ALBUM REVIEW: Domo, "Domonautas Vol. 1"

By: Peter Morsellino

Album Type: Full Length

Date Released: 15/12/2019

Label: Independent

“Domonautas Vo1.1” DD//LP track listing:

1). Oximoron

2). Astródomo

3). Ritual del Sol

4). Planisferio

The Review:

Alright folks, let's get weird. I listen to a lot of music. As such I tend to have to work harder at times to find something that really lights my fire. I found myself at one point not listening to a whole lot of music at all, finding myself dulled to the whole thing from not finding what I was looking for. This particular low point lead me to my discovery of doom and sludge, some of the great musical loves of my life. And yet, every now and again, I still feel the need for a little extra bit of a freaky booster shot to keep my spirits up. If you are currently in need of a little something on the fringes to help bring you back to center, I present you with Domo.

I've always said that I wanted a metal band that could conceivably cover “Ummagumma” era Pink Floyd and neither sound cheesy, nor like a bunch of lunatics set loose upon an unsuspecting recording studio. Domo has granted me this wish.

Riffs crunch hard into the earth when not floating into space, with experimental interludes occurring frequently. Notes of early 70's experimental rock flow throughout the album. My mind keeps returning to the thought of a Black Sabbath/Tool mashup that I didn't know I wanted.

“Oximoron” starts the album off as something off an overture, letting you know what you've given yourself into. With dense atmospheres, psychedelic guitar work and exotic horns creating an incredibly dense tone that prevails throughout the album.

“Astrodomo” starts out strong with doomy riffs reminiscent of an early Electric Wizard track, before dropping into a distinctly Pink Floyd like piece and right back again. “Ritual Del Sol” kicks off with an amazingly mellow jazz jam that puts the bass on center stage before giving us some more of that hard rock power, right when we need it. “Planisferio” opens with another bass heavy Tool type of jam before descending into pure metal mayhem.

This album is expertly put together. No part feels like it clashes with another, with Domo skillfully gliding from one genre to the next.

“Domonautas Vol. 1” was released in late 2019 and was promised to be the beginning of something much larger. I for one will be keeping my ears open for the next installment. I'm hooked.

“Domonautas Vo1. 1” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Wychhound, "Earth Orbiter"

By: David Jupp

Album Type: Full Length

Date Released: 01/05/2018

Label: Independent

The many audio-faces that tell the story of ‘Earth Orbiter’ are proof, that if instrumental music is judged right, executed well, and arranged with craft, riffs beat words. Every damn time.

“Earth Orbiter” DD track listing:

1). Flux

2). Supercluster

3). Comet Shoemaker – Levy 9 (SL-9)

4). Aurora

5). Matter – Antimatter Annihilation

The Review:

When a band parts company with their singer, the ensuing discussion generally goes something like this. ‘Fuck! It won’t be the same man, someone else singing those songs. They might as well pack it in.’ Well in 2017 and only two years on from their debut EP, Wychhound did just this by saying farewell to singer Jimmy Holifield. Rather than start the depressing trudge through London’s abundance of awful singers, the band decided to strike out on a new path as an instrumental four-piece. Shedding the crutches a vocalist provides in both immediacy and structure is a brave decision, and especially risky when you already have an established following who expect ‘songs.’ So, as Wychhound set forth on a new journey the question is, can they fill the yawning void left by words?

‘Earth Orbiter’ sets flight to a wall of feedback. As the pressure builds and ‘Flux’ ignites, Wychhound let fly with a barrage of strings, cymbals and skins. It soon becomes clear how the wordless quartet intend on bringing their old fans with them, and to be honest it’s the oldest trick in the book. Big riffs. Lots of them. Really fast. Before you even reach the minute mark Wychhound have twisted their audio-rubix-cube three times. Twist one, swaggering math-groove. Twist two, euphoric chord progression. Twist again, Tool inflected grunge-swerve. As minute two lands guitarist Miles Mcdonald swaggers in with a howling solo and boots the whole metaphor out the window. Singers? Pfft.

The success of instrumental heavy music revolves around a bands ability to judge phrasing. Without lyrics to convey a message you are left with the subtle art of assembling meaning from a jigsaw of riffs. It’s like the best kind of sign language, hold a riff out for too long and the listener grows bored, take it away too quickly and the message is lost. Track two ‘Supercluster’ serves as an advanced elocution lesson in riff-annunciation. Guitarist Roberto Pini kicks things off with a superb off-kilter riff before Mcdonald laces another emotive lead into the fray. Just as the narrative begins to wane bass player Neil Neighbour and drummer Sid Nagdhi grab the track by the low-end and spread a stuttering bang all over it.

