Tracklist: God of the Sun (11:12)
Coming Home (4:23)
Signs of the Time (6:43)
Labyrinth (9:23)
Alive (5:06)
Lost in Oblivion (4:28)
Figaro’s Whore (1:04)
Divine Addiction (4:42)
Opus Maximus (10:39)
American Rock Supergroup featuring:
Mike Portnoy – Drums
Derek Sherinian – Keyboards
Ron “Bumblefoot” Thal – Guitar
Billy Sheehan – Bass
Jeff Scott Soto – Vocal
Former Dream Theater drummer Mike Portnoy is a man with many hats. Granted, most of those hats are as a drummer, he has many hats nonetheless. His latest project, yet another Progressive Metal Supergroup called the Sons of Apollo, may actually be his strongest. Sons of Apollo, comprised of Portnoy, fellow Ex-Dream Theater bandmate Derek Sherinian on Keyboards, former Guns N’ Roses guitarist Ron “Bumblefoot” Thal, Mr. Big Bassist Billy Sheehan, and Trans-Siberian Orchestra vocalist Jeff Scott Soto.
Psychotic Symphony is essentially exactly what you would expect from a Portnoy excursion – it’s essentially a Dream Theater album with a harder edge. That’s not a bad thing, however. As long as you like this very distinct and often-imitated sound, you will be very pleased with this album. Solos galore, plenty of irregular time signatures, and top-notch musicianship abound.
As a slightly lesser-known name in the music business, one would expect Jeff Scott Soto to be something of a weak link in the band, but that is simply not true. Soto has a very muscular baritone that does the music plenty of justice and he is a welcome addition to the band. During the Sons of Apollo’s formative year, they sampled quite a few vocalists, such as Strapping Young Lad Virtuoso Devin Townsend and King’s X wailer Doug Pinnick, and Soto just happened to be the one to stick around.
The Production on this album is notable, being performed by band members Portnoy and Sherinian. The mix is very, very bassy, with a lot of priority being given to lower tones over higher ones. The bass is very audible and few keyboard lines go to very high pitches. Even the guitar is tuned as a baritone guitar, all the way down to B Standard tuning for any guitar players reading this. This grants the entire album significant edge and weight, allowing for a heavy groove in nearly every song. However, such a priority on lower sounds can occasionally result in the songs sounding muddled, especially in faster songs like the blistering “Lost in Oblivion”.
As usual with Progressive Metal, the longer tracks are easily the highlight — in this case, “God of the Sun” and the Instrumental “Opus Maximus”, but this whole album is a recommended listen for any and all fans of Progressive Metal. If musical self-indulgence and sheer showcases of talent is a turnoff for you, then this probably earns a skip, but if those things instead pique your interest, then you’ve probably already bought this album. Otherwise, go pick up Sons of Apollo’s “Psychotic Symphony”.
Tracklist: Follow The Holy Riff 06:44
Hobo Magic 06:48
The Poet 04:32
The World Today 06:28
Frostbite 07:40
Lady Of The Groove 09:27
Review:
Hobo Magic are Stoner Rock band from Noosa, Australia.
But classifying them as just stoner wouldn’t give you a true description of what you are going to hear. The band use their influences of Black Sabbath, Blues, some Jazz rhythms and at some points even Metal.
Track-By-Track Breakdown:
This whole album is very similar and in the sonic universe of Sabbath’s Paranoid and Master of Reality era. As you listen along you will hear it too. They stay very much in the time period and sounds that can be produced in that time.
Follow The Holy Riff Which should be subtitled “Children of the Groove”, is a groovy tune. Most of the song is spent on keeping an almost sludgy repeating riff (which might be the holy riff) with breaks in between of a melodic reverbed guitar and great slow solo. The time scale shifts continually but they never sound like they are interrupting the flow of the jam.
Hobo Magic This song is less “intense” than the last. It starts of sludgy but slowly picks up pace and becomes faster. It isn’t a heavy but still has a repeating riff and it revs up and up until the ending much like the guitar began at the start of the song. After 1:50 the jamming starts now that the almost warm up sounding beginning.
