions

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.

“Old Sunlight” CD//DD//LP track listing:

01. Ordalian
02. Body Within A Body
03. Amnio
04. Gyre
05. In Rushes Bound
06. Altarpieces
07. Quandary

The Review:

Hertfordshire quintet, Latitudes have built up a fierce reputation as a UK post-metal powerhouse equal to their US peers. New album, “Old Sunlight” shows that the four year gap since their last LP has done nothing to diminish their prowess. 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. These new influences are integrated seamlessly into their sonic spectrum, taking what could have been an abrupt, jarring swerve into new musical territory and creating a distinct sound, bearing the hallmarks of many genres, without slotting easily into any pigeonholes.

The band blur things further with “Body Within A Body” and “In Rushes Bound”. These tracks bring electronic textures to the fore, working alongside the punishing riffs to provide a perfect backdrop for some angelic, yet sinister, vocals. This is a style you rarely hear used in heavy music and works well here. The section in “Body Within A Body” when the music is stripped back to haunting organ and a lonely croon which creates an unsettling atmosphere, redolent of prog voyagers like King Crimson.

“Quandary” brings the album to a close with a sparse guitar and voice ballad, another left turn which reaps rewards. This track and drumless interlude “Amnio” provide effective contrast to the huge big riffing monsters here, allowing the listener to process these trips beyond the event horizon.

“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.

“Old Sunlight” is available here

Band info: facebook

Deep Purple - Live in Long Beach 1971 - Remastered (Album Review)

Album Type: Full-Length

Date Released: 26/5/2015

Label: earMUSIC

‘Long Beach 1971’ track listing

1). Speed King

2). Strange Kind Of Woman

3). Child In Time

4). Mandrake Root

Deep Purple were:

Ian Gillan

Roger Glover

Jon Lord

Ian Paice

Richie Blackmore

Review:

Deep Purple are ingrained in my musical DNA. When I was getting into music and exploring the past greats of the metal world, there were three bands who were always mentioned in reverential tones: Black Sabbath, Led Zeppelin and Deep Purple. Nowadays, only one of those is considered to be heavy metal and Zeppelin have become revered by the very people that most probably hated them when they were around. Odd, but there we are. As Deep Purple are now considered “not metal,” but perhaps “hard rock” instead and not as cool as Led Zep, they occupy a rather overlooked space.

If I could draw a parallel, I would draw one with The Stranglers- for me, the best of the UK “punk” era, but not really a punk band and practically written out of all official punk histories for being... who knows? Too dangerous? Too dark? Too good at their instruments? The Stranglers were excellent players, really did indulge in the darker things in life (hard drugs, fighting etc) and were variously imprisoned/villified/decried as unfashionable.

Deep Purple, while never persecuted by “the establishment” and without a public appetite for heroin or beating up journalists, seem to have been sidelined over time. Regardless of their lack of presence in the modern consciousness, they were a first rate band of the 70's. Let's get it straight: Ian Paice could go up against ANY drummer from the era and emerge victorious or at least with the credit he deserves. Roger Glover was (and most likely is) a fine bassist who turned his hand to production with skill, Ian Gillan had a phenomenal range with real power and soul to his voice. Jon Lord was immensely musical and possessed an ear/ability for melody and soloing. Finally, Ritchie Blackmore was a mercurial figure; the man in black, his playing a thing of Faustian proportion. To hear this four track live record from that particular line-up is a thing of joy.

So, 1971, Deep Purple played long (very long) versions of songs that were not particularly long in their original form. “Speed King” opens and includes, of course, a lengthy mid song jam with vocal and guitar sparring etc. The band can play heavy, it can play light and improvise too. They operate in a far more musical space than Sabbath and are perhaps more “muso” than Zeppelin- but possessing similar ingredients. Things continue in the same vein with “Strange Kind of Woman”- or the refrain of SKOW that then pursues a lengthy jazz style jam- complete with scat singing from Gillan... sometimes it works, sometimes it doesn't, but at least you get to hear a band playing live and spreading their wings.

