Zuul “Zuul” Album Review + Tour Schedule + Stream…

ZUUL

Zuul  – Vinyl // CD-R // DD

Sump Pump Records – Release Date: September 8th, 2017

Reviewed by Ric “Suisyko” Dorr

 

Location:
Iowa City, Iowa

Lineup:
JL BOLINGER – GUITAR/VOCALS
IAN KOEHLER – GUITAR
DENNY RICHARDS – BASS
ALEX WATTS – DRUMS

Review:
Was sent this record to review, never heard of the band, had heard of the Tyrannosaurid Theropod Dinosaur that had been found in 2014 in Montana and had only recently been named and described this year, and by looking at the cover art, I gathered the name was probably more akin to the demon and demi-god Zuul the Gatekeeper of Gozer, from the Ghostbusters movie that, coincidentally enough, was a facet in the name of the aforementioned wicked lizard.

 

 

Eight songs making up this 32 minute romp of all things rage/punk/screamo complete with surf-punk kitsch in the guitar lines and an hyper-fuzzed bass line, enough cymbal crash to simulate roaring waves and a sneer-filled growling vocal line to rival even the fiercest on delivery.

ZUUL’s debut on vinyl for the first time, includes poster of the album artwork, lyric poster and an additional live album on the download code (w/vinyl version only).

From opener ‘747’ to ‘Punk Funk’, any pretense is wasted as these are full speed ahead through ‘What If’. ‘Middle Child’ is a slower tempo’d rocker that even the purest would have to appreciate in it’s heavy handed arrangement to keep your head moving. And then there’s ‘I Don’t Drive’ that comes out of the gate with a soft-touched clean guitar that breaks into over distorted squeals at the chorus break where the plush returns to envelop the ardent among before the clean returns to circle again.

‘Jimmy Buffet Killed Iowa City’ has a staggered intro that takes a hold as the winding guitar returns weaving circles around from all directions leading to the demanding vocal line that forces you to listen in a riotous cadence that shifts on a dime and again and again to almost a dizzying proportion that flows perfectly into ‘Greg Hall’ with it’s Spaghetti Western intro before full on shrieking rage comes back through the mic.

Live Band Shot

 

Final track ‘untitled’, may be the one that doesn’t seem to fit until you listen to the lyric that flows with a voice that is almost impossible to believe is the same guy that you have just spent 7 previous songs with. Even the first guitar notes are clean and slightly warbled, showing a completely different side for this band on what I have to assume is a first release from as I could not find anything online besides the album listing and release party info on their labels webpage. This song shows ability typically not associated with a band that is seemingly pissed off all the time to deliver on any level imaginable.

Great outing from the Midwest and shows great promise in MY opinion. I have a feeling that in a live format they could rip your face off or get you pumped up and screaming at the very least. Get the album, play it to no end and share it to any set of ears you can, catch them live if they come anywhere close and keep it LOUD!!


Red Mountains “Slow Wander” Album Review + Stream…

RED MOUNTAINS

Slow Wander – Vinyl // Digital Download

All Good Clean Records – Released – September 1, 2017

Reviewed by Mike Hackenschmidt

 

Line Up:
Simen Mathiassen – Drums
Sverre Dalen – Bass
Jostein Wigenstad – Guitar
Magnus Riise – Guitar / Vocal
 

Review:

Red Mountains is a Psychedelic stoner rock band out of Trondheim Norway. “Slow Wander” is their sophomore offering following the 2015 release of “Down with the Sun.” Their Facebook page lists their influences to include Dead Meadow, Black Sabbath, Electric Wizard, Sleep, Brant Bjork and Fuzz. I’m not familiar with all those acts but I can hear the Sabbath for sure. They especially remind me of “Vol. 4” – Tomorrow’s Dream, Cornucopia and Snowblind but not Supernaught.