The Poet The Poet starts off very strangely in contrast to the previous two songs; there is no distortion. This song is more of a melancholy tune, there is just a slow revered riff with slow and vocals that are a little distorted making the song feel cold.
The World Today The title track is a shift from the previous and is back to the norm that the first two tracks set us up for. It is also the most Sabbath sounding sound, the shouted high(er) pitched vocals, more of a jam song with little bits of vocals. Ask a simple question… About the world today. This track straight rips!!
Frostbite This song is more like the first one; the tempo/timescale change quite a bit, and is a repeated bit with subtle changes. It even has moments that sound close to The Poet. The vocals are processed in a similar way. The song is almost eight minutes and feels like it. Kind of slow, like frostbite.
Lady Of The Groove (Favorite) This song is a LOT like “Children of the Grave” (I’m pretty sure they meant it to as well.) The song also works as a way to remind and wrap up all the previous motifs that were in the past few songs. This is a great way to wrap up the album for just that reason.
In a way they are like a band named Magma. Hobo Magic are sticking to the mythos that they have created; all about the groove, the story of the lady finding and jamming to the groove, even their Facebook is curated in a way to complement the mythos just look at their About Us page.
Like I mentioned before, Hobo Magic are descendants from that 1970-1 period of Black Sabbath and they work really well in changing it into their own thing, different riffs, story, and singing. If you are a fan of Sabbath‘s 2nd and 3rd albums then you will definitely DIG this album.
Rise Above Records – (Re-Release / Remastered) October 13, 2017
Reviewed by Terry “The Ancient One” Cuyler
Dancing in the Witches Garden
Hello Tasters today I’m gonna serve up some tasty music from a band called Uncle Acid & The deadbeats. Formed in Cambridge England in 2009 by Kevin Starrs, Uncle Acid & The deadbeats was originally: Mastermind & Frontman Kevin Starrs, on vocals and guitars, Kat on Bass, and Red on Drums. While Uncle Acid & The deadbeats transformed from a power trio into a quartet after Kat and Red left. It was with then that Uncle Acid & The deadbeats established it’s signature sound using elements of acid rock, British pop, and metal, with themes on occult, horror, drugs, murder and mayhem.
For those who are unfamiliar with them, until October this year a search on Amazon and iTunes would have only turned up Uncle Acid & The Deadbeats’ 2nd, 3rd, and 4th albums on CD and MP3 . Though it would be released as a limited edition vinyl in 2014 The album Vol. 1 was initially used like a demo. Marketed directly to the fans on MySpace & YouTube with a limited release of 30 albums on CD-R Vol.1 helped the band purchase better recording equipment for their 2nd self produced and recorded album Blood Lust. Which after a limited release of 100 on CD-R was picked up by Rise Above Records in 2011 and re-released introducing Uncle Acid’s signature sound to a wider audience.
While I can find no fault with Uncle Acids decision to initially only release Vol. 1 on vinyl, it was on the pricey side. Those who wanted to listen to it had to seek it out on YouTube and burn a copy from a friends album if they didn’t want to buy it on vinyl. Now that Vol. 1 has been reissued on CD, Vinyl, and MP3 fans can throw away and delete their bootleg copies and get the real deal. Although Blood Lust was the album that got myself and many other fans into Uncle Acid & The Deadbeats it all started with Vol.1.
What I enjoyed most about Vol. 1 is knowing that although it had to be done on a limited budget, Uncle Acid & The deadbeats still managed to create an auditory work of art. Opening with “Crystal Spiders,” I was immediately sucked into the album and still find myself having to fight the urge to dance around like a hippie on LSD when I listen to Vol. 1 in public. I like all of the songs on Vol. 1 but some of the best are “Witches Garden” and “Lonely And Strange.” Both tracks are sort of has The Doors does metal feel with some creepy electric organ and the latter having some stellar electric and acoustic guitar work by Kevin Starrs that boarders on the divine.
