Earth Drive “Stellar Drone” Album Review + Stream…

Earth Drive

Stellar Drone – CD // DD

Raging Planet – released June 10, 2017 (DD) & October 20, 2017 (CD)

Reviewed by Zachary “+Norway+” Turner

 

 

Lineup:
Hermano Marques – Vocals and guitar
Luis Silva – Bass
Luis Eustáquio – Drums
Sara Antunes – Vocals

 

Previous Releases:
2014 Known by the Ancients
2015 Planet Mantra

 

Tracklist:
Lactomeda 01:49
Known by the Ancients 07:01
Dead Blood for the Royal Weather 07:14
Two Temple Place 09:36
Stellar Drone 10:59
Are we Drowning in Digits 06:13
Magical Train 05:07

 

 

Review:
The band have their album described as an “Addictive cosmic journey, one entrancing hybrid embracing heavy psych riffs and sweet vocal harmonies.” The album does have those elements of that. When Hermano is singing it sounds like Jane’s Addiction but heavier and more distortion on the voice. The parts when Sara takes over it sounds like either Belly or Hole. When they sing together it sounds almost new, but still has those influences. So in shorter terms; they gave their album a good description.

Track-by-Track:

Lactomeda – Is a Spanish term for the Milky Way Collision with Andromeda. The cover even seems to be depicting it. The song is a collision of Noise Rock and Space Rock. It is almost sludgy for a noise song but in pace but it is also fast for a space song. It is a good intro for what the rest of the album holds.

Known by the Ancients – Here is where the Jane’s Addiction comes in (Especially in the 3 minute area). This song is more of noise than of space origin. This is a heavy rock song, Hermano comes in at the last two minutes and makes the song seem even heavier.

Dead Blood for the Royal Weather – This is one of the more radio friendly songs, even though it is eight minutes. It plays it safe and doesn’t do anything too crazy. It stays on the cusp of being space and noise.

Two Temple Place – This is the first true Space Rock sounding sounds and as it moves along it introduces some of the harmonies the description on bandcamp mentions. It is a slow song with slow vocals with stretched out chords with reverb and drum fill. That is until the 3 minute mark; more drums and distortion to the guitar is added and everything gets slightly faster. At around the four minute mark the tempo changes again and is like Known by the Ancients.

Stellar Drone (Favorite track) – This track is more spacey than the previous track but it is also faster and more distorted and changes tempo a few more times.

Are we Drowning in Digits – This song is almost like a continuation of Two Temple Place. It sounds very similar but has more “Normal” Rock influences.

Magical Train – This is the most radio friendly track and could have been released as a single to promote the album. It is also the song that reminds my the most of Hole (the first album.) Sara really goes in on this track and gives a great performance. It is like the previous track but stays on the heavy rock side of music.

Pro Band Pic

Review (Continued):
Musically, Earth Drive are bringing back the 90’s Noise Rock and helping to bring back Space Rock (in the more expansive tracks). During the mostly instrumental parts it sounds almost like a soundtrack to a late 80’s sci-fi movie. In some ways it sounds like it is two separate ideas for an album that were pieced together but it is done well so it doesn’t sound too different. To paraphrase the TV Series “Stranger Things” – ‘The Upside Down'”.

This is a very easy first listen and is also very accessible because the stretches of odyssey are in between more pop/rock radio-ish oriented tracks. If you have any interest in Space Rock or a modern take on it with influences with 90’s Noise Rock, you should take a listen.

 There are two choices either from the Raging Planet (For a physical and/or digital) Bandcamp HERE or the band’s HERE !!! (Where you can get the full digital discography)

Links:
https://www.facebook.com/pg/earthdrivesound/about/?ref=page_internal

Album Promo


Octopussy “Dwarfs and Giants” Album Review + Stream…

OCTOPUSSY

Dwarfs and Giants – CD // Digital Download

Independent: Released – Nov 10th, 2017

Reviewed by Mike Hackenschmidt

 

Line Up:
Jan Babiński – vocals
Konrad Ciesielski – drums
Piotr Danielewicz – guitars
Michał Banasik – guitars
Marcin Bąkowski – bass guitar
Michał Koziorowski – keys

 

 

Review:

Ring ring… Ring ring…

(Man on receiver) – Hi! You’ve reached Octopussy. How can we help you?