Let me tell you now this album is chill as fuck. My first taste of Slow Wander was when I was driving. I happened to be in a hurry, realized I had forgotten something at my place and had to turn back. I’m already late and waiting at a light to do a U turn when I hit play. The opening track, ironically named Home has a slow, smooth wane to it, as if it’s recorded on the wrong speed. It’s almost hypnotic how the high notes are placed just so, contrasting the doomish rhythm. I find myself getting sucked into the music and I soon forget I’m in a hurry. I come to and look down at my speedometer because the last thing I need now is to get pulled over. Normally I’ll go 10 over the limit but I’ve got a lead foot so I have to be careful as my speed creeps up. When I look down, I realize I’m doing the speed limit.

Now I know this particular style of music is meant to be enjoyed under the influence. I happened to not partake in said activities on the regular, especially while I’m driving but I can say if you let ‘Home’ take you you’ll get a very similar chill feeling.

‘Endless Ocean’, track 4, sounds like it should be on the soundtrack to Fear and Loathing in Las Vegas or maybe Trainspotting. If I relax and close my eyes, images of lava lamps and the feeling of floating is induced. Faces distort, patterns can be seen in the windows and one must stop to have a closer look at the wares of the shop we’ve walked past uninterested so many times before. We head down the stairs to the local metal bar, only to find it’s zombie night. We’re not entirely sure if we can be so lucky or perhaps it’s not really happening and just an unexpected effect. It’s troubling and fun at the same time.

Blue Wax

Upon returning to reality, I come to realize that it’s now track 8 and I’ve zoned out pretty hard. ‘Acid Wedding’ is a clever metaphor. I find the verbiage in the lyrics come to life as the music sets the scene. I imagine the events are taking place in the badlands mountainous region from the album cover. Assuming in the valley area but then who knows where a trip will take you? That butte looks incredibly interesting, after all. Slow Wander indeed.

The album closes out with ‘Returning,’ a Sabbath inspired track with the similar slow, hypnotic style that frames the album. I think by now you’re starting to get a clear picture of Red Mountains and “Slow Wander.” Normally I’m much wordier in my reviews but for whatever reason I’m now feeling kind of lazy and just want a Twinkie so I’m going to close it up here.

Links:
https://redmountains.bandcamp.com/album/slow-wander

https://www.facebook.com/redmountainsband


Cosmic Fall // Aphodyl “Starsplit” Album Review + Stream…

Cosmic Fall and Aphodyl

Starsplit – Vinyl // CD // DD

PsyKA Records – released July 27, 2017

Reviewed by Terry “The Ancient One” Cuyler

 

The Starsplit Enterprise

 

 

Star date: 8/30/17 – Space, time, … as everyone even somewhat familiar with Albert Einstein theory of relativity knows  one’s perception of them changes when traveling at the speed of light. Music strangely enough has a similar effect which I was reminded of while listening to the “Starsplit” album last night. An endeavor by two stoner rock bands from Berlin who decided to share some vinyl Cosmic Fall and Aphodyl released a split aptly named “Starsplit” on PsyKA Records, a small underground label from Karlsruhe, Germany. This epic journey has a total run time of 6 tracks lasting 1 hour and 17 minutes on their CD release and 4 tracks lasting about 47 minutes on their Vinyl Release. I found I really didn’t care about time and just enjoyed the moment on each song, which is what good psychedelic/stoner rock is about. Normally I don’t talk about each song on an album but I feel I would be doing these guys an injustice if I didn’t explain why I liked each of their songs.

 

Cosmic Fall Logo

On the A-Side of “Starsplit” is Cosmic Fall. Founded in June 2016 by Bassist Klaus Friedrich, and drummer Daniel Sax.  With 2 impressive self produced Heavy Psyche albums “Cosmic Fall” has returned from the  stars to lay down some more of their otherworldly instrumental space rock with an urban feel to it for us.