Then once again we get to listen to that amazing electric guitar and electric organ in “Vampire Circus.” “Do What Your Love Tells You” the album’s 6th track has just got some gnarly fuzzed out psychedelic riffs. Closing the album out is the creepy song ‘Wind Up Toys.” For those who intend to buy this album on vinyl if you get the band’s special edition it will include the bonus track of Uncle Acid’s cover of the Kinks song “Wicked Annabella”.
Lineup:
Frank Attard: Drums, percussion, Clavinet, synth, meandering chaos
Paul Attard: Guitars, bass, synth, banjo-mandolin, piano, organ, complications
Dave Schembri: Vocals, harmonica, mellow vibes
Matthew Slager: Lead guitar on ‘Never Fail’
Tracklist:
Wrecker’s Reunion Ball (5:00)
Lost Planet Airmen (4:34)
Bean Stalkin’ (0:28)
Thought It Best To Cut You Loose (5:33)
Soap Bar Pick-Up Joint (3:41)
The Stalwarts of Saltwort Castle (9:31)
The Working Mind of the Creator (3:44)
Woodhollow Green (12:55)
Bean Stalkin’ Again (0:56)
Never Fail (4:13)
Bigger Than Fear (5:44)
On Lunar Highlands (8:35)
The Heavy Hand Of The Destroyer (4:14)
Review: Sludge Metal can go in any one of many directions, and one of the most interesting just may be the original: The variety of Sludge both invented and perfected by Black Sabbath. That particular brand of Sludge Metal is heavily Blues-influenced and totally unafraid to incorporate highly experimental elements like irregular time signatures, tempo changes, and long complicated instrumental sections in a manner that is almost progressive. This style of music has existed since the late 70s and one of its latest disciples is Australia’s Mother Mars, and they exemplify it fantastically in their newest release, On Lunar Highlands.
As a listener will easily pick up on while making their way through the album, Mother Mars makes no attempt to pigeonhole themselves. They open with some sludgey goodness on “Wrecker’s Reunion Ball”, but they weave their way through several different styles like early-era Queens of the Stone Age-style desert rock on “Lost Planet Airmen” Psychedelic Folk on several songs, most prevalent in the interlude “Bean Stalkin’” and its brother-in-arms “Bean Stalkin’ Again”, and expertly execute a song that sounds like a long-lost B-side from Black Sabbath’s Paranoid in album high point “The Stalwarts of Saltwort Castle” (stream below).
While Mother Mars is an extremely skilled band, they really show their true talent when their songs are heavier and longer. When Mother Mars give themselves room to breathe, their songs gain an organic energy that is nearly second to none, especially when they decide to allow themselves what is a particularly decadent instrumental section full of guitar solos, bass riffs, and plenty of interplay between the band’s members.
Additionally, there are only 3 members of Mother Mars, though you’d never guess it from listening to them. These Heavy Space Rockers are incredibly adept at filling a space with as much noise as it needs to sound full and heavy without making it sound unnecessarily chaotic. It is chaotic, to be fair, but as Mother Mars proves, chaos is not always directionless. As the band simulates what can only be described as the sonic equivalent of a Solar Storm, they always make sure to include a clearly understandable sense of direction, as the songs always make sense, as a band full of gentlemen this talented should. If you are interested in Bluesy, Spacey, Sonic-adventurous Sludge Metal, and you have 70 minutes to kill, look no further than Mother Mars’ “On Lunar Highlands”. It is skillful, it is eclectic, and most importantly: it is heavy.
Electric Orange is:
Dirk Jan Müller
Tom Rückwald
Georg Monheim
Dirk Bittner
Tracklist: CD #1
Continuum (22:59)
Under The Nun (16:01)
Gnosis (20:02)
CD #2
Misophonia IV (20:05)
Misophonia V (16:36)
Faint (22:01)
Residuum (16:51)
Review:
There’s an old adage that insists that patience is a virtue. Such a sentiment can seem laughable – after all, isn’t instant gratification almost always preferable? However, every now and then, that adage proves itself true: retaining one’s sanity whilst waiting in line at the secretary of state, not crumbling under the pressure of waiting to hear the results of a medical test, and most recently reaping the rewards of listening to an album like Electric Orange’s EOXXV.
