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This is 'Liberation through Amplification.'
Self releasing their debut EP “Black
Bird” in April 2017 Stockholm based heavy rock band The Riven will undoubtedly take 2019 by storm with the
release of their debut full length set for release via The Sign Records. Though
little is known about their forthcoming album, the band have already started
the promotion of the record with the recent release of the track “Fortune Teller” and today what better
way to deliver some Christmas cheer than
to debut another kick ass track from arguably one of the brightest new talents
in heavy rock. Check out “Shadow Man”
below and read what vocalist Totta has to say about the track
“There
he goes into the unknown… The lyrics came to mind as I travelled on a train in
Sardinia one warm and hazy afternoon. Representing your inner voice and angst,
but also refers to your shadow that follows you wherever you go as long as you
let the light shine on you. There was this one time when bass player Max
decided to record a phrase on his phone. When I heard this ”oh shadow man” I
knew this was the melody and name for the song I’d started writing some time
before. The video for "Shadow Man" shows The Riven playing the song live. Roberto,
who we worked with, captured us and the energy of a live performance. In Shadow
man we wanted to introduce the band to everyone who hasn’t yet put a face on
The Riven. Have a look, grab a beer and remember that Shadow man stands and
falls with you.” From Totta, The Riven
La Chinga’s classic-rocking,
sophomore record “Freewhelin,’” harkened back to the days of yore when a
band would roll into town and bring a party with them. Forged in 2012, La Chinga’s style of retro-rock serves up that
saucy 70s vibe, with an Aerosmith
swagger, Van Halen
style riffing and that all important bad ass guitar solo. At the end of
the day, each song is a party and luckily today y’all are invited for the ride
as we debut their brand new video “Wings of Fire” lifted from their forthcoming
album “Beyond The Sky”
set for release via Small Stone Records on 07/09/2018 (available here). Check
out the video belowandwhat director of the video R.D. Cane had to say about it.
La.Chinga….When they asked me to shoot a
video I had to really think about how to pay all due respect to their guitar
heavy forefathers and still visually knock the socks off of a whole new
generation of young rockers. We knew we wanted to make it colourful and exciting
but simple enough to not get in the way. “Wings of Fire” just
rocks. La Chinga know their thing and they do
it so well. Thanks La Chinga, this was a blast to shoot and hanging out
was very cool, I really can’t wait to do more…
There is always demand for heritage and
that retro rock and roll sound and 1968 are more than capable purveyors.
“Ballads
of the Godless” DD//LP
track listing:
1).
Devilswine
2).
Screaming Sun
3).
Temple of the Acidwolf
4).
S.J.D.
5).
Chemtrail Blues
6).
McQueen
7).
The Hunted
8).
Mother of God
The Review:
Formed
in 2013 out of a chance meeting between Sam (Orr, guitars) and James (Coppack,
vocals) 1968
was created out of their love for many legendary albums created in the year
that signalled the beginning of a darker, heavier movement in music and popular
culture; a period in time characterized by an evolving socio-political
environment, the end of the colourful ‘Summer of Love’ era and the dawn of a
more cynical cultural landscape defined by the Manson murders and the Altamont
tragedy.
1968’s previous EP’s may have
been well received and they’re not shy of throwing their influences in the
spotlight. The big difference between “Fortuna
Havana” and
their debut album is that the band have added a heavy level of grunge to their
sound. So whilst Black Sabbath, Thin Lizzy and Jimi Hendrix are all prevalent,
there is also more than a heavy smattering of Alice In Chains and Soundgarden.
“Devilswine” opens up the album in
scintillating fashion and pulls many styles into its glorious mix. Towering
riffs blow you away more than once as you voyage through the track. Dan Amati’s
drumming is brilliant throughout and it’s his range of tempos and styles that
set off this exciting opener. Its abrupt ending gives way to the chug of “Screaming Sun” which sees strained
vocals play off against more melodic backing vocals.
“Temple of the Acidwolf” is pure Alice In Chains
worship in the harmonic vocal delivery. The lead guitar work is tripped out as
the vocals get gradually more psychedelic. The whole trip, literally and
metaphorically, is quite sublime. The same can be said of one of the albums
highlights, “McQueen”. Building
gradually throughout its near 7 minute duration, the peak of the track is
excellent and begs your attention.