Galactic desert rock is what I like to call the albums 1st track ‘Overhead Intelligence.’ It begins with a slow bluesy guitar jam  done by Mathias Rosmann accompanied by Klaus Friedrich’s mellow bass notes emphasis by a few well timed drum beats. Then drummer Daniel Sax helps to kick the song into warp drive allowing Mathias and Klaus to amaze the listener with a stellar guitar performance. ‘Blues at CME’ is pure  ZZ Top instrumental worship that feels like a late night cruise on the back roads of Texas in my cheap sun glasses where a UFO lands and some hot space chicks abduct me to take me on a cruise through the stars. Closing out the Cosmic Fall side of the album is the Bonus Track  ‘Sleeping Pandora.’ Beginning with a Bass and Drum lead by Klaus and Daniel while Mathias plays a far away psychedelic guitar that seems to ebb and flow like the ocean tides. A superb track to close out Cosmic Fall’s 39+ minutes of Cosmic Traveling!!  Up next on Side B…..

APHODYL
Aphodyl_Album Cover

On the B-Side APHODYL!! – No matter the medium I have found Germans have always seemed to have a big Avante Garde art scene that challenges people’s perceptions. Biene, Holli, André & Arno are no exception. Playing music that comes from their minds with much influence from the psychedelic and Krautrock realms, (Pink Floyd, UFO, Hawkwind, Jane etc.) APHODYL fearlessly experiments with sound. On the  APHODYL side of “Starsplit” is what I consider to be 1 long song that has been separated into  3 movements simply titled  ‘Part I, II and III(bonus).’

‘Part I’ begins  with what sounds like a bluesy heavy psych guitar lead by André with some jazz style percussion and bass by Hollie and Arno. As the band starts getting into the song they start working in the strange psychedelic sounds. In the second movement  you feel like you are under a desert sky riding along on a caravan under the stars watching flying saucers through the combination of  instrumental sound effects by Biene, Middle Eastern style guitar playing and that chugging bass. Then at the mid point the lead starts taking off all the while the band is adding sounds from their synth and the bass by Arno begins to feel like its speaking a strange mantra. Then the third bonus movement begins with sounds of a sultry night with a cool bass and drum lead in then the electric blues guitar starts playing music you can actually feel. I’d love to hear more by APHODYL and will be scouring the internet to see what they have available.

While you can still buy Merchandise this album is no longer available for purchase on Bandcamp but fear not you can still get CD’s and Vinyl direct from the band, Cosmic Fall.  Simply drop them a line at their email cosmicfallband@gmail.com.

Additional Links:
http://www.clostridiumrecords.com/

https://cosmicfallband.tumblr.com/

http://www.aphodyl.com/

http://www.allthatisheavy.com/Cosmic_Fall_Aphodyl_Star_Split_Marble_IMPORT_LP_p/ath-12273.htm

https://www.youtube.com/watch?v=BJkOD9CM6U0


Howling Giant “Black Hole Space Wizard” (Parts I & II) Review + Stream…

HOWLING GIANT

Black Hole Space Wizard (Parts 1 & 2) – CD // DD

Self Released – August 25th, 2017 

Reviewed by Ric “Suisyko” Dorr

 

Location:  Nashville, Tennessee USA

Line-Up:
Tom Polzine – Guitar and Vocals
Roger Marks – Bass and Vocals
Zach Wheeler – Drums and Vocals

Drew Harakal – ‘Guest’ Organ/Synths
Additional vocals on ‘Mothership’ provided by Kim Auch and Kevin Dempsey

 

Previous Releases:

“Howling Giant-s/t” EP (January 2015)

 



 

Review:
It didn’t make sense to review these as separate releases as you have to hear the opus in it’s ENTIRETY to get the full impact of the complete tale of the “Black Hole Space Wizard” and seeing as ‘Part 2’ has just been unleashed, following ‘Part 1’ that was launched August 16th, 2016.