Review: If the above paragraph didn’t make it clear enough, EOXXV is a tough nut to crack! It is a 135-minute leviathan of relentless sonic experimentation, and such a beast could very easily prove insurmountable to the common listener. Many may find it meandering or even aimless, but those with a tremendous degree of musical patience will eventually come to a metaphorical clearing….one where everything opens up and even almost makes sense.
This is obviously not a very concise experience, but it is without question a fulfilling one. There is a point that one reaches when listening to this album at which the listener and the album achieve a sense of spiritual resonance and the listener enters a groove when you finally reach the point that you not only enjoy the music, but you are prepared to hear more: I reached this point during the gargantuan two-parter of “Misophonia IV” and “Misophonia V”.
It would be an out-and-out lie to say this release is for everyone though. I cannot recommend this album to listeners looking for an emotional experience – this is more an album of vibes and atmosphere than one of emotional release. This album simply doesn’t trifle very much in the realm of emotional release or scenarios one can relate to. That said, this is my experience. You may have a completely different experience as this is the beauty of MUSIC…..Right?? With 25 years of blowing minds under their belt, Electric Orange once again serves up a platter of Sonic Sensations that transcend words.
Human nature seems foreign in the land of EOXXV. It is a totally alien experience, one that can’t be felt or heard anywhere else. To put it simply, if Michael Gira’s equally experimental work with Swans is the soundtrack to an indie horror film taking place in a cabin in the forest of the Pacific Northwest, than the catalog of Electric Orange is the soundtrack to a Science Fiction film taking place onboard an otherwise uninhabited space station, on which the only life forms are you and a hostile extraterrestrial.
It is expansive, yet isolated. You feel alone, yet somehow watched. Most importantly, you feel paranoid and perhaps even frightened, but you inexplicably want to continue. Maybe it’s out of curiosity, maybe it’s just longing for a sense of completion, but this bizarre and unique experience just begs to be finished, and you are more than happy to do so. Just make sure you are equipped with a preparedness to experience something new and plenty of patience. Here’s to 25 years Electric Orange!!
Review: Psy:Code is a Danish modern hardcore / deathcore act who recently signed to Pavement Entertainment. Mørke is their 3rd independent release that’s created a stir of interest just before their recent signing. According to their website, it’s been a dream of Psy:Code’s to go to America and play their music and between signing with an American label and the scene’s current fascination with deathcore and grind core, the timing couldn’t be better for Psy:Code to realize their aspirations.
Starting with the cover, I’m not exactly sure what they’re going for with this one. The plant and the head and the skull… no clue. I was hoping translating the album title would shed some light on this. Ironically, Mørke is Danish for darkness. I guess that’s where I’m going to stay on this one for now. Maybe one of my readers can explain it to me? I love symbolism when I’m smart enough to get the reference.
Musically, this album starts with some slow guitars, slightly off-tune guitars for a few seconds before going hard and heavy. Schou growl-screams his way through the album Anselmo-style; though there are some periodical clean backing vocals for effect. How original that is? Well… I’d tend to say not very.
Where I think Psy:Code is going to garner most of their fans is from the technical guitar work from SteiN and/or JezpR. To be honest, there’s not much indication who’s playing the lead here so it could be one or the other or both. While the capitalization seems random the song structure tends to be more technical and progressive. This is an area where my expertise is extremely limited, though I can say that the guitar has six strings… except when it doesn’t.
Interestingly, to write and compose Mørke, Psy:Code recluded themselves to a cabin in the Swedish wilderness. If the story in their Riven video is truth, the plan was to make some awesome metal. Instead, they got drunk. I can’t say how many times this has happened to me. Not the part about the Swedish cabin or the part about making awesome metal… just the getting drunk part. Perhaps you can relate? Anyway, what came out doesn’t appear to be the work of drunken fools so I assume they were just kidding. That or I need to start writing shit down when I have a few beers in me. I can hardly operate a pen sober… so maybe not?
Lyrically speaking, I’m not sure what they’re singing. I scoured the internet for lyrics but the best I could find was a lyric video for Riven. They seem to like this song, as this is 2nd video I could find for it. Riven seems to be about being scarred by a vicious former lover or perhaps an over-bearing parent. I’m a little confused but the recurring line “I can’t receive”. I don’t know how this ties into the rest of the words.
