IAH – “Self Titled” Album Review + Stream…

IAH

IAH – released January 20, 2017

Necio Records – CD // Kozmik Artifactz – Vinyl // DD

Album Reviewed by Ric “Suisyko” Dorr

 

 

LocationCórdoba, Argentina

Band Members Bass: Juan Pablo Lucco Borlera (Orighen) // Drums: José Landin (S.A.D.E. – Fahrenheit – It Will Be the End) //

Guitar: Mauricio Condon (Pieles)

This first offering from IAH, a three piece outfit brought together, each with a pedigree of previous bands, and they have created something that shines bright from first note to last. Four tracks of instrumental bliss that the band has tagged as a combination of ambient/post-rock/stoner/metal siphoned through an experimental filter. An intriguing descriptor for sure and these are 25 minutes of some of the most coherent meanderings yet to throw those tags together.

Opening track ‘Cabalgan Los Cielos’ (Ride The Skies) has an almost-hidden fade in the beginning three seconds before the band enters with a nice even paced walk of resonating clear notes carried by a lumbering-thick bass line and a cadence from the drum-kit that fits perfectly. By the time the first power chord rings out at 1:40, you are already hooked for the ride and the smile that creeps across your face is one of sonic satiation. The spaced out flow for the duration is seamless from clear notes to distorted screams and back again as you can feel the twists and turns through the atmospheric coursing painted.

Live Band Pic

The last section shows that they can get as fast and hammering as the next, and are not afraid to do it to the fullest extent possible and then shifting back to that doom-heavy slowness and over-modulated purity of power, a slow-fading digital echo taking us into ‘Ouroboros’ with an almost spaghetti-western tone and progression.  Taps of cymbal ringing softly until another hit of snare and we’re off for the next round of instrumental hypnosis that has as many twists and turns and fills that feed off of each time shift effortlessly punctuating that this band as a unit are exactly  the same page and give the same 200% lacking with too many.

‘Stolas’ (Clothing) has a nice jazz-tempo beginning, those clear notes with a slight reverb edge tickle your ears as the time signature makes your fingers tap along involuntarily as the sing-song/stop and go tempo becomes your pulse as you move right along with every note, each speaking every word, never said but still heard. Each member is as solid as stone and flex and flow perfectly, never dropping a second and still maintaining that ‘live-in-the-studio’ feel that lets IAH deliver the goods. Closer ‘Eclipsum’ hits hard and heavy, thick and heavy from the first second and shows even MORE of the syncopational unity these three represent.

This EP had been released in January 2017 and there are two extra tracks available via the band’s bandcamp page. ‘La piedra que sujeta el sol’ (The Stone That Holds The Sun) that listens as the perfect “next song” after the end of ‘Eclipsum’ and is even MORE raw and ‘live’ sounding giving a majesty to their soundscape and when ‘Nuboj’ begins with those harmonic muted tones ringing out followed by the clarity of that sound of brand-new strings permeates the air, you can almost smell the difference and the next seven plus minutes wrap the entire take together with the ultimate mix of heavy and harmonic. Get ALL six of these songs in your library the very second you find them and share out to each person you come in contact with as they NEED to hear this as badly as you do even now and support them live if you get the chance… keep it LOUD!!


THE COLD STARES ‘Head Bent’ Review & Stream

THE COLD STARES
Head Bent – DD//CD//Ltd. Ed. LP
Small Stone Records – Release Date: June 16th, 2016
Reviewed By: Pat ‘Riot’ Whitaker

I always dig it when a band I’ve been hip to for awhile, usually when hardly anyone else was aware of them on a large scale, begins to break out of thay pseudo “obscurity”. Nashville, Tennessee’s The Cold Stares are possibly the next band in my wide spectrum of somewhat secret enjoyments that are poised to experience that revealing spotlight. See, I saw the band back three or four years ago when they were out supporting Rival Sons (I think it was) on a date here in Kentucky. I was immediately sold on the duo of guitarist/vox Chris Tapp and drummer/vox Brian Mullins aka The Cold Stares for a variety of reasons, usual ones like the fact that the guys make flat-out incredible music. It’s almost incomprehensible to believe or even accept that it is just two guys playing this astounding music, getting this amazing sound, wielding this inhuman power.

Now, after a couple of well-received EP releases and the ice-breaking 2014 effort A Cold Wet Night And A Howling Wind, the duo are back with their new full-length, ‘Head Bent‘. The eleven song opus was produced and mixed by the band with Greg Pearce and mastered by Chris Goosman (Acid King, La Chinga, Solace, Lo Pan, Freedom Hawk, etc.). It just dropped this past week  on June 16th via Small Stone Records and I assure you now, with all foregone knowledge and sincerity, this record is going to blow your mind, my friends.