After hearing Howling Giant’s first EP, I was floored and hoped for more that would be as heavy, if not even MORE so as the last notes of ‘Camel Crusher’ had hinted at. As I am before you, this pair of releases deliver even more than previously hoped for, heaped in macro-bass, slamming riffs, splitting cymbals and strong, clear vocals that will guide you throughout this journey, into the deepest outreach of the infinite cosmos of “Part 1” and back into the forgotten realms of the Earth Goddess of “Part 2”. We are advised by Howling Giant that “For greater riff-sensation, listen to these songs at maximum volume.” Smoke ’em if ya got ’em, crank it up and hit ‘play’…

“Part 1”

Black Hole Space Wizard_Part 1_Album Cover

 

‘Mothership’ opens with a strong riff amid cymbal washed before the full body hits 20 seconds in and already the power is palpable before we hear “She’s our Mother…” and we are truly off and running as we hear that “The life we’ve built has come undone” and are beckoned to open up our mind… this is not the end. Loopy and soaring to the last staggered, fading note that leads directly into ‘Exodus:Earth’ with it’s slower tempo intro as “We rise into the black skies…” in this tale of traversing the atmosphere and beyond. Breathe deep and hold it in as riding the crescendo of true stoner/doom/sludge filled measures of headrush inducing guitar outbursts that take you even further into the expanses before your mind’s eye, even as the ghost of War Of The Worlds echoes in your mind, soaring further and further into the blackness and the when the needle sharp frenetic notes of ‘Dirtmouth’ hit, it is the perfect wake-up from. Hyper-speed and crushing in weight is the only way to describe this four-minute plus outburst, complete with time-shifts galore to make even the strongest necks snap along in tempo, and when you hear the scream that “The Wizard Lives!!”, you know it’s true, and then, sudden dead stop.

The silence seemed immense until the sound of a screaming wind fades in as if to mirror the return of consciousness as whispered breathing gives way to a footstep close as the power chords permeate the air as ‘clouds Of Smoke’ rumbles in, “Stranded here in this ocean of sin…” and the desolation seems to loom beyond the horizon before you, languishing in the fact that you would “Rather be anywhere but here…” as the solo rips your heart from your chest before your eyes, even as “Up in clouds of smoke, let it go, just let it go…” and as you take all of this in, even as the notes climb beyond sight as the keys fade slow as your eyes close once more.

 

“Part 2”
Black Hole Space Wizard_Part II_Album Cover

 

‘Henry Tate’ comes on full gallop, complete with the spoken meanderings of Kublai Khan wafting in and out through the plethora of musical might being flexed here as the mix is even MORE lush and thick through what is an insane instrumental stroll. ‘The Pioneer’ opens with the plush bass line suiting a tome of this strength, as “My mind begins to melt, my soul strives to break free…” and another soft fade out greets you. ‘Visions’ opens, slow and blues-filled in tone and progression,  and when the opening solo progression rises up, it is as haunting as ever as the body of the song gels over “Besides the embers of my fire…” and we are cast into another dream of “whipping winds that fortel a storm” that can be smelled in the air.

The acoustic track ‘The Forest Speaks’, is a soothing composition complete with soft horn sounds that permeate the air in a ‘softness’ not present before this is the ultimate precursor into ‘Circle Of Druids’ where we are told we have gone too far before the power chords hit again, giving even more of the lush heaviness I have come to expect over the course of these songs that have lead me here knowing “You must ascend…” and rise indeed on the hooks and time shifts.

 

Band Pic

 

‘Earth Wizard’ is the absolute culmination of all points traversed up to this moment and serves as the bookend to tie it all together and does it incredibly well. Over seven minutes long, Polzine, Marks, Wheeler and ‘guest’ Harakal put 200% into this song, as they have seemingly done with every other song included in this opus and does not disappoint in any manner.

Switching studios between Part I and Part II helped Howling Giant bring the process closer to home for these guys but the continuity between is flawless and if I have to say this record has done one thing for sure… left me wanting, no, scratch that, NEEDING more!! Grab these two, listen to them as a single release and climb aboard for a journey you have not experienced before. Share it with every mind you encounter and support them live if you get the opportunity… keep it LOUD!!

 

Tour Schedule

Olde “Temple” Album Review + Stream…

OLDE

Temple – Vinyl // Cassette // DD

STB Records – released August 10, 2017

Reviewed by Terry “The Ancient One” Cuyler

Welcome to the Temple of Doom!!