Having seen Wychhound cultivate the seeds of these songs across a variety of London’s venues in the last year I must admit that when I first saw the artwork for the record I didn’t really get it. Don’t get me wrong the art looks great but I didn’t quite see what a planet of faces had to do with the songs I had heard.

Named after a comet that broke apart in 1992 and collided with Jupiter, ‘Comet Shoemaker – Levy 9 (SL-9)’s seven-minutes of aching slow-dawn soon provide me with the artworks meaning. Wychhound are a band with many faces. Just as the opening act of the record’s focus sharpens into a prog-metal guise the second movement softens into soaring arpeggiated post-rock.

Great records are made in small increments. The stunning arpeggio that permeates ‘Comet...’s skyline progression is beautiful enough, but exceptional bands always reach for that extra percent. So, as Mcdonald’s triads arc into the records second half, Roberto Pini’s haunting e-bow adds that last extra lift and I challenge anyone not to crane their neck and sigh.

Next up is ‘Aurora.’ Until now Wychhound’s sophomore effort has worn its influences on its sleeve and that doesn’t stop here. Tool, Russian Circles, early Barrows and “Zidane”-era Mogwai have all stirred in places, but now Elder’s totemic influence on the contemporary heavy landscape looms into view. Luckily Wychhound have no intention of merely paying homage and as the Boston trio’s ‘Spires Burn/Release’ EP flickers in the distance the band re-apply their riff-sculpture and successfully carve another fresh face into the records strata.

‘Matter – Antimatter Annihilation’ brings the album to a close and makes a welcome return to the cinematic melodies of ‘Comet Shoemaker.’ As the spiralling guitar-runs that litter ‘Earth Orbiter’ arch back and dive into another surging chord sequence all fears of a loss of narrative are expelled and the record re-enters the atmosphere on a surge of hefty tone. 

In the last year Wychhound have become a staple of London’s burgeoning heavy-scene. So, by making the decision to record ‘Earth Orbiter’ live, I’m glad to say they have successfully captured the ebb, flow, movement and act that make their live show so popular. What’s more impressive however, is the successful progression from traditional stoner band into a new instrumental landscape. In music, just because a choice is brave doesn’t necessarily mean it is right, so in shedding their singer Wychhound could have easily gotten lost in a sea of riffs that lacked narrative. Luckily the many audio-faces that tell the story of ‘Earth Orbiter’ are proof, that if instrumental music is judged right, executed well, and arranged with craft, riffs beat words. Every damn time.

“Earth Orbiter” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Forming The Void - "Relic"

By: David Jupp

Album Type: Full Length

Date Released: 17/03/2017

Label: Argonauta Records (CD) |

Lonestar Records (LP)

In a genre creaking under the weight of its own familiarity Forming the Void have built something exceptional that stands apart. ‘Relic’ is a record that will long outlast its creators and live on, forming the foundations, of future sludge-monuments.

“Relic” CD//DD//LP track listing:

1.After Earth

2.The Endless Road

3.Bialozar

4.Relic

5.The Witch

6.Plumes

7.Unto the Smoke

8.Kashmir

The Review:

There must be a point during the writing process for a record, when a band realise they have stumbled across something special. Whether mid jam at rehearsal or in the isolation of a low-lit lounge, when these threads of brilliance choose to offer themselves a bands collective heart must surely quicken. It is then just the small matter of following each thread home to its cohesive whole. Taken in its entirety, Louisiana four-piece Forming the Void’s second album ‘Relic’ evokes a wealth of these ‘imagine being there when they wrote that’ moments.

The seven songs and one cover that make up album number two form a tapestry of contemporary influences that include Baroness, Tool and Soundgarden. But oddly, ‘Relic’ still seems an apt name. A relic is defined as an object that survives from an earlier time, and Forming the Void’s sophomore effort is certainly imbibed with an ancient and timeless quality. This is especially notable in its slower more atmospheric interludes, but there is also an ever-present driving yell to its heavier passages that conjures images of tribal charge.

