1. Warfarin 07:39
2. Driven to Distraction 05:14
3. Left For Dead 05:38
4. Seeds of the Past 06:17
5. Asphalt 08:57
Hey tasters this is The Ancient One. On the musical menu today are 4 heavy fuzzy psychedelic rockers from Huddersfield, UK. When I first listened to their EP Seeds of the Past I really didn’t know what to make of them. When their 1st track ‘Warfarin’ started out sounding like it was recorded on a old fashioned tape recorder in a garage. Still they had the courage to put music on Bandcamp and ask others to listen so I listened on.
As I sat listening the sound quickly improved and I realized it was an audio effect. What the music reminded of was the Misfits who fearlessly self produced albums on the cheap that they then sold at bargain basement prices. And at other times I was reminded of Faith No More. With vocal powerhouse John Bussey, the rafters rattling drum beats of Chris ‘Foz’ Foster along with Jax Townend’s floor shaking bass and Joe ‘Zeph’ Wilczynski fuzzed out psychedelic riffs, Sound of Origin is not a band to be overlooked.
Some of my favorites on “Seeds of the Past” are ‘Driven to Distraction’ with it’s heavy drum and bass laid down by Foz and Jax. In ‘Left For Dead’ John Bussey’s vocal ability shines through with Zeph’s fuzzy psychedelic guitar. I’m going to keep my eyes open for any future releases by Sound of Origin. If you like this EP you can get it at “NYP” on their Bandcamp page (above) and if you choose to pay nothing show them some love by following them on Bandcamp and giving them a like on Facebook. And while your at it come on over to Taste Nation and give us a like.
Kevin Jones – Bass
Dylan Jarrett – Guitar,
Evan Anderson – Drums,
Tyler Swope – Vocals
Gather round everyone Terry “The Ancient One” has a tale to tell about 4 young rock ‘n rollers from a place called Granite City, Illinois named: Kevin Jones, Dylan Jarrett, Evan Anderson, and Tyler Swope. Known as The Judge. Founded in 2006 by Dylan Jarrett, and Evan Anderson with mutual friend Zack Revelle the bands first incarnation was known as Unfallen which lasted less than a month. But that did not stop Dylan and Evan who had dreams of one day taking the stage and rocking the house down. Determined to make things happen . Dylan started The Jude as a side project with his friend Evan while playing for Ripper(named after the Judas Priest song) started by Andrew Pashea, cousin of Zack Revelle, and drummer Darren Williams.
With some material written and promo videos recorded using home studio software when Ripper split Dylan and Evans dream began taking shape when Evan found the drums they needed to begin rehearsing in Dylan’s home. With Bassist Kevin Jones complimenting Evan Anderson’s hard hitting drum style. The Judge found the heavy sound they were seeking to mix with Dylan Jarrett’s progressive guitar style and soon after Tyler Swope adding his vocal versatility that allowed him to hit the highs of musicians like Robert Plant and lows of Jim Morrison to complete the mix.
After recording their Demo which would later be called The Judge EP released on October 30th 2014 as a free download on Bandcamp The Judge began working in earnest to get its name out by doing more gigs. Compared by fans to Led Zeppelin, Deep Purple, and Black Sabbath at some point The Judge gained the attention of Ripple Record. They signed with the label and put out a “Self Titled” debut album that combined 4 tracks from their EP and 5 new tracks. Which is about the time I became aware of The Judge.
Like their first EP and debut LP, The Judge puts their all into their latest album “Tell it to the Judge.” Some compare them to the above aforementioned because The Judge has a hard rockin’ blue collar feel but I could hear other influences in their music. Though it took me several sessions of listening to Tell it to The Judge and the bands other albums to pin it down before I realized I was hearing elements of The Doors,Cream, and The Guess Who in the bands music.
Some of the best songs on this album are ‘Changing World,’ ‘Islands’, ‘High Flyin’and ‘Parade of Sin.’ If you like hard rockin blues music with a psychedelic feel give Tell it to the Judge a listen. If you like what you hear, don’t forget to share this with your friends also be sure to give us a like on Facebook and subscribe to our YouTube channel.