Continuing in the Small Stone tradition of hosting some of the best, heaviest, hard rock hitting the ground rocking and a’ rolling, there comes this. Yes, this is exactly what Rock & Roll in the year of our Lord 2017 sounds like, music rife with testicular fortitude and an undiluted, devil-may-care attitude. Taking heaping piles of blues and Americana-flavored folk rock into their own sound, The Cold Stares emerge victorious masters of electrified emotion here. Songs like ‘John‘, ‘Ball And Twine‘ and ‘Break My Fall‘ are full of soul, each exudes ample amounts of raw emotion and talent. But even they are mere drops in the bucket when you tear into the meat and marrow of this outing.

From the darker doom moments of ‘Neighbor Blues‘ to the blistering ‘Stuck In A Rut‘ or the Led Zeppelin-meets-Aerosmith feel of ‘Kings‘, there’s limitless miles of territory traversed. Just when you think you’ve heard the best the album could possibly offer, the next song queued up obliterates that assumption. Title track ‘Head Bent‘ or the astounding stand-outs ‘Price To Pay‘ and ‘One Way Outta Here‘ will simply blow you away. They simmer, they rock… they groove, they roll…all while you find yourself never wanting the album to end.

 


DEAD CROSS Drops ‘Seizure And Desist’ Official Video

Multifaceted avant garde heavy rock unit Dead Cross, which features Dave Lombardo (Suicidal Tendencies, Grip INC., ex-Slayer) and Mike Patton (Faith No More, Mr. Bungle, Peeping Tom) in their ranks, have dropped a new Official Video. The clip is for the track ‘Seizure And Desist‘ which hails from the band’s upcoming self-titled debut due from  Ipecac Recordings on August 4th. Joining Lombardo and Patton in Dead Cross are Justin Pearson (The Locust, Head Wound City, Retox) and Michael Crain (Retox, Festival Of Dead Deer).

The S/T debut was produced by the famed Ross Robinson (Korn, Sepultura, Red Fang, Deftones) and features a glow-in-the-dark cover (CD/LP) created by Eric Livingston, with vinyl available in a limited edition gold and a clear/red/black swirl. Livingston’s art is also depicted and included throughout this new visualizer. Digital pre-orders include instant downloads of “Grave Slave” and “Seizure And Desist“.

Regarding the “Seizure And Desist” clip, Justin Pearson said: “The artist who created our album art, Eric Livingston, came up with this video. As far as I’m concerned, It sums up the current social and political climate of today. For a lot of humanity, this world is a mean motherfucking place. The video captures the severity of the times we live in, as well as a means to communicate beyond basic language using iconic imagery, campy techniques, historical relevance, as well as a glimpse into the future.”

– Pat ‘Riot’ Whitaker

Dead Cross
Dead Cross track list
1. “Seizure and Desist”
2. “Idiopathic”
3. “Obedience School”
4. “Shillelagh”
4. “Bela Lugosi’s Dead”
5. “Divine Filth”
6. “Grave Slave”
7. “The Future Has Been Cancelled”
8. “Gag Reflex”
9. “Church Of The Motherfuckers”

DC

Dead Acid People “Mocker Fuzzers” Album Review + Stream…

DEAD ACID PEOPLE 

Mocker Fuzzers – Vinyl // CD // DD

Self Released – Released May 28, 2016

Album Reviewed by Ric “Suisyko” Dorr

 

Born2014

LOCATIONParis, France

Dead Acid People is a stoner rock band formed in 2014. In February, Guillaume (d) had posted an announcement to recruit musicians and Stéphane (g) responds to the call, and after a conclusive test, proposes to Alain (b), his friend, to join them. The trio works assiduously to consolidate the basis of a blend of rock embodying the sounds from Black Sabbath and Led Zeppelin, all the while injecting their own flavor into these dynamics, and by the end of the year, the group decides to recruit a singer. Several unsuccessful attempts later, in August 2015, with the arrival of Mathieu (v), the “training” is finally complete.

Pro Band Pic_2

 

Fast Forward to March 2016 and we are presented with 35 minutes of this hybrid-stoner/punk meshing that contains 8 tracks that run the rails from the opening progression of ‘Ashes’ that has a single bass progression for two measures before being joined by the six-string as the drumline fast-fades in and we’re off and running with Guillaume, Stéphane and Alainshowing time spent honing their edge as a unit over the last almost two years and when Mathieu’e voice enters at 40 seconds with the words “Everything can burn, everyone must die, everyone, until the crimson sky” the stage is set for the tale of darkness, full of hooks and distortion and a vocal clarity lacking in a lot of first-time releases any more; no pro-tools sounding anything here.