As
the title suggests, “Chemtrail Blues”
is a bluesier affair – this is not tender though. Distorted guitars, rolling
bass and more crashing drum work help elevate the track away from the standard
blues fair. “The Hunted” plays with
a more upbeat tempo and traditional feel akin to the more trad feel of “Fortuna Havana”. “Mother of God” closes out the album as a more jam laden
instrumental. It fades out in the same way the album fades in; a swarming
maelstrom of feedback.
1968 aren’t reinventing the
wheel, but they’re playing with the motion of that wheel. Some of the production
on the album dips here and there, maybe due to split responsibility but with that
being said, “Ballads of the Godless”
is a solid step in the right direction after some excellent EP’s. There is
always demand for heritage and that retro rock and roll sound and 1968
are more than capable purveyors.
From the Deep Purple-indebted organ
intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP
from Norway’s
Purple Hill Witch is pure retro-metal worship.The pervasive garage metal swagger elevates some pretty raw material and
proves that they have the chops to be a really excellent outlier in the doom
metal underground
“CelestialCemetery” CD//DD//LP track listing
1.
Ghouls in Leather
2.
Harbinger of Death
3.
CelestialCemetery
4.
Around the Universe
5.
Menticide
6.
The First Encounter
7.
Burnt Offering
The Review:
From
the Deep
Purple-indebted organ intro, to the bluesy pentatonic riffing,
there’s no doubt that the latest LP from Norway’s
Purple Hill
Witch is going to be pure retro-metal worship.Thankfully, their enthusiasm and chops go a
long way, and some inspired moments carry a record that could slip into pure
nostalgia.The pervasive garage metal
swagger elevates some pretty raw material and makes me believe this power trio
has yet to release their breakthrough record.
Opening
track “Ghouls in Leather” is
definitely the best cut on “CelestialCemetery”, bouncing easily between first wave
proto-doom and NWOBHM riffing meets punky metal hooks.Guitarist Ingvaldsen’s vocals are strong and
when he offers some variations (sometimes sounding like a young King Diamond)
or the occasional falsetto punctuation, you catch him developing his own, more
distinct cadence.His guitar work,
meanwhile, is distinct enough to be the star attraction –heavy on the balls
rather than pyrotechnics.He gets some
sweet tone that sounds loose enough to be mistaken for some early garage rock,
or a Blue
Cheer outtake.“Harbinger of Death”, in particular,
highlights Purple
Hill Witch’s ear for a killer riff, even if the refrain pales in
comparison.The title track, the
appropriately spaced out, reverby “CelestialCemetery”, has Ingvaldsen’s best vocal
delivery, but highlights the relatively low bass levels.It’s a shame that I can’t hear more of
Andreas Schafferer’s interesting work, even if I can FEEL it when the volume is
cranked enough.“Around the Universe” is a good track bolstered by a really
thrilling, Steppenwolf-style
solo.Kvam’s subtly jazzy kit-work is a
nice touch, too.
The
final two tracks, “The First Encounter”
and “Burnt Offering”, while they
have their moments, also highlight the limitations of the record.The bass continues to be too low in the mix,
while little guitar flourishes occasionally seep through the left channel at a
level just quiet enough to be maddening.The harmonica closing of “Burnt
Offering” is a cool idea with an execution too minimal to really rock.By this point I really wished there was a
return to the gloomy organ music of “Ghouls
in Leather” – with a solid anchor to the dueling guitar and harmonica, the
song would be that much heavier, and more memorable.While these criticisms may be quibbling, Purple Hill
Witch set the bar high for themselves.They’ve proven they have the chops to be a
really excellent outlier in the doom metal underground, on par with spaced out
weirdos like Captain
Beyond or Italy’s Black Hole.If they can capture and sustain the energy of
the first half of ”CelestialCemetery”,
they’ll be in for one hell of a record.
“Wizard Bloody Wizard” transcends whatever the in-thing of
the moment is, and focuses instead on musicianship, the album's all-analog
approach creates a warm, vintage sound for the songs and on the whole Electric Wizard feels re-energized, whilst remaining true to their seedy pedigree
"Wizard Bloody Wizard"
CD//DD//LP track listing
1.