 

Line Up:
Drums – Ryan Aubin (Sons of Otis)
Guitars – Greg Dawson (Sons of Otis)
Guitars – Chris Hughes (Moneen)
Vocals – Doug McLarty (Jaww)
Bass – Cory McCallum (Five Knuckle Chuckle)

Review:
I just finished listening to “Temple” by a band from Canada’s Greater Toronto Area called OLDE.  “Temple” by OLDE is the band’s 3rd  album. With a focus on crushing riffs that has left me with ringing ears and a spinning head, I had to recover a bit before I started writing this review. Formed by guitarist/producer Greg Dawson who was inspired by a recording session with long-time stoner metal stalwarts and bandmate in Sons of Otis as well as friends in Moneen, Jaww and Five Knuckle Chuckle, Dawson (Cunter, Grift, BWC Studios) handpicked and assembled OLDE.

Pro Band Shot

I loved what I heard on “Temple” but I wanted to hear what OLDE’s past work sounded like to get a better feel for the band. So I cued up their 1st 2 albums as well as “Temple,” turned out the lights, put my headphones on and had myself a musical feast. What I liked most about the music in general is how the band focuses on crushing heaviness and the almighty power of the riff with bellicose vocals and sludgy bass and heavy handed riffing .

Yet the music isn’t just a bunch heavy riff and growling vocals.  Just like OLDE’s previous albums – “Shallow Graves” and “I”,  “Temple” has tons of meat to it. Besides the amazing guest solo on ‘Castaway’ done by  Joshua Wilkinson, and the stunt guitar work of  Ryan Aubin on ‘Maelstrom,’ “Temple” is full of intense leads and hooks. Some of my favorites are ‘Subterfuge’ and  ‘Now I See You’ which both have some killer riffs with drums by Ryan Aubin that sound positively tribal. The album’s title track “Temple” is an ominous bass heavy doom masterpiece that highlights the vocals of  Doug McLarty.

This album will leave you feeling like you’ve been in the mosh pit with Sasquatch (The animal) as you listen to OLDE  tell the world “it’s collectively full of shit.”

“Temple” was recorded mixed, mastered, and produced by Sons of Otis, guitarist/producer Greg Dawson at BEC Studio with album art by Joshua Wilkinson. The album also features a guest solo on ‘Castaway’  by Simon Talevski and a stunt solo on ‘Maelstrom’ by Ryan Aubin. “Temple” can be purchased as a Limited Vinyl LP on Bandcamp through STB Records, Limited Edition Cassette via Medusa Crush Recordings and in digital format on OLDE’s Bandcamp page.

Links:
https://www.facebook.com/oldedoom

http://medusacrushrecordings.bandcamp.com/album/temple

http://stbrecords.bandcamp.com/album/olde-temple-2

http://oldedoom.bandcamp.com/album/temple


Xanthochroid “Of Erthe and Axen” Album Review + Video…

XANTHOCHROID 

Of Erthe and Axen – Act I (of 2) – CD // DD

Self Released – August 22nd, 2017

Reviewed by Ric “Suisyko” Dorr

 

 

Born:  January 2005

Location:

Lake Forest, California USA

Previous Releases:

“Blessed He With Boils” (2012)

“Incultus” (2014)

Disc I [Act I]
01. Open the Gates, O Forest Keeper
02. To Lost And Ancient Gardens
03. To Higher Climbs Where Few Might Stand
04. To Souls Distant And Dreaming
05. In Deep And Wooded Forests Of My Youth
06. The Sound Of Hunger Rise
07. The Sound Of A Glinting Blade
08. The Sound Which Has No Name

 

Review:
Listing influences from ALIEN ANT FARM to Opeth, Moonsorrow to Wintersun and even DIMMU BORGIR, this three piece has no compunction about letting you know that this is not your average ‘every-man’ style of music but geared more towards the intelligencia among us and have all of the tools in their possession to show you why. They are self-described as ‘an Epic Black-Metal band that strives to produce the most sophisticated and enthralling compositions’, further citing that Xanthochroid is ‘not for the casual listener, but for the true connoisseur who demands more depth, more detail, and more musicality than what is out there presently.’