In conclusion, Psy:Code is a hard hitting band and Mørke is a hard hitting album that’s going to appeal to those who enjoy a more technical sound. I believe some will criticize it for lacking variety, which might be a legitimate concern for those who like me who can’t follow the progression. In this case, I think you either get it or you don’t. Check them out and see what you think.
Mercy…Dancing for the Death of an Imaginary Enemy – CD // DD
American Recordings – released April 15, 2008
Reviewed by Zachary “+Norway+” Turner
Lineup for Mercy…Dancing…: Jimmy Gnecco – Vocals, Electric Guitars, Bass, Drum outro, Percussion
Static – Space Guitar, Loops
Locke – Electric Guitar in instrumental, Piano, Keyboard
Anthony DeMarco – Piano
Michael Jerome – Drums, Percussion
Previous Releases: 1994 Demo “Sour”
2001 “Distorted Lullabies”
2002 “Precious”
2008 “Mercy…Dancing for the Death of an Imaginary Enemy”
2013 “Ballet the Boxer 1”
2017 ***upcoming “Spectacular Sight”
Tracklist: “Mercy” 6:41
“The Worst Things Beautiful” 4:21
“Ran Away to Tell the World” 5:00
“Black” 4:51
“Moth” 4:34
“Murder” 5:35
“God Only Wants You” 4:23
“Live Again” 4:27
“Willing” 4:41
“Saint” 5:06
“Lost” 5:18
“Get Up” 4:50
Video of Title Track “Mercy”
The Band: Ours is an Alternative Rock band from New Jersey.
Album Art: “Ghost Girl” was made by James Gnecco IV.
Review: In 2004, Ours relocated from New Jersey to Los Angeles to work with Producer / Engineer Rick Rubin. The resulting album, Dancing for the Death of an Imaginary Enemy was released on April 15, 2008. If you are not familiar with Mr. Rubin, he is one of the most famous producers of modern music. He has produced music from genres like: Hip Hop, Rock, Heavy Metal and even Country.
Musically this album is very similar to the other music from the late 90’s and early 2000’s like heavy hitters like H.I.M., U2, Sixx A.M., and at some points have a Muse flair. Some more accurate (meaning more recent) comparisons are 10 years and Evans Blue. There is a heaviness in the music but not enough to change the genre from Rock to Metal.
This album is a family affair, in between the album art, the singing (track 12) and the lyrics themselves are focused on Jimmy’s family. It is also a heavy album because of the emotion that is delivered through the singing and with some string arrangements that are present, but not overpowering. Ours’ “Mercy…Dancing for the Death of an Imaginary Enemy” could be considered a sulky emo record; while it is a more downtempo album, it isn’t wallowing in its own sadness. It is just poppy enough to be played on the radio and even in some TV shows like NCIS and CSI.
While looking around for info on this album I found that there is hardly any reviews, so in turn, not much open love for it by “The Powers….”. This is a really solid album that (if you like any of the bands above) you should take a listen to. Ours mix their first two albums together perfectly; the great production that was used in their first album, and a rough (while still polished) vocals. The personal lyrics from all of the band’s releases are fueled by meaningful, personal and often times heavy in weight that only frontman Jimmy can deliver.
There isn’t a dull song in the album (and after 20 months) that shows how good Ours are as musicians, as well as arrangers. If I were to choose a favorite track, it would be the title track. It is one of the most powerful vocal performances by Jimmy Gnecco; along with “Live Again”. Give “Mercy…Dancing…” a listen as I cannot recommend
Review: When people think of magic, many put it in the realm of superstition, or think of illusionist. I think of music!!! Just like the moon affects the tides, music has a strange power that affects our minds. Stating on their Facebook and Bandcamp pages “Channeling the frustration of a modern world, through mighty sounds of our crying Earth we’re reborn in the arms of the Moon Mother.” It seems Moon Mother is well aware of this fact.