See You In Hell
2.
Necromania
3.
Hear The Sirens Scream
4.
The Reaper
5.
Wicked Caresses
6.
Mourning Of The Magicians
The Review:
Doom
metal institution Electric Wizard has
been around so long that its musical progeny continue to make waves around the
world. Its gritty, mystical method to metal has directly and indirectly
influenced legions of heavy music performers for over two decades. Consider
2000's "Dopethrone" and
what it meant for the genre. Indeed, the English band has been at it over 25
years, plying its brand of pulpy blues/stoner/sludge rock in the vein of Black Sabbath, Blue Cheer and other
legends.
The
2014 release "Time to Die" saw
the return of original drummer Mark Greening to the team. However, Greening
again left, resulting in a pause from recording. Instead the group kept a
hectic touring schedule, with new drummer Simon Poole joining Electric Wizard for its new chapter. With its over-the-top
artwork and Occult/marijuana/horror themes in "Wizard Bloody Wizard,"Electric Wizard is
back at last. The next inquisition is whether Electric Wizard
can make remarkable music in this period where plenty of acts have, arguably,
co-opted it sonically and lyrically, or whether that brand of a seminal group still
makes it something to watch.
The
album got a preview with the lead-off single and opener, "See You in Hell." Great reason for
that: it is easily one of the album's best tracks, with its plodding bass
courtesy of Clayton Burgess, distorted guitars and vocals that overwhelm with
lyrics rather than volume. Electric Wizard has
gotten a reputation over the years for theatrical songwriting that is more Alice Cooper than Cannibal Corpse, and
this opener only reinforces it. “This
world is crazy and makes me sick/Maybe I'll torture you just for kicks/But I
lie here possessed by evil/Forever a servant of the Devil." The
delivery is not nearly as threatening as that sounds. In fact, it is entirely
listenable in a manner that is reminiscent of the late 1970s' flirtations with
evil music themes. Electric Wizard stay
true to the seedy pedigree, though it remains accessible.
The
more skeptical might find this opening a tad formulaic – Electric Wizard
does particular things exceedingly well, and stays with it. However, credit
must go to a band with this kind of history, which has mastered its craft in a
way that transcends whatever the in-thing of the moment is, and focuses instead
on musicianship. Jus Oborn's vocals are as spellbinding as ever, the album's
all-analog approach creates a warm, vintage sound for the songs. Electric Wizard feels reenergized to give fans that dig
what they do, exactly what they came for.
Still,
familiarity for some is sure to breed contempt. You may have heard by now that "Wizard Bloody Wizard" has
gotten its share of heat for lackluster moments. A dash of that criticism is
fair, though some of that is based in expectation of a louder, lewder Electric Wizard in the vein of 2010's "Black Masses." Here, the group is looking for a more
stripped-down performance; hence the aforementioned analog recording and
flourishes that harken back to Led Zeppelin era heavy
rock. True to that, a song like "Hear
The Sirens Scream" offers you a taste of a cleaner vocal and more of
the downtempo, bluesier hard rock of the period. "Necromania" opens with a more conventional booming heavy rock
riff. It too is an energetic jam, in a fashion that can likely attract new
fans, frankly.
One
of the few disappointments is that this release is incredibly short, at just
under 45 minutes. Electric Wizard try to
make up for the brief disc with "Mourning
of the Magicians," an 11-minute closing cut that sees Liz Buckingham
doing some impressive guitar work. The chorus "see you in Hell"
reappears, as if to close the story loop from the opener, and the song's
themes, which speak of darkness and betrayal, illuminate the thick rhythm laid
out. Although "Wizard Bloody
Wizard" is unlikely to be considered Electric Wizard's
crowning achievement, it may in fact turn into bait for a new audience into the
renaissance of old-school hard rock.
The sound off the album is positively low-fi, the title track a
noisy and lurching beast and “Into The Wormhole” sounds like a slowed down
record being played through a torn speaker. There are sojourns into more proggy territory with “The
Lost Child”, but for me it is when the band utilise the most Neanderthal
sounds that they are most effective. The verdict? A lot better than their first two
albums and an interesting, engaging listen.