Pro Band Pic

From the winding recesses of the mind of Sam Meador, the focus of the band came together through combining the desire to create moving stories with a love for pagan mythology into an ever evolving mythos, the music tells a story of a long power struggle between Thanos and Ereptor, two brothers who are heir to a deceased king fighting over the rightful kingship of the land of Septentria. This release and Part II (due Oct 17 2017) are being touted as a prequel to the two previous releases, further filling in the missing from the tales as woven to this point.

Xanthochroid offers up 8 tracks totaling 43 minutes and each is presented in the full cinematic method this trio has established to be their norm. Even the names of the individual tracks invoke a feeling of more than just another song title, from opener ‘Open The Gates O Forest Keeper’ which immediately popped Opeth in my brain, to ‘In Deep and Wooded Forests of My Youth’ that has all of the flourish of any black/folk song out there with the added panache of vocals that come out of the surrounding mists you can smell as the music flows across and underneath you. Operatic at times, multi-layered harmonies and instrumentation executed with bravado in precision-filled performances.

The last three tracks I would presume to be a three-part tome as each has a specific ‘Sound’ reference, ‘The Sound Of Hunger Rises’, ‘The Sound of a Glinting Blade’ and ‘The Sound Which Has No Name’, all strung together. Flowing one to the next and wrapping this with the darkest track musically, almost sounding as if Dany Filth himself had a hand in the writing.

The anticipation for Part II is already building and with this release, the scope widens even further! If you are not a fan yet, get this as a perfect starting point and if are already ‘aware’, continue the voyage adding this release to your library, share those that do not know and witness the spectacle LIVE if you are granted the chance… keep it LOUD!!

Pro Band Pic


Rex Brown “Smoke On This” Album Review + Music Video +Video Interview…

REX BROWN

Smoke On This… – Vinyl // CD // DD

Entertainment One – Released – July 28 2017

Reviewed by Ric “Suisyko” Dorr

Line Up:
Rex Brown / Lead vocals, Rhythm guitar , Bass
Christopher Williams / Drums
Lance Harvill / Guitar, collaboration
Peter Keyes / Piano

 

Review:

When I first heard about this record coming out, I had ZERO idea what to expect, what with Rex Brown’s extensive and prolific career that is right around 30+ years along and kickin’, could be anything, right?? Would it be the hyper-power of Pantera, or some countrified shredding like Rebel Meets Rebel with David Allen Coe?? Maybe the stoner grooving of Superjoint Ritual or even the ‘Pepper‘d tone of Down or possibly something closer to the progressive speed of Kill Devil Hill?? My mind was reeling as I hit ‘play’ for the first time on this album…

The familiar click of a Zippo lighter and I hear “Smoke on this…” before being greeted by a power-punch of guitar/bass and cymbal hit hard as opener ‘Lone Rider’ jumped out of my speakers in welcome thunder as Rex‘ voice took form hold with a tale of pure rock-n-roll introspection, complete with guitar solo intact. This is NOT metal as you may have been expecting and Rex himself has said he is not catering to the expectations of anyone, doesn’t give a fuck what anybody says as he is doing this for HIM and if anybody wants to ride along, get on.

‘Crossing Lines’ is a slower tempo’d excursion into how to “Give it all for nothing’ reminding you there is no one else to blame as this bluesy tale flows along with a complexity that is smooth as glass and there is no escaping how the crackling, crunchy voicing lace their fingers into yours as this guitar slinging legend re-introduces himself to you and opens his veins with each song, letting you look through his eyes to get another take on his life experience seasoned perspective in a way he has not offered before. ‘Buried Alive’ is the confessional Rex used, to give us the story of how he dealt with his own loss of Dimebag Darrell and is simply stellar from first note to last, where ‘Train Song’ lets Rex point out that “We all  get away underground, so, here we are, now find a way to calm down…” with a tone that lets you know he is not fucking around.