‘Sell Me To The Dust’ hits harder from the first and the staccato drumline is the perfect cadence for the body of, where ‘Happiness’ comes out with bass solo with the minor cymbal-kiss before the rest of the band join in and then we hear “Looking for some happiness, acting like I’m someone else” in a somber almost-monotone before the power chords jump back out and your head is moving again.

Live Band Shot

‘Blood Red Tide’ is another bass-opened track but is faster and fuller and including  some cowbell that fits right in as “Now we dance together, now we dance forever, me myself and I,  we all die under a blood-red tide” before settling into a medium tempo for the first section. ‘Burn Out’ opens with a staggering guitar-swagger before the thunder returns to pummel everything in it’s wake, especially pounding mid-track, before the spaced out solo takes over before that opening stagger hits again to lead through to the end.

‘Let’s Go’ and Burning Man’ each open with a drumline hitting hard before that defining punch in the face from the rest of the band that allows the eerily clear vocal line to deliver the tale of each that keeps you locked down, drinking each nuance in. Standout track for ME, absolutely has to be closer ‘Weird Jimmy’, a rocker with an edge that simply stated “This is a story of Crazy Jimmy. This is the story of a weirdy man” that slams and jams with the power of time shift and winding guitar notes to satiate the masses including a chugging solo that is short enough to not dull the senses but season to taste.

Well worth your time if you don’t have it already, share it with every set of ears you encounter and support them live if they come near you!!


Screamfeeder “Pop Guilt” Album Review + Stream…

Screamfeeder

Pop Guilt – Vinyl // CD // DD

Rogue Wave Records – June 23rd 2017

Reviewed by Andy “Dinger” Beresky

 

Believe it or not, if you haven’t figured it out by now, I don’t particularly like reviewing stoner rock and doom metal.  Not all the time anyways.  The less I listen to that kind of material, the better, because it just makes it more memorable when I do reach for my old Kyuss albums.

That’s really the crux of the issue for me – those Kyuss albums are indeed old.  It’s hard to believe that I bought Blues For The Red Sun 25 years ago, based solely on an offhand comment that Nirvana’s Krist Novoselik made praising the band in an interview.  It’s even harder to believe that 25 years later, there are still bands that go out of there way to sound like Kyuss.  I can remember thinking that was cool around 1999-2000, when there were only a handful of bands going for that sort of sound, and it was truly exciting every time a new one popped up.  Ah, the Golden Age, it’ll never be the same….Okay, it’s 2017 now, and frankly, I can’t keep up with all the stoner/doom bands coming out, nor do I want to.  It’s like glam rock from the 80’s – there was only so much we could take of it before it was just formulaic, cliche, and ultimately passe.  It’s also simply a case of “too much of a good thing” at this point for me personally.  I like to be a LOT more selective and diverse about what I listen to nowadays.  I’m sure some of you have seen me go off on similar rants in other reviews, so I’ll cut this one short today.

Pro Band Shot

With that all being said, I still have quite the insatiable curiosity when it comes to new music, and I do love writing these here reviews.  So when Taste Nation LLC founder Matthew Thomas ran the idea of reviewing a band named Screamfeeder by me, at first I wasn’t sure exactly what to expect.  That name could really suggest anything, any genre.  I listened to about 30 seconds of the first track, “Half Lies”, and immediately told him “I’ll take it!!  This sounds very 90’s indie guitar rock.”  Matthew was kind enough to inform me that this was probably because they were an indie guitar rock band from the 90’s, and they were from Australia, so lo and behold – here we are!!  I’m very fortunate that Matthew puts up with my nonsense, and seems to have good instincts about just how finicky I really am, and that we’ve also got a terrific writing staff here at Taste Nation who are passionate enough to compensate for my disillusionment with certain styles.

I’d heard through the grapevine that Ripple Music owner Todd Severin was going to be starting up a second label, one that focused more on indie rock and shoegaze, and I was really excited to hear this news.  Actually, I’m pretty sure that Todd and I discussed this briefly at one point, in full disclosure.  I listened to a lot of that stuff in the 90’s.  I was a huge fan of Dinosaur Jr, Sebadoh, The Pixies, The Replacements, The Breeders, Guided By Voices, The Posies and Sugar.  There was something special about these bands that could write a totally sugar-coated melody, and just juxtapose it with over amplified guitar, brash fuzz, and abrasive noise.  I mention this because A) this Screamfeeder album is the first release from Todd’s new label, Rogue Waves, and B) they are definitely cut from the same mold as those bands I so adored in my youth, while they don’t directly sound like any of them.