(Caller) Hi this is the late 60’s and early 70’s! Who am I speaking with? We want our sound back.

(Octopussy) – Well you certainly called the right people. Where should we start?

(60’s/70’s) – How about some funky, bass driven rock?

(Octopussy) – Can do

(60’s/70’s) – Hendrix inspired guitar work?

(Octopussy) – Check

(60’s/70’s) – Disco vocals?!?

(Octopussy) – uhhhh… let’s keep that to one track…

(60’s/70’s) – I was only kidding on that one.

(Octopussy) – Well too late. You’re getting it. It fits with the funk track anyway. We’ll stick to a more bluesy, psychedelic groove for the rest of the album. Maybe a splash of southern rock but not too much.  Sound okay for ya?

 

Band Pic

 

(60’s/70’s) – So how about the vocals on the remaining tracks?

(Octopussy) – We’re going with a mix of smooth melodic, and raspy blues… plus some heavily distorted screams and speech.

(60’s/70’s) – Uhh.. screams?

(Octopussy) – Don’t worry about it. We’ll make sure it works within the context of the album.

(60’s/70’s) – In that case, we demand a ballad.

(Octopussy) – Sure. But it’s going to be trippy as fuck and really short.

(60’s/70’s) – I feel you don’t much like compromise.

(Octopussy) – Not at all

(60’s/70’s) – Great. I can’t wait to hear it.

(Reader) – Me too.

Uhhhhhhhhhh…. OK then. Links are below:

https://octopussyband.bandcamp.com/

https://www.facebook.com/octopl/


Sumokem “The Guardian of Yosemite” Album Review + Stream + Vinyl Release…

Sumokem

The Guardian of Yosemite – CD // DD (released October 6, 2017)

Cursed Tongue Records – Limited Vinyl (100) // TP Edition Vinyl w/ 7″ (20)

// Jet Black Vinyl (200)

Reviewed by Eric Layhe

 

 

Tracklist:
Attack of the Mammoth (7:52)
Warning (6:44)
War Pipe / Rite of the Calumet (7:38)
Ogama (8:43)
Tisayac (9:34)
Mescalito/Meeting of the Half Moon (7:02)
Nantucket (10:05)
Emerald [digital-only bonus track] (4:05)

Band Members:
Present:
Jacob Sawrie – Vox/Rhythm
Drew Skarda – Percussion
Tyler Weaver – Lead
Dustin Weddle – Bass

Past:
Josh Ingram (RIP) – Lead
Alan Wells – Bass

 

 

To say the least, 2017 has been a huge year for heavy music. The year has granted us several new releases, most notably Mastodon’s Emperor of Sand. However, the music world often functions like archaeology – The deeper you dig, the more treasures you will find such as the gargantuan slab of Doom that is Sumokem’s “The Guardian of Yosemite”.

When I say gargantuan, I mean it. Each tune on this release is not only long, but feels like it has been custom-tailored to be as gigantic as possible, from the performance to the production to the composition. Every riff hits like a Warhammer to the temple and it wouldn’t feel right any other way. Each member is extremely in tune with one another and they really feel like a single living and breathing organism.

Sumokem’s Special Vinyl Release Date – Friday, January 12th, 2018

Limited Red_Gold_Wax_100

http://cursedtonguerecords.bigcartel.com/product/sumokem-the-guardian-of-yosemite-2lp-ltd-blood-gold-edition

Special credit, though, goes to their lead guitarist. Every member is excellent at their instrument, but the guitar goes above and beyond to ensure that each and every solo is searing and quick, keeping the listener’s attention while still progressing the song further and further down into heavier and heavier territory as the album goes on.

It’s unbelievable just how heavy this album can be. It opens like a freight train, but by the time the epic-length dirge and album high point “Nantucket” begins, you can only be floored by how well Sumokem brings music back to its primordial roots. There is no feeling greater than finding a band that is both classic and novel – one that both pushes the boundaries of music while reminding us why we love it in the first place, and with its ultra-heavy prehistoric jams, Sumokem’s “The Guardian of Yosemite” has given us just that.