‘Get Yourself Alright’ is an outright pure stoner-feel romp where Rex asks directly, “What are you waiting for?” and will have you wondering the same thing with the multi-layered vocals spinning all around you, showing that the mastery being given in the purest form possible, is indeed just WHAT we have been waiting for, just as ‘What Comes Around’ is an even sharper tale from within the soul of honesty and reflection laced with enough emotion to get the point across clearly, just as ‘Best Of Me’ opens melancholy in feel as we hear of the “Shadows of myself beside me” and the chorus hits with power chords ringing, shifting back to the soft touch, even as a slide guitar rings echoes in the background as you are beckoned to ‘Stop… look round.”

Genre-blurring is something Rex has been doing his whole career and with this album, not only do we get to feel the bombastic, guitar driven swagger of rock-n-roll, but there is southern rock here as with ‘So Into You’ with the double Skynyrd-slide harmonies that make up the body of the backwall, and the surprising yet SO cool funk flavor of ‘Grace’ with it’s jangly 70’s sounding guitar line that is a great song in tones, composition and arrangement and the mix just WORKS on every level.

Standout track from this one for me, if I HAVE to pick one, would be ‘Fault Line’ in that Rex has said that he really ‘found’ his voice with this track and once he had it, he knew he could indeed step out front and made the rest just come together. The reach is well within his grasp and hopefully will lead to much more out of this man that so many of us have known of for so long.

In my opinion, he did what a true virtuoso does by metaphorically opening his veins to pour his very essence into these creations and this record is that deep and personal of a gift as he steps through so many doors to deliver on each track. Saying that his motto these days is to “Shake some shit up”, he has certainly delivered here and says this is about musical freedom and fun and puts forth that he’s got SO MUCH more in him and is quote “Just getting my feet wet” Enquote.

Find this ‘train’ and GET ONBOARD, drag all you know with you onto and witness it in a live setting if you get the chance… keep it LOUD!!

To quote him directly, “You’re only as good as your word, and your word better be good.”

Rex Brown Talks about “Smoke on This…”


Temple Of Void – Band Overview + Album Reviews + Music Video + Streaming Music…

Temple of Void 

Demo MXIII (May 13, 2013)  – Album Review – CD // Cassette // DD

Of Terror and the Supernatural (September 30, 2014) Album Review – Vinyl // CD // Cassette // DD

Lords of Death (May 1, 2017) Album Review – CD // DD

Reviewed by Terry “The Ancient One” Cuyler

Motor City’s Metal MonstersPro Band Shot

 

Line Up:
Alex Awn – Guitar
Eric Blanchard – Guitar
Mike Erdody – Vocals
Jason Pearce – Drums
Brent Satterly – Bass

Review:
Hey Metalheads, this The Ancient One, and this is my special shout out for fellow Michiganders Temple of Void from Detroit. In Michigan we have a roaring underground metal scene full of amazing bands people fail to notice. Failing to notice Temple of Void is mighty damn difficult. For more than a decade now they have been working the metal underground with their special blend of somber sounds from the early British doom and Devastating Old School American death metal. This has earned them a reputation and a large following in the underground.

 

Demo MMXIII_Album Cover

MMXIII

Not letting their acclaim go to waste Temple of Void took matters into their own hands by self  producing and releasing “Demo MMXIII” on May of 2013. Soon after the band signed on with four different record labels to distribute it across the world meeting with great success from the underground. This 20 minute 27 second Demo packs quite a punch. While it’s a 3 track offering which can be found on the bands debut album it serves as a preview of what is to come in “Of Terror and the Supernatural.” Of its 3 songs my favorite is ‘Bargain in Death’  a song I believe comes from a movie or short story about a person that tries to scam their life insurance by making people think he is dead through the use of a drug that put him in a deathlike state. Only to awaken buried alive and discover he was double crossed by his conspirators who have no intention of digging him up and sharing the loot. The 10:36 track expresses the mood of the song’s theme amazingly well. Beginning like a funeral procession with a somber plodding doom sludge riff that slows to a near stop before the tempo picks up into panicked horror while the vocalist describes what it might be like to try and dig oneself out of the grave and die buried alive.