‘Child In Time’ is of course a show stopper- familiar organ intro gives way to an arrangement that is long and spacey with ear splitting vocal acrobatics from Gillan and guitar pyrotechnics from Blackmore. Gillan's voice is superb; listening to this made me think of how much Bruce Dickinson had been influenced by him. Indeed, even the song intros made me think of Dickinson at times (albeit they are not as ludicrous as those found on Live After Death, although the same locale makes for an eerie echo!). The sound is surprisingly good, too- it is of the time, of course, but the dynamics shine through and the mix is good allowing all the instruments to be heard.

The album finishes with ‘Mandrake Root’, from an earlier Purple era and thus not familiar to me. It's groovy and heavy in places and sounds exactly like a jamming and bitching tune from 1968. How interested you will be in this release depends largely on how interested you are in long free form jams and rock of a 70's vintage. If you like modern doom, classic doom, sludge or prog rock or what have you, you will find something to enjoy here. There is a clear link between bands like Deep Purple and the modern era; they blazed a trail and pushed the boundaries of heaviness, volume and what a rock band could do. They were by turns fascinating, slothful, energetic and relentlessly dynamic. They wrote some classic albums (In Rock, Fireball, Machine Head, Burn et al) and played some damn fine music (hear this one or Made in Japan). It's about time that they got more credit- maybe those people listening to second rate modern stoner or retro bands will hear this and repent? I hope so. Incredible stuff.

Words by: Richard Maw

For more information:

Official: www.ear-music.net Like: www.facebook.com/earMUSICofficial |
Listen: www.youtube.com/earMUSICofficial

Pallbearer - Foundations of Burden (Album Review)

Album Type: Full Length

Date Released: 25/8/2014

Label: Profound Lore Records

“Foundations of Burden” CD/DD/LP tracklisting

1.Worlds Apart 10:16

2.Foundations 8:41

3.Watcher In The Dark 10:40

4.The Ghost I Used To Be 10:17

5.Ashes 3:19

6.Vanished 11:41

Bio:

Pallbearer is a metal band from Central Arkansas, formed in 2008 after spending time playing in various bands around the Little Rock underground metal scene. Paying homage to doom metal of old while still looking wholly forward, the band built upon the underground success of their initial demo offering in 2010 and their debut full length "Sorrow and Extinction" was released in February, 2012 to virtually universal critical acclaim. Now the band slowly marches onward to deliver its progressively-tinged beautiful gloom on a global scale.

The Band:

Brett Campbell | Lead vocals, guitar
Devin Holt | Guitar, vocals on songs 1 & 3
Joseph D. Rowland | Bass guitar, piano/Rhodes/analog synthesizer, vocals on songs 1, 4, 5
Mark Lierly | Drums

Review:

Pallbearer hails from the small southern city of Little Rock, Arkansas, a town known for its historic desegregation battles, its rampant gang violence, and for being the birthplace of former U.S. President, Bill Clinton. Arkansas is one of those states that is often overlooked in the United States, even by its fellow southern neighbors. Generally the only time it receives any attention is when it’s launched into the national spotlight for something negative, like racism, intolerance, or injustice.

Anyone remember the West Memphis Three?

In learning that Pallbearer comes from Arkansas, it occurred to me that I’ve never really heard of very many bands or musicians coming from there, (Johnny Cash is one notable exception, as are Pallbearer’s fellow doomsters, Rwake.) This got me wondering what it’s like to grow up in a place that gets such a bad rep, particularly if you’re a young guy in a heavy band. In the case of Pallbearer, it would appear that writing loud, pummelling music with an underlying melancholy would be the natural inclination.