“Rough
Times“CD//DD//LP track listing:
1. Rough Times (3:38)
2. Into The
Wormehole (4:17)
3. Skeleton Blues (4:24)
4. Die Baby Die (4:18)
5. Vampires (4:48)
6. Tribulation Nation (5:04)
7. Words Of Evil (3:37)
8. The Lost Child (5:52)
9. You Found The Best in Me (4:58)
10. A L'Ombre Du Temps (3:57)
The Review:
Kadavar are Berlin's premier 70's retro rock revivalists and I have followed
their career somewhat loosely since their 2013 “Abra Kadavar” album which featured a very seventies production in
terms of instrument placement and a small dose of Sabbath
to go with their Deep Purple, Budgie, Coven,
Blue Cheer, Zeppelin et. al. references. Not doom, for
sure, but not only classic rock... Since then, of course, a myriad of bands
have come to the fore who deal in similar retro-nostalgia (Gentleman's Pistols are still the best outfit
with a retro leaning).
With “Rough
Times”, I have missed out on one of the band's albums so I don't know quite
how this fits into their continuum but I do know that this is much rougher than
the first two records- as the title may obliquely suggest. This is closer to
the MC5 and The Stooges in terms of sound and aggression
than it is to Budgie. The sounds is
positively low-fi, the title track a noisy and lurching beast. “Into The
Wormhole” sounds like a slowed down record being played through a torn
speaker.
The rest of the record is just as gnarly- “Skeleton
Blues” is a primal groove of distorted bass and guitar with reverb drenched
vocals. The lyrics capture the Zeitgeist of fake news and confusion in
prescient terms. As such, then, for a retro band Kadavar
are remarkably up to date in themes and concerns- of the ten tracks, all sound
like they could have been recorded between 1968 and 1975, but most of the
lyrics could only come from the here and now- an odd combination, but one that
makes their sound more alluring, at least for me.
Whether it be the lost innocence and cynicism of “Vampires”,
the political sounding “Tribulation Nation” or even the straight rocker “Words
of Evil” with its metaphors, all the songs are bang up to date: or could
apply to any era of trouble and strife you could name. There are sojourns into
more proggy territory with “The Lost Child”, but for me it is when the
band utilise the most Neanderthal sounds
that they are most effective. There is melody aplenty in “You Found The Best
In Me” and it features as the middle track in the closing triumvirate where
the band spread their wings beyond the Berlin/Detroit axis and venture into
more unusual sounds and styles. The final statement of “A L'Ombre Du Temps”
is again current, retro and a departure for the band.
The verdict? A lot better than their first two
albums and an interesting, engaging listen.
Imperfect though
it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and
the Deadbeats' bold vision
"Vol. 1” CD//DD//LP track listing
1.
Crystal Spiders
2.
WitchesGarden
3.
Dead Eyes of London
4.
Lonely and Strange
5.
Vampire Circus
6.
Do What Your Love Tells You
7.
I Don’t Know
8.
Wind Up Toys
The Review:
Psychedelic
band Uncle
Acid and the Deadbeats has gained somewhat of a cult status over the
years. However, it is the best kind of cult status imaginable. The group has at
once achieved notoriety while not gaining a level of household name currency.
Such presence is a sweet spot for musicians: people know you, but not their
moms, and not being played at the mall is absolutely not for lack of skills. Uncle Acid and
the Deadbeats' style of stoner rock with old-school heavy metal
burnish has flashes of panache that bands like Electric Wizard have in
abundance. Over its releases, the Kevin Starrs-fronted group has supplemented
that with pulpy themes in its music and as such their music is truly fun to
listen to, and the band's music has received well-deserved acclaim for it.
If
you have been following Uncle Acid over its young career – from 2011's
“Blood Lust”, 2013’s “Mind Control” or “The Night Creeper”, the 2015 entry – chances are the group hooked
you with its fuzzed out freaky tales that always came across as more Dusk to
Dawn than Leatherface. It is a catchy and creative mix that draws comparisons
to some of the genre's all-stars, not to mention progressive acts like Pink Floyd.