 

Of Terror And The Supernatural_Album Cover

 
Of Terror and the Supernatural

A Little more than a year later the band released a 2nd album called “Of Terror and the Supernatural.” A 48 minutes; 8 songs of devastatingly kick ass Doomaphonic Sonic awesomeness that had me hooked after I sampled it’s first song ‘The Embalmers Art’ a demonic ditty about a murderous mortician that made art out of his victims. ‘Savage Howl’ the albums 2nd  track is a song about the terror of being hunted by a werewolf. Besides the fact I really dig the werewolf horror genre I love the heavy drums and guitar tones that create a seance of shock.

 

 

Lords of Death_Album Cover

Lords Of Death

If you enjoy these first two albums you will be happy to know ToV has released it’s 3rd album “Lords of Death” which is meeting with very favorable reviews from being called “A beastly band from the death-encrusted, doom-laden city of Detroit, MI” by Metal Sucks I’d say I agree with their assessment. “Lords of Death” is full of loud sludge and fuzz laden riffs with beastly growling vocals that feel slow until they get rolling like a tank. The best way I could describe this album is Cannibal Corpses meets Cathedral. This album is going quick so I’d recommend putting in your order as soon as you can.  Highly Recommend for the strong of heart!!

 


Ruff Majik “The Hare And The Hollow” Album Review + Stream…

RUFF MAJIK

The Hare And The Hollow – Limited Vinyl // DD

Self Released – released June 20, 2017

Reviewed by Ric “Suisyko” Dorr

 

Formed:
September 1, 2012

Location:
Pretoria, South Africa

Band Members:
Johni Holliday (Guitar/Vocals/Organ)
Jimi Glass (Bass)
Benni Manchino (Drums)

Previous Releases:
“The Bear” EP (Oct 2015)

“The Fox” EP (Sept 2016)

“Monarch Of The Hills” single (March 2017)

“The Real Swan” (March 2017)

“The Swan” EP (April 2017)

Review:
Three piece band with a penchant for recording LIVE in the studio and this release that is being touted as not an EP, but part one of a four part release and was recorded in one take per their notes on their bandcamp page. According to their bio, Ruff Majik “has been aggressively marketing their brand of super-stiff rock ‘n roll madness since early 2012. Now they have three EP’s under their belt, an album filled with out-takes from the sessions for this album, and a reputation for wild and aggressive live shows, and they’re coming your way – tie down everything you want to keep, the boys are bringing earthquakes with ’em.” An intriguing descriptor for certain and I had to dive deep in. With the previous recordings, there has always been that garage-sound that lent itself to the ‘live’ feel that these guys tout as their modus-operandi,  while keeping that bass-heavy groove they are known for intact.

Live Band Pic

Let me re-emphasize that these songs were recorded  live and in only one take, not stopping for a break between songs but rather charging on through as a means to keep the cohesion true and the feel as ‘real’ as possible. Opener ‘Harpy’ starts off with a staggered drum line, mid-tempo pace, the bass hits four measures in and then the distorted guitar reaches out and grabs your throat before the vocals come out front in classic RM fashion, sounding slightly distorted and still clear in delivery.

Using all of the twists, turns and time shifts of stoner rock/metal you could hope for, ending with that hyper-fuzzed bass line that slowly fades into the opening progression of ‘Gone Down In The Woods Today.’  This is a full throttle galloping track that hits as hard as any SABBATH track with the veracity of a cobra and is relentless in the pummeling heaviness of the arrangement. Still no pause between as closer ‘Breathing Ghosts’ is even faster than the other tracks during the first minute until the vocal hits, tempo shifts and guitar drenched chords leaving their juices running down your chin as you drink it all in to the very last note.

If this is the tone of the next three releases, then the wait will seem unbearable. An amazing jumping point in this next stage of the evolution of this trio, MAJOR leaps in mix and composition and the arrangements truly are stellar in advance over all previous releases and should absolutely signify the turning of the tide for this band. Add it to your ‘rotation’ immediately, make sure every person you know hears it and support them live if they come to your shores…this IS South Africa after all. And as always, keep it LOUD!!

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