The band’s latest album, the aptly named “Foundations of Burden,” is a six song, hour-long journey into some rather depressive territory, but the band’s penchant for heaviness and intensity keeps the record from being excessively mopey. As soon as the opening track, “Worlds Apart,” kicks in with a heavily reverbed, modal guitar riff, the first thing you’ll notice is the fantastic production. Whereas their debut release, “Sorrow and Extinction,” relied on more of a direct in-your-face production style, “Foundations of Burden” is an album where the sound is so deep it sounds like you could swim in it, live inside of it, or throw a rock down into it and have it fall forever. Significant shifts in production can often be a risky manoeuvre for bands, but Pallbearer seems like a group that is very self aware in terms of their sound and how it is translated to their listeners.

Credit must be given to singer/guitarist, Brett Campbell. He is a strong vocalist and his singing style is a considerable part of what makes Pallbearer stand apart from other groups of their ilk. Campbell keeps his vocals on the melodic side, which is a good accompaniment to the band’s funereal guitar tones. He soars distinctively over the thick riffing of “Foundations,” which may be the heaviest track on the album. Fans of rhythmic, low-tuned, palm muted guitars should really go for this one. As is the case with most of Pallbearer’s material, “Foundations” is a pretty lengthy tune, (although it is one of the shortest on the album.) It has a nice breakdown into a melodic bridge with some atmospheric guitar effects before the heaviness comes back into the foreground.

Perhaps the strongest moment on the album, or even arguably the best moment of Pallbearer’s career, is “The Ghost I Used to Be.” This song will surely be a fan favorite and will more than likely find its way on to many a playlist. The title alone grabs one’s attention. It begins with a fierce riff and immediately segues into a downcast tone, creating a balance between the lumbering riffs and the quieter “starlight” guitar tones. It’s the kind of song that could be seen as a melancholic anthem, a similar formula that was utilized in a lot of strong releases from last year from groups like Beastmilk and In Solitude, (although Pallbearer’s approach is, naturally, much heavier.)

The loud/quiet/detuned/melodic aspects of “The Ghost I Used to Be” is also not dissimilar to what a lot of great bands used to do back in the ‘90s, but Pallbearer very much succeeds in keeping their style in the here and now, and doesn’t sound anything remotely like a throwback band.

All in all, “Foundations of Burden” is a fine offering from these fan favorites. Because the band is inclined to epic song structures, Pallbearer is probably a group that sufferers of short attention spans should avoid. They are also the sort of group who’d have a difficult time convincing extreme metal listeners to get behind what they do. However, it’s highly unlikely that those who favor a standard song format, or those who enjoy guttural abrasiveness, would seek out a band like Pallbearer. They may have come from humble beginnings in their home state of Arkansas, but with the amount of praise they’ve received, along with their ever increasing fan base, Pallbearer is a band who should enjoy reaping the rewards of the seeds they’ve sown, both at home and far away from those southern fields they’ve known.

Words by: Erik Sugg

You can pick up a copy here

 

For more information:

https://www.facebook.com/pallbearerdoom

http://pallbearerdoom.com/

http://pallbearer.bandcamp.com/

Mastodon - ‘Once More 'Round The Sun’ (Album Review)

Album Type: Full Length

Date Released: 24/6/2014

Label: Reprise Records

Mastodon - ‘Once More 'Round The Sun’ track listing:

1). Tread Lightly 05:14
2). The Motherload 04:59
3). High Road 04:15
4). Once More ‘Round The Sun 02:58
5). Chimes At Midnight 05:32
6). Asleep In The Deep 06:12
7). Feast Your Eyes 03:23
8). Aunt Lisa 04:08
9). Ember City 04:59
10). Halloween 04:39
11). Diamond In The Witch House 07:49

The Band:

Troy Landers | Bass, Keyboards, Vocals

Brann Dailor | Drums, Vocals

Brent Hinds | Guitars, Vocals

Bill Kelliher | Guitars, (B) Vocals

Review :

The best metal bands have a handful of classic albums each. By my count, Iron Maiden has six. Metallica have five (yes, I count it). Black Sabbath have eight across two line-ups. Judas Priest has four. Slayer has two as do Megadeth and Pantera. I could go on, but I’ll leave it there. Mastodon, prior to this latest album had three... Will they improve on this tally? Read on to find out my opinion.