Band Pic


Container “Mountains of Gaia” Album Review + Stream…

 

CONTAINER

Mountains of Gaia – Limited Edition 12” Vinyl // Digital Download 

Independent: Released – March 26, 2017

Reviewed by Mike Hackenschmidt

 

Line Up:
Daan – vocals
Boudewijn – bass
Rutger – guitar
Erwin – drums

Location:
Utrecht, The Netherlands

Review:
One might expect and album that opens with a piano excerpt from “Entry of the Gladiators”, more commonly known as the song they play at the circus as the clowns pile out of their tiny car and climb on their unicycles to juggle bowling pins, or break into a tumbling routine or whatever else clowns do… well you might expect an album that opens with this to be a bit of a joke.

 

 

But you’re not quite right. While Mountains of Gaia does have its fun moments, most are relegated to the opening track which is appropriately named “Circus”. Once the piano fades behind the percussion, the bass takes over, carrying the tune while distorted screams point us in a different direction. Thankfully, the screams give way to more melodic, though still filtered, singing. Really, this is where the lightheartedness goes out the window and we begin a musical adventure.

“Backstabber” takes us to a completely different locale of Container’s sound with a little 70’s Black Sabbath worship and an edge all their own. It’s a bit stoner and a bit “garage”, as they put it. It’s clear listening to the band that this was recorded in a studio, but I still think garage is a very apt term to describe a certain rawness or lack of refinement in Container’s style.

 

Band Pic

 

“Challenger” is an 8 minute, long, slow piece that musically reminds me of the Doors. Maybe Riders on the Storm or LA Woman, but then there’s some spoken word reminiscent of Rage Against the Machine, if you can imagine these two together. That’s only the first couple of minutes. It picks up with more of a Vol. 4 ambiance before slowing again to that Doors-y, wandering-through-the-dessert-on-peyote feeling with one last increase in pace to close it out.

Even though we’re only about halfway through, it’s hard now to look back and remember the silliness Mountains of Gaia opened with. The album leads us down a path of variety with different tracks blending the (aforementioned) base elements, stoner rock & “garage rock”, with a touch of post-rock, punk and hardcore. The result is an eclectic adventure that might seem to stray yet is uniquely Container. It’s almost surreal how after the 8th and final, the title track, another 8 minute opus taking us through the Mountains of Gaia until the music ends. Surreal, I mean if we decide to press play and take the trip again. We realize we’re started back at Circus. Is it a metaphor?

 

Live Band Pic

 


Matthew James and the Rust Belt Union “Impromptu Musicals for the Skeptic” Review + Album Stream…

MATTHEW JAMES
AND THE
RUST BELT UNION

Impromptu Musicals For The Skeptic – Vinyl // DD

Sump Pump Records – released September 14, 2017

Reviewed by Ric “Suisyko” Dorr

 

Formed:
January 11, 2016

Hometown:
Rust Belt, USA (roughly in a garage, somewhere on the east side of Des Moines, IA)

Genre:
self-described ‘Midwest Junk Soul’

Band Members:
Wrex – Drums.
Larry – Upright Bass
Nathan – Pedal Steel
Brad – Guitar
Matthew – Acoustic / vocal.

Previous Release:
“Live From The Loft” (2016)

 

 

Review:
When I hear the term ‘rust-belt’, I am immediately in mind of that region of the country that begins in western New York and traverses west through Pennsylvania, West Virginia, Ohio, Indiana, and the Lower Peninsula of Michigan, ending in northern Illinois, eastern Iowa, and southeastern Wisconsin. Previously known as the industrial heartland of America, Industry has been declining in this region since the mid-20th century, leading to the unofficial labeling as the ‘Rust Belt’.