Among the stories that have circulated was how the celebrated band's story
began on a 2010 debut, which originally made the rounds via CD-R. However, that
recording has been elusive to most fans, save Youtube downloads and live shows.
That is, until its longtime label, Rise Above Records, stepped in to reissue the
out-of-print first recording.
With
"Vol. 1," fans of Uncle Acid and
the Deadbeats finally get a glimpse at the band's formative work.
Perhaps it is no surprise that it is not the best the crew has performed, but
it is among the most original.
"Crystal Spiders" begins the
album, and it is filled with the energetic guitar work and the sticky rhythms you
know of Uncle
Acid and the Deadbeats. The back story to "Vol. 1" is that it is truly a do-it-yourself endeavor.
It was reportedly self-recorded. This hardscrabble tale proves readily apparent
as you tune in for the duration. A little too much volume and some loose
production are evident. With "WitchesGarden," the vocals are a bit
more washed out by the rest of the arrangement than usual. However, it, just as
with the next song "Dead Eyes of London," is a
priceless look at a performer building a sound it is today loved for making.
Its cornerstones – that classic rock 'n' roll feel, a lyricism that weaves a
mystical tale into the music – are gestating on its debut. On "Lonely and Strange," the
bass and drums take a more prominent role, just like they do in later releases and
are a hallmark of this vibe. Imperfect though it may be, "Vol. 1" is a fascinating introduction to Uncle Acid and
the Deadbeats' bold vision.
Starrs
has been quoted as saying he wanted to oversee remixing and ensuring the new
record met the standard he expected for fans. He does an admirable job in
touching up the base material. "Do
What Your Love Tells You" in the original telling, available online,
gets its retro doom amped up on "Vol.
1." Similarly, the closer, "Wind
Up Toys," is markedly improved from the original.
If
you are a fan and caught "Vol.
1" online, the reissue is a treat you will not want to miss. And if
you are curious about this burgeoning UK phenomenon, "Vol. 1" may help you understand how it all began.
London based heavy rock band The Riven are set
to create quite the stir within the heavy rock fraternity, they are
set to release their gloriously righteous debut EP “Blackbird”on
April 14 2017 and as a consequence it is destined to propel them to the top of every playlist by
year’s end. Make no mistake this band are going to blow up in
stratospheric proportions. The album's five tracks recall the glory
of 70s hard rock and is influenced by bands such as Grand Funk Railroad and Deep Purple.
The Rivenis the perfect
juxtaposition of delicacy set against raw, soulful, heavy rock which
tastes all the better when washed down with lots of hot sauce and cheap beer.
Formed in West London after an alcohol-fueled songwriting session between
guitarist Arnau Diaz and bass player Max Ternebring, they were soon to be
accompanied by Charlotta Ekebergh on vocals and Olof Axegard on drums.
Whilst comparisons with their contemporaries
will undoubtedly come their way, naysayer take a walk, this delectable quartet
are the perfect remedy for the blues of winter and compose music that warms the
soul and puts a strut in your step. So we are beyond stoked to debut
a brilliant new track from their forthcoming EP which you can check out below
entitled “Ain’t No Doctor”. Now where's that beer and hot sauce!!
This one is crazy good, and crazy Sabbath
inspired too. Give this band a listen, you’ll dig it.
“The Judge” CD//DD//LP track
listing:
1). The Witcher
2). Heepster
3). Evil Woman
4). Tartarus
5). Mivub’ and Groovin’
6). Planet Doom
7). Suite of Jam
8). Desire
9). Rock Kickin’ Blues
The Review:
You walk a fine line when you play the retro rock
game. Kadavar
is a band that’s pulled it off seemlessly.
Radio Moscow too. Wolfmothernot so. Kadavar’s music is
truly music out of time, you wanna talk being born too late? Kadavar is. Radio Moscow is. But if you cross that line you wind up in
imitation land. Just another sludge rock
wannabe. The previously mentioned Wolfmother occupy this no man’s land. The Judge, I’m happy to
say, has pulled off a real gem here with their self-titled record.