The observant amongst you will note that Mastodon were placed into a paragraph among what many consider to be the “classic” metal bands. Sure, other bands have classic albums too and some are classic bands within a sub-genre, but the above bands are the true behemoths of the form. It is my view that Mastodon have joined this elite- they are forward thinking, risk taking, musically dexterous, unique in their sound. When you hear them, you know who’s playing. For me, ‘The Hunter’ did not make the “classic” bracket. By some distance. I found it to be lacking in what I love about Mastodon and somehow lacking the fire of earlier albums- or even the prog-weirdness of ‘Crack The Skye’. I desperately wanted this to be a return to the days of ‘Leviathan’ - which is my favourite metal album of the first decade of this century.

Opener ‘Tread Lightly’ is tight and crisp with snappy drums but oddly muted guitars, I thought. What is immediately clear is that the album will not be a re-tread of their previous work. The vocals are clean and well delivered. ‘The Motherload’ has a snappy Dailor intro and then we are into the riffing. More clean vocals but the track and album are more upbeat than ‘Crack The Skye’ by far. The positivity of the chorus is infectious and packs a memorable refrain.

‘High Road’ is a superb track- catchy and heavy. Great riff, perfect choice for an album primer... and surprisingly straightforward. Don’t get me wrong, this is not The Black Album- but it is certainly less cluttered than previous offerings. The title track clocks in at under three minutes (!). It is again strangely upbeat and focused on the song as opposed to the riff but there is some superb guitar interplay to be had in between verses.

‘Chimes At Midnight’ is an altogether more sombre beast. Sparkly guitar on one level and mournful work on another. An excellent riff replaces this and the band groove away in familiar Mastodon territory. ‘Asleep In The Deep’ represents something of an album high point. Epic and mournful in delivery (great bass tone) it is trippy, jazzy and progressive in the best ways possible. ‘Feast Your Eyes’ is another three minute wonder. Up tempo and almost punk like in approach, but of course there are time changes and frenetic percussive passages. ‘Aunt Lisa’ is dexterous and light on its feet and features god guitar work and vocals. ‘Ember City’ follows with a kind of Mastodon does Maiden approach- galloping it is, metal it certainly is too. Great solo, strong hook.

‘Halloween’ is not a Misfits cover, but allows Hinds and Kelliher to extend themselves well- a nice feature of the album generally is the way that the guitars weave together- I guess years of writing and touring will do that. ‘Diamond In Witch House’ is the close to eight minute album closer and starts with acoustic, then electric and then the band start to build up. Slow and crushing in its own way with dark musical passages too, it is a brooding way to finish what is an oddly happy record in places.

The verdict... Well, this is a good album. Maybe even a great one- it could well be a grower. Mastodon remains head and shoulders above the competition and the vast majority of bands. However, for me, the classic tally still stands at three.

Words by: Richard Maw

You can get it everywhere now

For more information:

http://www.mastodonrocks.com/

https://www.facebook.com/Mastodon

Comet Control - S/T (Album Review)

Album Type: Full Length

Date Released: 20/5/2014

Label: Tee Pee Records

Comet Control ‘Comet Control’ track listing:

1.) Blast Magic
2.) Future Forever
3.) Ultra Bright
4.) The Soft Parade
5.) Century
6.) Hats Off to Life
7.) Fear the Haze
8.) Master

Bio:

COMET CONTROL is the new band from Andrew Moszynski (guitar) and Chad Ross (vox/guitar), formerly of Canadian psych rock champions QUEST FOR FIRE.  COMET CONTROL extends the dark, bass-driven washes of sound that QUEST FOR FIRE fabulously produced and drenches it in majestic bursts of pastel post-rock guitars and bright, breezy vocals. Simultaneously heavy and sunny, COMET CONTROL rocket to the forefront of today's dark psych scene.