The record opens with ‘After Earth’ and immediately implements the aforementioned approach. Setting forth with a shamanic and droned exchange between galloped toms and minimal guitar-flutter, this summoning soon bears blackened fruit as a huge wave of sludge crashes in on your already craned audio-neck. Similarly, to Vokonis’ recent standout ‘The Sunken Djinn’ this mass of tone requires an impressive vocal and James Marshall’s layered war-yell doesn’t disappoint. In fact, the heft of the vocals on ‘Relic’ consistently add girth to the records overall spine. The lyrics evoke equally epic themes with Marshall calling across the years. ‘Roam, beside the dead. Time unwinding.’

A large swathe of ‘Relic’ draws on paths well-trodden but each time a dejected sigh might flicker in your throat the band find an extra few percent, be it through delivery or craft. Track two ‘Endless Road’ extracts this differentiation via Marshall’s vocal. The riffs are solid but the combination of Luke Baker’s undertow bass and Marshall’s bellow transform the ordinary into the special.

Next up trudging Miami stalwarts Torche rear their heads. ‘Bialozar’ wouldn’t be out of place on ‘Neanderthal’ with its fusion of vocal harmony and Thomas Colley’s skull-fuck snare. Again though, instead of massaging another band’s sound Forming the Void take a potion to the vein and inject something extra. This time round, the lyrics that supplement the battle cry provide the albums stand out moment. ‘Wings spread, over the mountain.’ I challenge any connoisseur of heavy music not to contort their face at this point. It’s just outrageously good.

Title track ‘Relic’ is up next and its initial two minutes offer the first whiff of a stall in momentum. Luckily just as the blueprint begins to feel a tad familiar the band cast war-paint all over it with a four-minute, Tool inspired grind.

‘The Witch’ follows and immediately picks up the pace with the Louisiana quartets admiration for Baroness raging into view. The song is a perfect example of the application of craft. There is nothing particularly new about the execution but somehow the charging whole erases all memory of its dull set of parts.

Track six ‘Plumes’ offers the records only real misfire. There is perhaps an element of taste at play here though. ‘Plumes’ would fit perfectly on Torche’s latest record ‘Restarter.’ For me that record missed the mark. There is something about a tempo that is neither slow enough for a half-time bang, or fast enough for horns that just doesn’t grab me.

Fortunately, penultimate offering ‘Unto the Smoke’ restores maximum worthy with an 8-minute testament to everything that makes melodic sludge so good. The driving crash and yell make a welcome return as do their symbiotic and shamanistic lulls.

‘Relic’s curtain falls in a slightly bizarre manner. By covering one of Led Zeppelin’s most iconic songs I can’t help but feel that Forming the Void succeed in breaking a spell they’ve toiled so hard to conjure. It’s a decent cover but it just feels out of place on a record with such a pronounced identity and narrative. It plays like a well-executed after-thought that is perhaps better left for the live stage.

Ill-judged covers aside, with ‘Relic’ Forming the Void have taken a familiar set of materials and carved something fresh. One of the beautiful things about music is that it’s timeless, it’s forever. In a genre creaking under the weight of its own familiarity Forming the Void have built something exceptional that stands apart. ‘Relic’ is a record that will long outlast its creators and live on, forming the foundations, of future sludge-monuments.

“Relic” is available here

Band info: Facebook || Bandcamp

ALBUM REVIEW: Truckfighters - "V"

By: Kat Hilton

Album Type: Full Length
Date Released: 30/09/2016
Label: Fuzzorama Records |
Century Media Records

All in all, a solid offering; a sound that is current; one that rocks effortlessly and one that proves regardless of line-up changes Truckfighters continue to be strong.

“V” CD//DD//LP Track listing

01. Calm Before The Storm

02. Hawkshaw

03. The 1

04. Gehenna

05. The Contract

06. Fiend

07. Storyline

The Review:

With just 7 tracks lasting a smudge over 47 minutes and fresh drummer blood; Truckfighters offer their fifth studio album, “V” (I see what you did there you sneaky sods), a journey on their evolutionary path towards maturity that requires one to switch off pre conceptions, ideas and judgement and requires the plugging in of headphones and a nice chilled beverage of choice.