Band Members Steve Moss – Guitar / Vocals Brandon Burghart – Drums Mike Boyne – Bass
Previous Releases “The Johnny Boy” EP (2008)
“Live At Roadburn” (2013)
“Cold Was The Ground” (2015)
Almost ten years in the making. Steve enters the arena with long-time friend and drummer (and one time bass player of TMGT) Brandon alongside and featuring a solidified line-up, now anchored by Mike who now shows a tenure of over 4 years on bass (not an easy feat for this band). Some of the BEST yet from this powerhouse three piece is what this record, the fourth full-length release from The Midnight Ghost Train, represents. 10 songs that clock in at just under 45 mins and this time out, The Midnight Ghost Train has decided to run the complete gamut of musical styles, not limiting themselves to anything in particular. Usually thought of for their blues-heavy/stoner/doom groove they established more and more with each previous release, with this album we have it all and then some as you may not have expected.
Opener and lead-off single ‘Tonight’ is a great example of the focus being used with it’s soft guitar opening before the power chords hit you right at 30 seconds and we hear Steve’s voice with “I got some time to kill, and you’ve got someone to bring my head down, ’cause I’ve been spinnin’ round'” and we’re off on what could very well be the most cohesive and coherent offering to come from this unit. The frenetic bass line that starts off “Red-Eyed Junkie Queen” belies the pace that this tale sets off on and the staccato bends are the perfect backdrop for this romp-fest of hammering drums, pummeling bass and enough distortion to scrap your knuckle son as this tale of rolls on, where ‘Glenn’s Promise’ hits with a muted tempo that lures you in with equally muted chords until at 26 seconds in, the fullness returns, thick enough to knock you down as Steve’s gruff vocals tell of ‘Promises, promises, you’re taking….” and the galloping drumline grabs you by the arm and guides you along the way and the fury keeps building with the pace and by the time the solo section hits, you are already in full-force headbanging mode and there is no escape wanted. The sheer structure of on the foundation TMGT has built with their previous outings is solidified and as each brick is placed with each note, the resulting structure is stronger than before.
‘Bury Me Deep’, opening with a lone guitar progression, further exemplifies that these songs seem more rooted in a depth that while not missing before, has now been brought to the forefront to let us see that these three are beyond ready to take their place in the lexicon of pure ROCK-N-ROLL bands that refuse to be pigeon-holed into any one genre, preferring to show their muscle tackling many song-styles with the strongest songwriting to come from this camp yet. ‘The Watcher’s Nest’ has one of the softest, almost soothing intro’s and the tempo is awash with ride cymbals before we get told that ‘We’re going down, down into the light’ and you are moving again and then another quick pause… and back to the slow even shuffle before another blast of the chorus that lead to an astral wah’d solo burst that adds even more to what is already so manner layers of flavors that each permeate through yet meld together in the most cohesive amalgam possible.
The next thing you know, it is a complete 180 to what is almost a LEON REDBONE meets TOM WAITS salute with a love song that is pure TMGT is essence and delivery and you can’t help but smile as this tale of passion unfolds. ‘Lemon Trees’ is a more familiar flow with a seemingly softer jangly approach that is equal parts hart and soul that moves you through, following this tale of pressure that holds attention tight, following each word to get the whole picture.
The final four tracks each lend themselves to show even more virtuosity and flexibility in flavors they can pull off seamlessly at whim. ‘The Boogie Down (featuring Sonny)’ is almost CAKE meets The BOSSTONES and the result is upbeat, where ‘Black Wave’ opens in pure spaced-out stoner bliss complete with a bass line that is soft as a feather pillow and massive in presence at the same time with this introspective analysis that is as enveloping as any other track on here. ‘The Echo’ is almost a cowboy-western song with the galloping pace of the drumline, the perfect progression that make up the body in a KARMA TO BURN structure that punches hard to the chest before the pace shifts back in a hypnotic use of sustain and lingering chords that wrap all the way around your brain stem and no restraint given.
As the fuzzed out bass fades, it is perfection indeed before we hear what can only be an almost ED GEIN voicing in this dark closer that stands out for ME as pure brilliance. It showcases just how maniacal in tone and darkness of delivery as you can almost see his smile asking these sardonic questions pushing you to the edge of your seat, waiting for the next as this collection of three spirits shows that they have reached a new depth in composition and arrangement. They are tighter than ever before and with the newest production values that have been used in abundance, it is clear that the rest of the world needs to catch up and jump onboard with the pinnacle to this point that these guys show they are at.
Buy it YESTERDAY, play it for every pair of ears you encounter, support them LIVE if they come anywhere close and keep it LOUD!!
Juventud de la Gran Ciudad – CD (available May 13th, 2017) //
DD (released December 2, 2016)
Necio Records – CD released May 13, 2017
Reviewed By Santiago “Chags” Gutierrez
KNEI comes to us from Argentina, a country that has recently seen a resurgence in its music scene. Juventud de la Gran Ciudad comes courtesy of power trio Nicolas Lippoli (guitar/vocals), Mauro Lopez (bass), and Roberto Figueroa (drums). On just their second full length (La Puera del Sol being their debut back in 2011) they have already established a rather unique sound. What you get here is 70’s inspired classic rock that incorporates a well balance of psychedelic, blues and jazz-like touches.