The Band :

Andrew Moszynski | Guitar

Chad Ross | Vox, Guitar

Nicole Howell | Bass

Jay Anderson | Drums

Christopher Sandes | Keys

Review:

Sometimes, you just need to get away. 

Not physically, but rather, spiritually.  You need to be taken on a journey where new sensations and sights abound.  Personally speaking, I choose the sonic method of transcendence, and today’s willing dealer of expansion is Toronto’s Comet Control.  These guys are like a supernova of sound blasting over your aural horizons, making vibrant new colours dance across your eyes.  Their self-titled LP was only recently released, and I was tasked with reviewing this strange beast.  Load up the spaceship with the rocket fuel: it’s time to explore! 

Ever wonder what it’d be like if Smashing Pumpkins and Hawkwind explored the galaxy together and took the time to collaborate on a monolithic rock opera?  Well, I think Comet Control have the answer to that giddy little question: their music is trippy, fuzzed-up and mighty.  Opener ‘Blast Magic’ has that seventies’ sweeping prog scope to it, tempered with this backbone of chugging downer rock.  As soon as I heard this, it made me sit up and take notice.  Its eight minutes of strange awesomeness, and any prog-fancier should definitely be putting the needle to this wax right now.  Your consciousness expansion program demands it. 

The other seven tracks on offer here take different methods to get you to that plateau of sonic nirvana: ‘Future Forever’ is a ballsy, explosive chariot of rock fire, with a really catchy hook that sinks straight into your cheek with a fisherman’s panache.  And it’s a good fisherman I’m talking about here.  Really good.  Then you have a track like ‘Century’, with its spiralling synthesisers painting elegant pictures on a canvas of roaring rock.  Close your eyes, listen to ‘Century’, and watch the dazzling spectacle unfold in your mind’s eye. 

When I first heard ‘Hats off to Life’, for some weird reason it instilled in me a vision of Star Wars colliding with The Phantom of the Opera, with Pink Floyd writing the score to this odd merging.  On further listenings, it’s actually simply a remarkable Floydian tune, with some sumptuous guitar soloing and melancholy lyrics.  Its mighty crescendo and Hammond-organ outro leave you feeling like the sun has suddenly vanished from our skies, and a deep night has enveloped our world.  Powerful?  Atomically so. 

It seems like Canada has gotten itself a new prog star on the rise.  If you wish to explore vast new landscapes without ever leaving the comfort of your own house, I suggest putting on your headphones, holding all your calls and putting Comet Control into your brain.  You will love the adventure you’ll take; of that, I have no doubt. 

Words by: Chris Markwell

You can get it here

For more information :

http://cometcontrol.bandcamp.com/
https://www.facebook.com/CometControl

A Province Of Thay - The Grieving - Album Review

Album Type: Album

Date Released: 18^th October 2013

Label: Self Released

The Grieving - track listing:

1.All We Know Is Loss 06:36

2.A Legacy In The Trees 09:32

3.The Vessel And The Heart 05:41

4.A Sovereign Will 08:04

5.The Herald 05:06

Bio

A Province of Thay is the brainchild of a few nerds who wanted to tell you a story about the desperation of human nature. they chronicle the lives of two fictional characters as they tightly cling onto a perception of happiness, while their reality spirals out of control.

We want to tell you a story about the desperation of human nature. The Grieving is the first of many chronicles of two fictional characters as they tightly cling onto a perception of happiness, while their reality spirals out of control.

The Band Members:

Guitar-Tyler Shannon

Bass- Gianni Sbisa

Guitar/Vocals- Ronald Navarro

Keys- Dylan Abbott

Drums- Heather Davis

Review:

A Province Of Thay are from Seattle. And there is not a grunge note in sight as the band are more of a progressive post-rock/post-metal combo with slight elements of Doom and Ambient lurking in the background. They released their stunning debut album – The Grieving – late last year. Trust me to be late in listening to such a fantastic and quality sounding album.