Hailing from the the Western Woods of Sweden, Moon Mother seemed to appear out of nowhere with their 2016 “Moon Mother Demo” followed by their 2017 “Riffcraft” EP. Like many newcomers Moon Mother has experienced some difficulties getting their band off the ground as they are in need of a permanent bassist. Thankfully Monolord’s Thomas V Jäger doesn’t like to see talent wasted, and has lent his bass playing skills to Moon Mother’sVocalist Sara Trollpacka, Guitarist Pat Ahlström, and Drummer Jesper Wallin have managed to give listeners two solid releases. Thomas V Jäger also Produced and Engineered both of Moon Mother’s releases. The band is smart to associate themselves with other great musicians as they build and grow their fanbase.
I had the joy of speaking with Frontwoman Sara to find more information about this great up and coming band. In a private conversation, Sara of Moon Mother stated, “I would say we are influenced by all music that reaches us and everyone has different taste when it comes to it. But if I would name one band that woke up the moon mama I would say everyone’s favorite swing band Black Sabbath. I think it was the swing combined with melancholy big sounds that started everything.”
In a follow up statement Sara added: “Hi again! I just wanted to make sure I got your question right yesterday I was in a hurry and have been overthinking it so I better get it off my chest. If you meant other bands that has influenced us my answer is correct Black Sabbath haha but if you meant musically overall I would also wanna say that all blues from delta to rock n roll are a big influence too. Hope it’s okay haha.” ~Sara. Two statements that I believe says quite a lot about Moon Mother’s sound.
In both the “Demo” and “Riffcraft” the names Moon Mother’s statement explained why names like Black Sabbath, Jimi Hendrix, CCR, John Lee Hooker, and a dash of Jefferson Airplane have all been influences that help shape their sound. What I enjoy most about the music on both releases is the dark psychedelic, blues rock sound. It sort of makes me feel like I am watching them live.
In Riffcraft, Sara Trollpacka’s brassy alto vocals, Pat Ahlström dark guitar leads, Jesper Wallin steady drum beats along with Thomas V Jäger giant bass remind me of a dirge, like in the song “Vast Blues”. Beginning with a bass groove reminiscent of Black Sabbath’s “NIB”the song “Black Hole Demons” is full of monster bass and really takes off with Pat Ahlström’s wicked guitar solo. “Mountain Of Lies” has a 60’s psychedelic sound. My favorite is the closing song ‘The Wizards Of Earth I love that swinging sound with Jesper Wallin’s drums and how Pat Ahlström has cranked the mids up on his guitar near the end of the song giving it that tinny sound.
If your looking for some truly epic underground psychedelic stoner doom I highly recommend you give Moon Mother’s Riffcraft EP and their Moon Mother Demo a listen. They will Put A Spell On You. The band is also looking for a permanent bass player so if you know what your doing with a bass send them a message on Facebook. It will be of great benefit to live in Sweden when Team Moon Mother reside!!
Lineup:
Bass: Chris Cappiello
Drums: Kevin Flynn
Vocals: Ed Grabianowski
Guitar: Richard Root
Tracklist:
Five Days in a Hole (5:34)
That Witch Rises (6:56)
Livewire (4:11)
Warlike Prelude (1:16)
Warlike (6:15)
Hollow Moon (4:11)
The Old Road (3:09)
Black Sword (4:28)
Review: Monster Magnet is a band whose far-reaching influence on the world of Rock music is not always properly appreciated. Without them, such Hard Rock giants such as Queens of the Stone Age and Eagles of Death Metal may have never seen the light of day, and yet Monster Magnet has never become the household name that they probably should be. After all, the school of Monster Magnet is a deceptively large one, and an excellent recent graduate of that school has recently surfaced with the name of Spacelord.
There are Monster Magnet followers of two basic varieties: Desert Rockers a laQueens of the Stone Age, Brant Bjork and Kyuss; and Stoner/Sludge Metallers a laSoundgarden and Red Fang. Spacelord straddles this line a bit, but tends to adhere a bit more to the Stoner Metal side of things. As a matter of fact, Spacelord’s self-titled debut is quite reminiscent of the early days, sounding like they’d be right at home among the track-list of Louder than Love, especially tracks like the 6-minute sludgey atom bomb “Warlike”, which opens with lots of reverb and closes with sinewy guitar lines that Soundgarden’s Kim Thayil would be proud of.