This one is crazy good, and crazy Sabbath
inspired too. Dylan Jarrett’s guitar
playing on “The Judge” is so close
to Tony Iommi it’ll mess with your head on this record. He’s got the technique and sound down to near
perfection. There’s gonna be a ton of
comparisons to Sab but the question at the end of the day,
is, did The Judge pull it off? Hell yeah.
And then some.
“The Witcher”
opens the record with a spot on take of early era Sabbath. It’s crazy how close to Sabbath
this is, really makes you do a double take.
But the song works as a whole.
The guitar is so close to Tony Iommi’s sound it’s insane, the vocals
sound so much like Ozzy, its nuts, but, you can’t stop listening to it. It has an ebb and flow to it that works,
though.
“Heepster”
keeps the fab Sab vibe moving forward but the vocals are
starting to take shape. I can hear less
Ozzy and more Tyler Swope, that band’s singer, but the Oz man inspiration still
flows through.
Two things stand out about third song “Evil Woman.” Tyler Swope’s vocals are sheer velvet,
nothing but heavy cream that in turn allows Jarrett’s guitar playing to get
showcased here. Swope has a nice, bluesy
aspect to his voice that carries this song.
“Tartarus”
finds me getting into the groove of the band as a whole. Only because Swope and Jarrett are as good as
they are, you tend to focus on those two and not the whole band but “Tartarus” brings The Judge
into full perspective.
I won’t go through every song but you get the
idea. “The Judge” as a whole works for me.
It’s not Sabbathrehash, it’s four guys who know how to handle
this type of sound and groove, they craft it, they shape it, in the end, they
made this sound entirely their own. Give
this band a listen, you’ll dig it.
Album Type: Full Length Date
Released: 29/07/2016 Label: Nuclear Blast
The
second album test has been passed by Blues Pills. It’s more polished and not as
raw, but ultimately, this is a great record.
‘Lady In
Gold” CD//DD//LP track listing:
1.
Lady In Gold (4:31)
2.
Little Boy Preacher (3:35)
3.
Burned Out (4:33)
4.
I Felt A Change (3:57)
5.
Gone So Long (4:17)
6.
Bad Talkers (3:11)
7.
You Gotta Try (3:39)
8.
Won't Go Back (3:56)
9.
Rejection (3:34)
10.
Elements And Things (4:52)
The Review:
Ever
since the good folks at The Sludgelord sent me “Devil Woman”, the debut EP from Blues Pills, I've been a fan and
loved following the band. In tried and tested cliché fashion, could Blues Pills
overcome the difficult second album syndrome?
In
short, yes. There are a few things that set “Lady In Gold” back though. Immediately, the production is far more
polished and the album lacks the fire that their debut carried. For me, this is
a double edged sword; I understand the band wanting to progress in their craft
and to make that step up and I feel that they have sacrificed a little in their
quest to step up.
Whilst
that sounds very critical, “Lady In Gold”
is still a superb record and definitely one that grows with each listen. Elin
Larsson’s vocals are still completely amazing. “Gone So Long” sees her vocal range in full flow. The track builds
and builds with the guitars and drums pulsing throughout before a fiery
solo from the super talented Dorian Sorriaux to end. “Little Boy Preacher” is a soulful slice of rock with angelic
backing vocals adding to the sound of the band. The choirs are used again on “Burned Out”. This does give the album
more of a retro feel which Blues Pills do pull off so well.
“You Gotta Try” has that blues swagger
that has made Blues
Pills so popular. Sultry vocals and a filthy guitar line make for a
real hip shaker of a tune. Tony Joe White's “Elements And Things” is an
absolutely superb, driving cover to close the album. The track has been a part
of the bands live set for a while so it's great to hear it committed to
record.
One
of the main highlights of the album is the piano based ballad, “I Felt A Change”. It is every inch a
hippie style anthem that many a great singer would love to sing. If Adele
had recorded this, the music media would swoon. It is a beautiful song that
shows the change that Blues Pills have gone for perfectly.
The
second album test has been passed by Blues Pills. It’s more polished and not as
raw, but ultimately, this is a great record. Live, Blues Pills are an irresistible
proposition. Check them out on their tour in support of this album.