A Province Of Thay are different from your normal Post-Metal bands as they have written an intriguing story on The Grieving. It's an album packed full of many emotions that will tug at the hardest of emotionally distant heart strings. The band have struck the perfect balance between intense Post-Metal riffs and anthemic Post-Rock vibes that brings back memories of Mono when the band are in full flight.

The haunting vocals of lead vocalist Ronald gives this album pure HEART and SOUL. As his vocals drift from heavy rock vocals to soothing emotionally wrought vocals that wouldn’t go amiss from the legendary shoegaze scene. Ronald is on his element on the album's stand-out track – A Legacy In The Trees. An almost 10 minute track that will have your heart beat pumping 100 times faster. And your the more better for it after listening to it.

A Province Of Thay are incredible musicians as they have written an intricate 35 minute album that shows their undeniable talent to the world. The band believe in the art of progressive rock/metal as the album is built upon some highly impressive progressive based riffs.

It may end on an abrupt note but I think this is for the best as it means the band will most definitely be back with the next chapter of this highly intriguing story.

Look if you want something different to check out in the realm of Post-Metal. Something with brains, heart and an eternal soul then The Grieving is the album for you. It truly is a magical and mysterious album you won't forget in a long time.

It's available on BandCamp Buy Now Download. So headover and download this excellent album now. You won't be sorry.

Excellent and Highly Recommended.

Check The Band From Links Below:

Facebook

BandCamp

Written by Steve Howe

Wild Throne - Blood Maker EP (Review)

Album Type : EP

Date Released : 4/3/2014

Label : Brutal Panda Records

Blood Maker, track listing :

1). The Wrecking Ball Unchained

2). Shadow Deserts

3). Blood Maker

Bio :

Bellingham, WA progressive rock/metal trio WILD THRONE (formerly known as Dog Shredder) emerge with their debut EP, Blood Maker, under their new moniker.  A mind bending amalgamation of progressive rock, metal, jazzy syncopations and swirling melodies, Blood Maker was recorded with legendary producer Ross Robinson (At The Drive In, Machine Head, The Cure) in Venice Beach, CA.  Fresh off a US Tour with Red Fang and Helms Alee, WILD THRONE are only just beginning their quest for eccentric rock greatness.

The Band is: Joshua Holland | Guitar, Vocals
Noah Burns | Drums
Jeff Johnson | Bass

Review :

Resonating the kind of anarchic beauty you’d expect Mastodon to create while enduring a bad acid trip, with a heightened focus on psychedelic aesthetics, Wild Throne have absolutely nailed it with Blood Maker. Put simply, you won’t hear many other debut releases as accomplished, well-rounded and as stunningly executed as this in 2014.

Wisely changing their name from Dog Shredder, the kind of moniker destined to make the RSPCA shit their proverbial pants, their new, less offensive name takes steps towards encapsulating the unfettered mayhem of this record.

From the soft, graceful beginnings of Wrecking Ball Unchained, one of the most ferocious and feral songs of the year so far, it provides the lulling calm before the throbbing, apocalyptic storm that follows. Riff after riff, it takes a sledgehammer to yourself, all the while peppering each track with moments of dynamically quiet and lucid landscapes and lofty choruses.

The fury of Shadow Deserts leaves your mouth agape in a matter of milliseconds. They say that actions speak louder than words, and the faces it leaves stunned listeners pulling, says far more than any superlative-laced review could.

Its bridge riff is a stunning example of what this band are capable of, taking a ravishing, raging riff before bastardising its time signature, adding the crunch when you least expect it. It's followed by crying, fuzzy-enough-to-have-its-own-beard lead guitar work before a whirling, spaced out grooves a-la Hawkwind with their foot on the accelerator and a mesmerising solo takes the foray.