Including Detroit MI in it’s ‘snare’ that has served as home for Matthew,  a singer songwriter originally hailing from the ‘dirty mitten’, aka Michigan. He has been howling in microphones since 2000 and recording hand made lo-fi junk since 2006 with the formation of The Back Home in Michigan Band. He spent a few years touring with Rickett Pass, rambling around the country before settling in Des Moines Iowa. This album is singer Matthew James’ story of moving to Des Moines from his home of Detroit for a girl and leaving everything behind including music with his nationally touring string bands. The single “Goodbye” was written on that drive as heard in the lyrics. Matthew James & The Rust Belt Union refer to their brand of music as ‘Midwest Junk Soul’ and that description could not be more accurate.

Ten tracks that clock in at around 44 minutes.  Musically, what we are presented with here is a collection of compositions that fly up and down the proverbial scale of ‘type’ where we get everything from the elements of folk, gypsy, jazz, be-bop, country, bluegrass, blues, swing and rock to deliver what can only be described as a hybrid that could be described only as Midwest-junk-soul as they have aptly classified themselves.

Band Pic

Filled from the get-go, opener ‘Goodbye’ has each element described above in full force from the raspy vocals flavored with battery-acid, jangly acoustic in tow, great swing beat setting the pace as a soulful wail of lap-steel flows in and out of focus giving the body of this, and each track here a flavor typically kept in the background. Much as Primus brought ‘eh bass guitar to a new level having it out from the shadows, MJ&TRBU have brought this obscure-to-rock instrument to the forefront as well and it is amazing!!

‘Little Light In The Big Rust’ opens with a surf-slide tone over that acoustic guitar and slams right into the body of a song that makes you move!  Like it or not as the beat is infectiously hypnotic and keeps you in hold as Matthew sings of a “child crying and a mother trying” on top of a band that is as tight as any and doesn’t drop a note among the slyly-placed time shifts keep you wanting more. ‘Enthusiastic Apathetic’ opens with a slower, bluesy cadence as MJ’s vocal paints his picture over the band behind him and this pace fits this oratory like a glove, where ‘Left Foot Fail’ is country to the core complete with an upbeat ‘two-step’ rhythm line that pulls your boots to tap at the least along in response.

Shifting gears again with ‘Dying Dogs In South Carolina’, we are given another diatribe of wondering ‘why’, and when ‘Holidays’ kicks in with it’s faster upbeat tempo, it is right on time and lifts the mood again, even as Matthew slides forth with what must be an introspective perspective of what I can only guess to be a typical holiday for as he states that he said “We’re all going to Hell”…

Band Pic 2

The final four tracks represent what I would hope would a block of songs played in this particular order and could very well be the perfect ‘end-piece’ for their live set. From the soft acoustic opening of ‘600 Miles’ with it’s “Cold-moon sinking” into the ‘So broke” exclamation of ‘Tough’ through the advice of ‘It’s The Kind Of Place’ that could very well be describing a day in the life and by the time closing track ‘And We Went Drinking With Ed Love!’ hits, it is the perfect wrap-up of one HELL of a story an I found myself hitting play again after the frenetic ending section to savor it all again.

If you are looking for something that is meaty and satisfying at the same time, cured with the purity of music for the sake of music and masterful storytelling hidden behind a vocal style that will make you listen harder to catch each word, THIS is the record for you. Support them live if they come to a garage / tavern / library / or any other venue near you, play it to death for everyone you know and keep it LOUD!!

Band Logo


Traffic Death “Dead End” Album Review + Stream…

TRAFFIC DEATH

Dead End – Vinyl // Digital Download

Sump Pump Records – Released – Dec 10, 2017

Reviewed by Mike Hackenschmidt

Line Up:
Nate “Fetus” Phillips – Vocals
Andrew Smeltzer – Bass
Brian Greenfield – Drums
Garan Drozd – Guitars

Review:
Traffic Death is certainly an interesting band name. I figured I’d dig into this bad boy while I was stuck in the passenger seat of a large suburban-type vehicle on a long road trip as I tilted my seat back for a nap. Don’t let my nap fool you, this album is heavy as fuck – I just happen to sleep incredibly well with loud abrasive music in my ears. What I can’t sleep through is shit music. It wasn’t long before I nodded off and found myself in a very non-vanilla sex dream about Miley Cyrus that unfortunately ended too soon. Whether Traffic Death’s lullabies inspired my sweet images of leather and chains and Miley, I can’t say.