Their musical prowess shines through on first track, “Juventud de la Gran Ciudad.” Clocking in at over eleven minutes, it showcases their full arsenal of writing skills. It centers, as most good rock songs do, on a powerful riff and adds time changes, experimentation, varied rhythms, and a feel of improvisation. “Vidas Pesadas” follows suit with an unmistakable 70s/psych touch that turns into a fantastic jam session. “Rock de la Mujer” incorporates a bluesy touch, yet ends in wonderful fashion as KNEI playfully interact with their musical ideas. Three tacks in and the listener is already getting lost in the arrangements KNEI has on offer.
“El Inentendido” is yet another blues infused track with great progressions throughout that continue to showcase the bands ability to guide the listener through the architecture of their arrangements. “Los Demonios” follows with a straight-ahead rock approach that incorporates a galloping bass line bordering on doom. Progressive tendencies show up again on “No Te Asustes Ya Mas, Loco”, each member having a chance to shine at different points throughout the track. You can sense how the members have an almost telepathic relationship as they playfully seem to bounce ideas off one another. “La Tumba” closes the album in glorious fashion, KNEI proving they undoubtedly belong among the higher echelon of current rock bands.
Every track on this record is egregious, KNEI having a knack for taking astounding musical ideas and yet achieving a smooth listening experience. Sung entirely in Spanish, this is still well worth checking out if Spanish is not among your linguistic skills. Lippoli providing an apt vocal style that fits in perfectly with what is going on musically. And what a musical journey it is. If this wasn’t released digitally at the tail end of 2016, it easily would be on my current 2017 “best of” list. ¡Provecho!
Band Members – Gaston Lainé · Guitar & Vocals / Pol Ventura · Bass & Vocals / Alejandro Carmona · Drums
This three man-band is steeped DEEP in the 70’s acid-head/stoner fuzzed out and wah’d up rock-n-roll sounds of guitar driven spaced out soloing and insane twists and turns in tempo as any progressive maniac lives for. They list their influences from “the hard blues bands, fuzz sounds and wah wah of the 70s, with some space rock spirit” and wave that flag proudly as these five songs show.
Don’t let the name fool ya, translating as Cashmere, there is nothing soft about CACHEMIRA. Songs like ‘Sail Away’, tell a tale full of multi layered guitars and keyboard overtones with that driving shuffle tempo of “When the sirens….”, instrumental ‘Oeverture’ with the stoned out bliss-filled meanderings of a good mushroom-flashback.
‘Goddess’ rips from the gate in fuzzed out full force for the first minute, slowly fade out to guitar warbling and wash cymbals galore and a jazz runs fill the air as we are given the tale of one as “She has been since the beginnings of time…” over the course of 8-minutes plus for this opus. The advanced single (released in January 2017) ‘Overpopulation’ has that almost MOXY 70’s feel with the frenetic opening that has that roll that players like JOE WALSH loves to use still that seemed to have been perfected “back when” before the story unfolds about how we, i.e. mankind, is “Out of control…”
The “stand-out” track on this one for me is the title track ‘Jungla’ with it’s glorious fast-paced beginning that jumps right into gear with all the virtuosity from each member cranked beyond maximum to give one of those songs that just consumes you from the inside and you want more and more. If any of them get a video treatment, I would vote for this one to be the single for. Get it NOW, share it with every body and see ’em live if they come to your shores as I have a feeling they are one of ‘those bands’ that make each show a party to be remembered… and as always, keep it LOUD!!
I was listening to an album simply titled III by a band called Bone Man just a little while ago and found my thoughts drifting as they sometimes do when I listen to good music. As my mind wandered I recalled a conversation with a friend about which sense, hearing or vision would hurt the most to lose. My friend figured vision would be the hardest and said he’d rather go deaf before going blind. However I was of the opposite opinion because while blindness would present huge challenges, the very thought of losing my ability to hear and enjoy music would be like a curse and this album really made me appreciate my ability to hear music.