Having said that in all honesty “Calm Before the Storm” left me underwhelmed, I still cannot pinpoint why, it shouldn’t have done. With its Tool-esque intro, swarthy attitude and an ending which is fuzzier than a tumble dryer’s lint trap I should have loved it but it wobbled me a little. Fear ye not! “Hawkshaw” is the second little ditty and quite frankly knocks the spots of the previous number. A powerful bass and drum intro eases the lugholes to an immense fuzz injection that hits the spot superbly. With ever flowing peaks and troughs of 0-100 mph in seconds it is Truckfighers mastery.    

As track 3, “The 1”, makes its way through there is another line-up change with Peter Damin taking the drums; although subtle, there is a difference- believe it or not more cymbals…who knew that was possible! “The 1” is a classic Truckfigthers number; slightly distorted vocals, smooth riffs and an ear blowing assault of a chorus make it so. For the energy alone it is a clear contender for stand out song of the album. “Gehenna” the fuzz gives way to possibly the most satisfying drum roll in existence making this a veritable time warp of a tune; turning back time it is akin to listening to “Gravity X” all over again. Ok so not as prog like, but the mesmerising vocals and pacey guitar stand it proud.

As “The Contract” makes its debut with its thundering bass/drum play off building the track to the properly heavy levels needed; the thick and fuzzy strings crawl over the senses entwining with the chaotic drums, it kinda shouldn’t work but it does. It be prog/sludge/fudge/aceballness.

“Fiend” is the penultimate track; cheeky, pacey and even more drum rolling perfection make this a fantastic number. Off all the superbly vocalised songs Ozo has done, this is the one that demonstrates the incredible range and versatility he has. The ending can only be described as a co-ordinated pissing contest as the sound increases, the drums hammer more, the vocals step up, the guitars get beefier. Everything makes this a superb ending.

Last but no means least “Storyline” has an instant shift in style and sound; the vocals are the dominant force here. Melodious, gravelly and solid. On one hand an easy, relaxed and somewhat calm offering, on the other a hard core Truckfighters number that shakes the listener to the core. What a delicious juxtaposition.  All in all, a solid offering; a sound that is current; one that rocks effortlessly and one that proves regardless of line-up changes Truckfighters continue to be strong.

“V” is available here

Band info: official || facebook

Choice Cuts: Tool - Ænima (1996)

Years Active: 1990–present

Records to Date: 4

Genre: Prog, metal

Label: Tool Dissectional,

Volcano, Zoo

The Band:

• Danny Carey | drums, percussion, samples
• Justin Chancellor | bass
• Adam Jones | guitars
• Maynard James Keenan | vocals

Additional musicians

• Marko Fox | vocals on "Die Eier von Satan"
• Eban Schletter | organ on "Intermission"
• Chris Pitman  | additional synthesizer on "Third Eye

Review:

As a body of work, ‘Lateralus’ is always hailed as progressive metal band Tool’s shining moment. The record is constantly praised for its ambient flowing soundscapes and its unmatched flow which transports the listener like a lost dreamer through a wave of mad, weird and in some cases cerebral moments which weave together seamlessly.  However, the album which I think captures the band at their most awe inspiring is their preceding work ‘Ænima’

The album is everything that makes the band so great in one 77 minute burst. Containing some of the bands best work self contained, with the likes of the crushing ‘Hooker With A Penis’, the soaring ‘Stinkfist’ and the Scientology bashing title track in which front man Maynard James Keenan delivers one of his most powerful and rapid vocal performances of his career. But ‘Ænima’ was also the point where the band began their expansion into the progressive metal behemoths that they soon became, with the likes of ‘Pushit’ being a hint at were the band were preparing to head musically and the majestic closing track ‘Third Eye’ which features excerpts from the late great Bill Hicks.

Even though the album contains more expansive work than their previous album ‘Undertow’, the riffs from that album certainly made the journey over to Ænima. The likes of ‘Jimmy’ contains some of the filthiest, crushing and most punishing riffs that guitarist Adam Jones has ever written and in turn stopped the album becoming too stale.  Bringing the record back to crowd in between the bizarre sound effect laded interludes, featuring such things as a crying baby and an angry voicemail message.

Overall, “Ænima” to me is everything that my favourite band is capable of in one place. Sure ‘Undertow’ arguably has better songs and ‘Lateralus’ and ‘10,000 days’ have more to offer from a musically stand point, but it is “Ænima” that put the band on the map and show cased everything the band could do and how well they could do it.