Screamfeeder formed in Brisbane, Australia in 1991.  They’re were originally a three piece, though their current lineup is composed of Tim Steward on guitar and vocals, Kellie Lloyd on bass and vocals, Dean Shwereb on drums and Darek Mudge on second guitar.  This is the first  that I’ve ever heard of them, which is a real crying shame, because they’ve got quite the back catalog going for them and I would have eaten this up back in the day.  Well….I guess that gives me something to do with all my copious amounts of free time.  Tonight I’m gonna party like it’s 1992!

Pop Guilt proper is 13 songs, which is a very lucky number, because that’s how many people were seated at the last supper, and it’s also the name of the LP that Fugazi released which combined their first two EP’s.  However, I’ve got two bonus tracks (NOT on the Fugazi record) included in my promo package, which is pretty sweet, especially considering that they’re both just as good as any of the album tracks.  This really isn’t surprising, considering there isn’t a clunker to be found on here, so I’m really not sure what these cats are feeling so guilty about.  My favorite of the bunch is “Got A Feeling.” It’s a driving number written around an upbeat two chord progression which reminds me of Pearl Jam’s “State Of Love And Trust”,  which is my favorite PJ song. (don’t worry haters, they otherwise sound nothing like Pearl Jam whatsoever, and Tim doesn’t sing like Eddie Vedder at all)  Another track that I really love is “Alone In A Crowd”.  It features a more jagged, abrasive main guitar riff, though once Kelly’s dreamy vocals drift in and the beautiful swirls of layered guitars take over, it’s overwhelming. “Sonic Souvenirs” starts off eerily reminiscent of Dinosaur Jr’s MTV classic,  “Out There”, with its blown-out lead guitars and fragments of distorted chords before Kelly’s distinctive vocal style sets the tone. “Karen Trust Me” has a really strange, off kilter ending that even gets a bit on the heavy side.  “I May Have Some Regrets” is the best song that Paul Westerberg never wrote. “Sciatic Heart”, the closing track, is also an early favorite, due to the quirky lyrics and Kelly’s more energetic vocal delivery.  Really, the whole album is ear candy, with no two tracks sounding the same.  Every track stands on its own and has something unique to offer.  I’m not sure who’s written what, though it seems like I generally like the tunes that Kelly sings just a little bit better.

Live Band Shot

If you’re like me and missed out on these guys and gal the first time around, do yourself a favor and check out Pop Guilt if my description sounds at all intriguing.  It’s such a fun listen, and I have a feeling it’s going to be one of those classic summertime records for me, the kind of record that reminds me of cruising around the back-roads with the windows down, meeting up with my friends, lying around soaking up the summer sun and sensing the sweet smell of the newly mowed grass with just nothing particular to do whatsoever but enjoy each other’s company and whatever happened to be playing on the stereo at the time; that magical time in one’s life when we were all still so bright eyed and bushy tailed; every crush is just like first love and every new record just like heaven in our ears.  That’s the kind of mood this music puts me in, and it’s not just nostalgia.  This is something special, a bygone relic from a lost age, fully actualized in our present day.


RAW IN SECT Debut ‘Therion’ Official Video From Upcoming ‘Kitro’ Album

Incredibly unique Grecian rockers Raw In Sect have premiered a brand new Official Video for their track ‘Therion‘. The song comes off the band’s upcoming third album ‘Kitro‘, set to be out this September. The video can be viewed below while the band shares the following about the song itself: “The video is meant to reflect the transformation into Therion, which is to “find inner power in a primitive way getting in touch with your instincts.

Continuing to share about their blending of traditional Greek music with rock and roll, Raw In Sect‘s members add: “[We seek toredefine what aggressive/rock music is through a totally different approach than the one that has been known in the music scene.”

Really though, it’s about doing something new and artistic instead of repeating the same old patterns of established bands in hopes of securing a career in a declining music industry. Changing the language of the lyrics in Greek, recording live, and not setting on the sound of previous records that was somewhat accepted, are among the risks we took willingly in order to express something new and reach wider audiences.