If I were to describe this trio of Deuschlanders from Kiel, Germany known as Bone Man with one word I’d say sublime. Described by fans reviews I’ve read as Heavy Psych Fuzz and Grunge.I can definitely hear the influences of Alice in Chains, Stone Temple Pilots, and Eric Clapton in Bone Man’s music. Although not nearly as fuzzed out asII, Bone ManIIIseems to have upped the fuzz and sharpened Arne’s bass guitar a bit more to accent front-man Marian’s guitar leads and vocals. When I gave III a spin for the 1st time I found myself letting the bass and drums played by Ötzi lead me into the guitar leads and vocals. Lyrically the album’s songs have a bluesy feel to them. Among my favorites were: ‘AMNESI’, ‘COLD ECHO’ and ‘FALSE AMBITION’.
What I really find most interesting about IIIis how it messed with my perception of time. It’s a tight album with songs that are all under 6 minutes, yet when I listened to it I felt like I was listening to an AORRock classic full of 7 to 10 minute songs. I don’t know how the band does this but it’s pure genius. If you like the 90’s grunge movement, fuzz, or Eric Clapton then you will like Bone Mathis album. Bone Man’s III is an album I can easily see in a cliquish music heads’ collections as well as hitting the rock charts. Leading me to ask “When are you coming to The United States Bone Man?
Not long before I went to bed last night the admin at Taste Nation LLC asked me to listen to Oakland, California SKUNK’s new album DOUBLEBLIND and share my thoughts. Problem was it was near midnight and I had to be up at 5AM so I postponed it for my morning commute to work. Man what an eye opener. Usually I’m draggin’ ass when I get out the door in the morning and need a few cups of coffee before I can put on my nice face. This morning was different. When I heard the opening riffs to Forrest Nymph I knew it was gonna be a good day. Out of the gates you get catchy bluesy riffs and Andrew Stockdale of Wolfmother-like vocals. The album caught me between the eyes in the opening 4:30 minute offering. Hooked by the wicked Hooks!!
Upon further listen, I heard some real hard rockin’ tunes that sounded something like a combination of Bonn Scott Era AC/DC, Nazareth and Grand Funk Railroad paying homage to tits and weed! While the music seems relatively simple, that is exactly what I like about SKUNK. I don’t need a degree in music, English Literature or Art to understand it. SKUNK seems to have figured out that people want to be able to feel like they are part of the music and they effectively make you part of the music with rock n’ rollin’ riffs, chugging bass grooves big booming drums (with plenty of cow bell) and clear vocals that ain’t mush mouthed.
If Skunk is ever doing a show were you live go because I have the feeling there will be lots of beer, weed, and chicks at the show. Some of my favorites from DOUBLEBLIND were ‘Forest Nymph’, ‘Mountain Child’, ‘Harvest Queens’, ‘Wizard Bong’ and ‘Devil Weed’.If your looking for some hard rockin’ music for your party or to get you pumped up for work then look no further than SKUNK. If you like classic hard rock then I am sure you will like SKUNK.
John McKelvy – Vocals
Dmitri Mavra – Guitar
Erik Pearson – Guitar
Matt Knoth – Bass
Jordan Ruyle – Drums
Happy 420 day all!! This is Terry the Ancient One and I would like to tell you about a real rockin’ band called Bionic Caveman and the album they released today on April 20th / 420 Reactor. I grew up listening to my daddy’s records and his collection had some amazing blues based rock bands like Joplin, Hendrix, Cream, and The Doors and listening to the Bionic Caveman album Reactor took me back to those days.
Reactor is filled with heavy blues rock that you both hear and feel. Meaning when you listen to the music you find yourself rockin’ to the beat and the riff and unable to sit still. I liked this feeling so much I had to play the album twice and intend to buy their debut album Predator. You know this is an ambitious album with Bionic Cavemen’s J. Bernal’s wicked drum solo on ‘Black Diamond.’ Not many bands can/will effectively showcase their drummer with solos while just focusing on “The Riff.” ‘Black Diamond’ also shows there is no weak link in this group!! It has it all…
I loved this album from beginning to end. Some of my favorites from Reactorare ‘EOW’, ‘Lover’, ‘Black Diamond’ and ‘Train.’ If you like blues based hard rock then Chicago based Bionic Caveman will trip your trigger. Highly Recommend!
Bionic Cavemen are:
J. Bernal – Drums
L. Drennan – Bass
A. Morgen – Vocals
R. Morgen – Guitar
“Thousands of years ago, Chickeater Joe the Banana-Head, (he’s one of your lower-ranking demigods), “Chickeater Joe had invented the Diddley Bow to save rock’n’roll, but he couldn’t find anybody to play it and left planet Earth to explore the greatness of the universe. On the 21st of December 2012 he finally came back, only to discover the damage the human race had done to themselves and their planet. Pissed off, Joe searched the globe for musicians, to spread his word of enlightenment through the mass manipulating medium of pop music. But then he discovered an awful truth; ALL the famous musicians also worship another god of humanity, the so-called “Money“.