Once more, while you are pummelled with the most insane, mind-bending riffs that transcend a multitude of time signatures and metallic, psychedelic and progressive styles, melodic passages, where Joshua Holland’s vocals soar are never far away. The effect is devastating.    

Ross Robinson's (At The Drive In, Machine Head, The Cure) production allows the vast array of intricacies buried within this album to breathe without hindering the brutality of the music. Their resulting sound is huge and impossible to ignore, but trust me, you wouldn’t want to.

Its length, at only 3 tracks, you would think, would leave you craving a little more. Yet, as the silence that follows juxtaposes their sonic storm, you are left entirely satisfied, if not a little out of breath. Wild Throne deserves a massive future.

Words: Phil Weller

You can buy it here

For more information :

Wild Throne Official Site

Wild Throne on Bandcamp

Wild Throne on Facebook
Brutal Panda Records on Bandcamp

Men Of Fortune - Time Lovingly Bled - Album Review

Men Of Fortune is a Psychedelic Progressive Rock band from Peoria, Illinois, USA

The members are:

Joel Madigan - Guitar/Vox
Andrew Sledd - Drums
Mike Willey - Bass

Men Of Fortune is a band who are very hard to describe indeed. A curious mix of Psych, Prog Rock, Space Rock, Drone and even Stoner Rock for something wholly fresh and original.

They have been described as King Crimson jamming with Queens Of The Stone Age. That is one fucking awesome description and it's a fairly accurate way to describe their superb debut album - Time Lovingly Bled.

An out-of-this-world mind expanding experience so powerful that you don't know which galaxy or dimension you will end up in. It's one crazy ride that will last long in the memory. At 44 minutes the album has it's fair share of psychedelic hazy based riffs.

First track - Voices From The Void - sees the band perfectly painting their world of trance-like trippy based riffs. Prog Rock is the main driving force here though the band add elements of crazy out of control Pysch/Stoner Rock riffs to drown you with. This is the perfect start for these musicians to hypnotise you with as this album becomes ever so stranger as times goes by.

Second track - Some Crystal Dawn - starts off with an even more crazed psych vibe that will take you onto the next level. The band lay down some impressive riffs here with Joel's vocals acting as a guide in this weird and wonderful fucked up journey that Men Of Fortune are taking you on. There are epic riffs waiting to be discovered here. It's a perfect blend of 60s/70s Psych/Hard Rock overtones mixed with the more heavier Prog Rock vibes that is hypnotic as it is disturbing. But it has a dream-like quality that is very hard to ignore.

It's from this point you will know you will actually enjoy this album as Men Of Fortune carry on this style of Progressive Space Rock for the rest of the album. If you're not digging the vibes by now then it's best to turn away as these cosmic rockers are not changing course for anyone.

Third Track - The Passing Shame - starts off with a subdued guitar riff full of sorrow before exploding fully into life as the band lay down more epic dreamy trance like riffs. This is one of the albums standout tracks as it perfectly shows the band's musical talents and creativity all in one awesome package.

Nearly of the albums tracks are on for 7 to 8 mins in length, so you will definitely need to give this album a few more spins before getting the full effect. Men Of Fortune have written a blistering debut album that should win then an appreciative audience within the Psych Rock/Prog Rock crowd.

The album has been mixed by a certain Mr Sanford Parker. So you know this band is good if they can call on the talents of legends like Sanford Parker. Plus credit must goto Joel who recorded this album himself. He has done a wonderful job here. He has perfectly captured the bands sound and it sounds so damn fresh and original.

If you want something different to check out then Time Lovingly Bled may be the album for you. It has different moods and noises that make this band very hard to classify. So am going to with Progressive Space Rock.

Time Lovingly Bled is a wonderful audio experience you cannot do without.

Brilliant and Highly Recommended.

Thanks to Men Of Fortune and Bird Dialect Records for sending me a promo to review. Time Lovingly Bled is now available to buy now.

Check The Band From Links Below

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