Raw Insect

 

Raw In Sect is:
Kostas Diamandis – Lead Vocals, Guitar
Dimitris Alexiou – Drums, Backing Vocals
George Ioakeimidis – Guitar, Backing Vocals
Ilias Platanitis – Bass, Backing Vocals

 

  • Pat ‘Riot’ Whitaker

Taster’s Choice – An Interview with Derange Da Messiah + New Album Details…

Rising Artist Feature – Derange Da Messiah

Lansing, Michigan’s Hip Hop Artist Derange Da Messiah is interviewed by our own Terry “The Ancient One” Cuyler.”

Talks about his beginnings, past, present, and future.  He was kind enough to get us a taste of his Sizzling upcoming Album “Fire In My Eyez”

Derange Da Messiah is an Artist/Writer/Author/Producer and Executive Producer of his 2 albums “Portrait Of A Souljah” and “Derange Iz Comin.” Check his music out on YouTube, Reverbnation.com and SoundCloud.Derange is also co-owner of High Risk Ent. with his brother Charles Mathematicz Mathis.

 

Fire in My Eyez_Album Cover

 

Album back cover

Links:

Facebook – https://www.facebook.com/pg/Derange-Da-Messiah-1419424858089122/about/?ref=page_internal


Serbian Gothic Doomers THE FATHER OF SERPENTS To Release New Album; Video Premiere

Serbian gothic doom/atmospheric death metallers The Father Of Serpents are set to release their new full-length album Age Of Damnation in a few days. Inspired by the likes of Paradise Lost, My Dying Bride, Moonspell and more, the sextet have a very textured, organically appealing heaviness. You can hear, and visualize it, for yourself via their new music video for “Viral”.

“’Viral’ was the last song we did before recording the album in the studio, just a few days before,” The Father Of Serpents comment. “It was almost done in 15 minutes and it went pretty natural and straightforward. We didn’t have the time to overthought or analyze the song, so the energy of the moment when we were jamming the song is there. It is both groovy, catchy and dark.”

Age Of Damnation will be released on June 19 through Satanath Records and United By Chaos. Pre-order it here.

– Pat ‘Riot’ Whitaker

SILEREOMNIA - Booklet

Tracklist:

01. The Walls Of No Salvation
02. The Flesh Altar
03. Tale Of Prophet
04. The Grave For Universe
05. Tainted Blood
06. The Afterlife Symphony
07. The Quiet Ones
08. The God Will Weep For You
09. The Last Encore

10. Viral

 


DEMON EYE Declare ‘Prophecies And Lies’ To Abound This August; Share New Song

Raleigh, North Carolina’s amazingly hard rockin’ Demon Eye have announced their new album, ‘Prophecies And Lies’, will be released August 11th via Soulseller Records on CD, vinyl, and digital formats. The new album was recorded by Mike Dean of Corrosion Of Conformity/Righteous Fool in the band’s hometown of Raleigh, North Carolina, and displays a strong musical progression with mighty doomened  riffs, haunting melodies and head bang-worthy anthems. Demon Eye are bringing vintage heavy darkness for modern times and current day evils. New track “The Waters And The Wild” is streaming below.

– Pat ‘Riot’ Whitaker

DE LP

Tracklisting:

“The Waters And The Wild”
“In The Spider’s Eye”
“The Redeemer”
“Kismet”
“Infinite Regress”
“Dying For It”
“Politic Devine”
“Power Of One”
“Vagabond”
“Prophecies And Lies”
“Morning’s Son”

“The Waters And The Wild”:

 


Broken Ones “Self Titled” EP Review + Stream…

BROKEN ONES

Self Titled 7 Inch – Vinyl // DD

Sump Pump Records – released June 3, 2017

Album Reviewed by Ric “Suisyko” Dorr

 

Location : Des Moines, Iowa USA

That’s about the extent of any info about this three piece other than they include members of the bands The Jitz, Traffic Death, and The band Rob Ogg, and have several upper Midwest shows running through July 2017. This being the first offering from, and released by Sump Pump Records.  It contains four tracks totaling 6+ minutes of pure punk rage including a ‘sliced and diced to perfection‘ cover of 80’s legend Greg Khin’s track ‘The Breakup Song’ that is ‘instant movement‘ for the entire 1:42 as you scream along with these guys.

Band Pic

 

The other three original tracks are full-on sneer inducing pure punk, each a quick burst of machine gun drum-lines, road-rage spewing and an almost love song to start things off. This is one of those maxi-singles that leaves one question in your mouth… “Where the fuck is the REST??” No real “New ground” broken other than the brilliant reworking of  Khin cover, but it hits hard from beginning to end and will force you to hear it over and over… get it now, shove it down the throats of your closest friends and all of their enemies too, support them live and keep it LOUD!!