Spacelord is first and foremost a very genuine affair. There’s nothing absolutely perfect here. It is perfect in its imperfection. That’s not to say the music is bad – in fact, it’s very much the opposite – But a huge amount of personality is found in those little moments where a backing vocal is a little flat, or a guitar comes in the tiniest bit late. This is not a tightly-composed Progressive Rock opus, and it shouldn’t be. This is an intentionally organic album. The performance here is not done by robots programmed to hit every note with surgical precision, it is done by humans – real living humans, and the interplay and charm associated with such a work breaths through this album impeccably.
Spacelord is the album that it needs to be and not an iota less. With their very first record, Spacelord has asserted a very real identity for themselves. It is one that regales you with the feeling of the early 90’s, when Stoner Metal was at its absolute finest. It gives you hope for another golden era that Monster Magnet and Kyuss would likely welcome with open arms.
Previous Releases: A two track E.P. from 2015 “Deaf Radio”, containing; “Down On Her Knees” & “No Hay Banda”
Tracklist: Aggravation 03:25
Backseats 05:06
Vultures & Killers 04:11
Anytime 05:03
Flowerhead 04:32
Revolving Doors 04:32
Trapped 03:01
Oceanic Feeling 04:23
…And We Just Pressed The Alarm Button 06:05
Review:
Deaf Radio are a Post-Punk/Alternative/Hard Rock band from Athens, Greece. On their Bandcamp they describe themselves as “a rock quartet inspired by the independent rock music scene.”
Track-by-track Breakdown:
Aggravation – This track launches us into what we will hear on and off for the rest of this of this album. Rockin’ riffs and lyrics that sound like they are from the late 90’s revival of Punk music.
Backseats – This song starts of slow with a repetitive strumming and builds up with quick little riffs interspersed between the delivery of lyrics. In the final two minutes it introduces some screaming in the background making the song harsh. It reminds me of a We Are Harlot song that I cannot remember the name of.
Vultures & Killers – Here we get another change where their Post-Punk influences come out again and we hear a mid tempo beat with some almost falsetto vocals.
Anytime – (Don’t get too mad at this analogy but) this is their Lana Del Rey song minus the orchestra. It is a slow drug filled atmospheric falsetto vocals (like the last track) until the last minute and the music picks up speed and returns back to the Hard Rock that we have heard so far.
Flowerhead – This song is a lot like Vultures & Killers, almost like it is a continuation or sequel to it. They are structure similar and the vocals are sung in the same way. The exception is this one is heavier on the bass and heart monitor beeping in between bass notes.
Revolving Doors – Here we return to a style close to Aggravation, which reminds me of some of Rise Against’s music. A repeating structure with it being changed in the last minute or two.
Trapped – This song reminds me of a mix of Bush and Muse types of playing and singing. The guitar almost sounds surf like with it’s reverb. The tempo and rhythm change a bunch in this song the music goes back and forth between the types we have heard in the songs before it but it isn’t disorienting.
Oceanic Feeling – This song begins with a simple drum pattern that changes to signal the reverb guitar and bass to kick in. We return to backseats but a slower version of it.
…And We Just Pressed The Alarm Button (Favorite track) – Here we return to the Bush/Muse mix.
The band reminds me stylistically of early Rise Against and Queens of the Stone Age with a good mix of 90’s Hard Rock with Punk influences. Panos reminds me of a mix of the two singers as well. The main guitar reminds me of music that I used to listen to a lot but I cannot pinpoint from what. The bass is one of my favorite parts of the music, especially when it is alone, Antonis just goes at it without it going on too long, making me want more.
This album is good for playing in your car (on the verge of too loud) on your way to work or wherever (which is how I’ve listened to it). It is heavy but not too heavy to add to road rage and is chill enough to kind of zone out and relax to. In essence, Deaf Radio have given us a 1-Stop-Shop with “Alarm”. This band has a very bright future!! Highly Recommend!!