So now that I’m fully awake I’m giving Dead End a more serious listen. Traffic Death describe themselves as a “high speed, violent crossover 4 piece”. I see no reason to re-invent the wheel here as they’ve nailed their sound in six words though I will elaborate later. Near as I can tell, Dead End is their 3rd exclusive release but they also have a split release with The Lurking Corpses… whoever they are (I’m going to check them out for sure).

Dead End starts out with “Spontaneous Decomposition/Nothing to See Here” which reminds me a lot of M.O.D. and Billy Milano. I hear aggressive, thrashy, unapologetic hardcore with a touch of dark humor. However, it’s not long into this ingeniously titled tune before it steps up a notch, both musically and with the vocals leaving my comparison behind moving to a more Converge-cult sound.

Promo Shot

“Mandatory Sentence” opens with some seriously fun speed metal guitar work from Garan Drozd that I just was not expecting after hearing its predecessor. What comes next, though, caught me completely off guard. Nate Phillips rips a speed metal scream reminiscent of early Tom Araya. The rest of the track goes somewhere else but the change in direction is completely fluid.

I’m not going to track-by-track this album because the rest of it is more of the same. Clever and darkly comedic song titles perhaps over-use the “/” to translate multiple concepts. There’s a merge of, or shift into and out of, several styles. It seems to be random but if you go onto the band’s (hyperlinked) Facebook about page and read their influences and you know even half the bands, it all makes perfect sense.

My biggest complaint about Dead End is the fact that it’s only 24 minutes long. So even in waking, Dead End is a would-be wet dream cut entirely too short.

Additional Links:
https://sumppumprecords.bandcamp.com/album/dead-end

https://www.facebook.com/TrafficDeath/

Trafficdeath.bandcamp.com

 

Band Logo

Hobo Magic “The World Today” Album Review + Stream…

Hobo Magic

The World Today – Limited Vinyl // CD // DD

Desert Highways – Released: September 14, 2017

Reviewed by Zachary “+Norway+” Turner

 

Lineup:
Connor Mitchell – Guitar/Vocals
Jake ‘Greasy’ Bennett – Bass Guitar
Carter Veltmeyer – Drums / Percussion

Previous Releases:
2013:  Single –  Tides of the Astral Sea
2014: full length Self-Titled album Hobo Magic.

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.

Pro Band Pic

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.

 

Limited Wax

 

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.

Funny Band Pic

Stream the album on Spotify or Bandcamp.

Buy and download from Bandcamp HERE.

Extra Links:
https://open.spotify.com/album/6EbXoNDAnLI7GYepgfUNqn

https://hobomagic.bandcamp.com/album/the-world-today

https://www.facebook.com/pg/hobomagicband/about/?ref=page_internal

www.deserthighways.com

https://hobomagic.bandcamp.com/track/tides-of-the-astral-sea

https://hobomagic.bandcamp.com/album/hobo-magic


Mother Mars “On Lunar Highlands” Album Review + Stream + Music Video…

Mother Mars

On Lunar Highlands – CD // DD

Pepper Shaker Records – Releases December 6, 2017

Reviewed by Eric Layhe

 

 

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.

Album Logo


Psy:Code “MØRKE” Album Review + Stream + 360degree Video…

Psy:Code

MØRKE – Vinyl // Digital Download

Independent – Released – July 29th, 2017

Reviewed by Mike Hackenschmidt

 

Lineup:
Schou/ Vocals
SteiN / Guitar
JezpR / Guitar
Dag / Bass
Gøtsche / Drums

 

 

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.

Pro Band Pic

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.

Additional Links:
http://www.psycode.info/

https://psycode.bandcamp.com/

https://www.facebook.com/psycodedk/

https://www.youtube.com/user/PsycodeDK


Spacelord “Spacelord” Album Review + Stream…

Spacelord

Spacelord – Digital Download

Self released:  October 10, 2017

Reviewed by Eric Layhe

 

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 la Queens of the Stone Age, Brant Bjork and Kyuss; and Stoner/Sludge Metallers a la Soundgarden 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.

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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.

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