Words by: Dan O’ Brien

Album Details

Ænima is the second full-length studio album by Tool. It was released in vinyl format on September 17, 1996 and in compact disc format on October 1, 1996 through Zoo Entertainment. The album was produced by David Bottrill.  The album debuted at No. 2 on the Billboard 200 chart upon its initial release, and was certified triple platinum by the RIAA on March 4, 2003.

‘Ænima’ track listing:

1). Stinkfist (05:11)

2). Eulogy (08:28)

3). H. (06:07)

4). Useful Idiot (00:38)

5). Forty-Six & 2 (06:04)

6). Message to Harry Manback (01:53)

7). Hooker with a Penis (04:33)

8). Intermission (00:56)

9). Jimmy (05:24)

10). Die Eier (02:17)

11). Pushit (09:55)

12). Cesaro (01:26)

13). Ænema (06:39)

14). (-) ions (04:00)

15). Third Eye (13:47)

For more information:

http://toolband.com/

https://www.facebook.com/ToolMusic

Lavagoat - 'Monoliths of Mars' EP (Review)

By: John Slaymaker

Album Type: E.P.

Date Released: 10/02/2012

Label: Somnambulist Sound System

 

 

‘Galactic Dementia’ comes in heavy and angry, sounding a bit like Entombed had they more doom in them. Wide boy riffs with great dual guitars and vocals depicting scenes of violence and madness amongst the Vulcans.

‘Monoliths of Mars’ CD//DD track Listing

1). Forge of Vulcan (9:49)

2). Planet of the Dead (7:02)

3). Galactic Dementia (6:10)

4). Monoliths of Mars (21: 47)

The Review

The band  have a new E.P. to offer , though at 4 tracks and 45 minutes I’d be more inclined to consider this an album. Lavagoat released this self financed nugget earlier this year.   It’s called ‘Monoliths of Mars.’

‘Forge of the Vulcan’ starts off nice and melancholy, and sets the scene for space exploration, with some psyche guitar flourishes. The rhythm starts to build and pound with a really good bass drum sound, nice and deep and commanding. Twin guitars chew up 3 rotating riffs, still building, giving you no insight to what’s coming next. After three minutes the verse comes in, accompanied by a meaty growl of a voice, which completely distracts me from the very talented and spacey artwork.  Vocal splurges and chuggy guitars with the bass not far below them, like a mad beast waiting to lunge. Man these Vulcan's are pissed off. The Vulcan’s then slow their pace and wring themselves out, slowly chugging and thrashing, not wanting to die just yet. Some spacey interludes follow, then very cleverly leads us into the intro to ‘Planet of the Dead's low ended bass riff with guitars and effects really setting up for the madness to come. Already sounding like a horror soundtrack to the recent film Apollo 18, I think they must’ve borrowed Hawkwind's effects box, because there is so many fantastic cosmic space excursions on offer.

‘Galactic Dementia’ comes in heavy and angry, sounding a bit like Entombed had they more doom in them. Wide boy riffs with great dual guitars and vocals depicting scenes of violence and madness amongst the Vulcans.  Now for the highlight and title track, vocals sounding much like Lee Dorian and it does sound a bit like Cathedral, very doomy and twisting. After 5 minutes it starts to make it’s mark inside my head, these boy’s have a penchant for very hooky riffs, coupled with very passionate playing, and also some great guitar tones, the two just different enough to compliment each other.  This is a 20 + minute monolithic beast of a track and the song really should have ended around the 8 minutes, but lingers on with even more great spacey sound effects, I had to turn the stereo off suddenly as I thought a plane might be about to crash into the house!  This twisting mash of modulation goes on for another 10 or so minutes, as if it were the eerie calm after a missile barrage.

It’s not over though, as now we have a flanging guitar riff, very much sounding like classic Tool, but then we get vocal harmonies (I suspect the whole band joined in on these) and it all starts to sound like Alice in Chains, which is wonderful really. The guitars pick and pluck now, going into some typical post rock, which creates a nice mellow atmosphere. It’s at this point I realise this must be the epilogue to a classic sci fi story, like the old black and white TV series and B movies of the 50’s and 60’s. 

In conclusion this is a really good psychedelic doom album.  There were moments at first that the guitars reminded me too much of Swedish death metal, but on the umpteenth spin, it all seems to have settled down and made this sound their own, the sound of Lavagoat. 9/10

 

Band info: Bandcamp | Facebook