Somewhere in the backwoods of Austria, after a long journey around the devastated planet, he finally crossed the path of three young musicians who had just formed a band called „Fairtrade Floyd“, and Chickeater Joe liked their music, but most important he liked their attitude. So he gave them the ancient instrument, and sent them out to save mankind from the mess they are in.”
Quite the backstory for something that had almost slipped through the cracks. After reading this and knowing a diddley-bow is a usually homemade stringed instrument with typically one to three strings, strung over a cigar box or some such size piece of material and a guitar pickup mounted to electrify. I was indeed intrigued… 10 items and 27 minutes… engage.
From the very first 10 seconds of ‘Outbreak’, the pace is set and you’re already on your way feeling the need to get the fuck up and MOVE. “Listen up, this is how the story ends. An economic re-set; think again.” and if you are breathing, you are standing while this insane hook drags you along as the bass and drumline push you back and forth with equal force. The last minute took me back to MINISTRY of the 90’s with the inserted oddities and the fury of this track never falters until the very last note. Not metal, but heavy as shit and I am impressed at how big that one string has just appeared. ‘How & Where’ show a more pop-type structure laden with dark humor and demonstrate a virtuosity of style hey ban handle with each, not losing the edge they run along.
‘Peace Like Gandhi’ has a more ‘spaghetti-western’ twangy guitar tone but still a complex arrangement, still keeping that dark-side in this tlae asking what else can they do and they remind that they are “Back to save mankind” as the aforementioned legend proclaims’ Great solo to close out the last portion of that leads right into the knock of an engine coming to life in ‘Engine 56’ with a nice even driving-pace SET for driving, ride cymbal fading as the engine drops off and next thing you hear is the sudden appearance of a full string acoustic and could those be maracas in ‘Three Saints Bay’? “Come close to me, watching the scenery” the seeming chorus of what could be direct from some island beach.
‘Great Panic’ has a haunting bass intro before the almost ghostly harmonics ring and the gruff voice beckons you to “Barricade your windows” and the thickness of that ultra-distorted hyper modulated guitar screams to the front of this tale of never giving up fighting, even as the news voices fade back and forth as they do in our everyday living giving credence to this outing. ‘Dunkirk’ hits immediately with am ugly/thick wall of strings that permeate from all sides, ringing off of each other until the melody snaps your neck with the singularity of the body of Fairtrade Floyd, our seeming warrior in this quest to save mankind from itself. The speed and complexity makes this the standout track for me. The use of such minimalism and making it so just HUGE sounding is incredible and I did not want this track in particular to stop. In a live format, this could go on for 20 minutes as a jam song and would not be enough as the frenetic ending they use suggests… they just weren’t DONE yet.
And speaking of live, we are given the treat of a LIVE version of the second single release ‘In Money We Trust’ and the sound is just as ‘big’ as the rest of this album.
If you have not found this one on your own, get it and crank it up and support them if they come anywhere near you!!
If you think you may have heard of this release before, well, it’s because you have… BUT there is a double-vinyl release slated for February 2017 of this opus including one side of four that is exclusive bonus material!! If the weight of this release (nearly one pound) doesn’t hit you, the music within certainly will.
Using their self-described recipe of ‘Earth rockin’ drums’, ‘beard growth inducing bass’, ‘fuzzomental guitars’ and the ‘roar of a wolfman’ and a whole lotta beer to hammer out each of these songs into the forms offered here, Plainride classify themselves as ‘Kick-ass stoner rock and roll’ and state that this is something to ‘shake the Earth like a ravaging hurricane filling skies with thundering riffs’ as they push through what many consider to be one of the finest genres to rise from the ashes of the 70’s.
Opening up with “Challenger ’69” there is no doubt this ride is going to be one to remember. One of the shorter tracks here, it is indeed the perfect set-up of what’s to come with the rest of the 13 total songs. “Salt River” is next, starts out with just guitar for two measures, then bass drum for another two, standard back in the 70’s but when you hear “Killed my father with a shovel and a shotgun…” you know it’s about to get deep. That ‘growl of a werewolf’ is a pretty apt description and it suits this band perfectly with tales of such as this. “(The Tale Of) Private John Colter” offers some insight into how the Jackalope entered the fray… less than two minutes long, we are given the back-story of and told that “No body was ever found” leading perfectly into the title track. The chorus belies this tale with the words “Roll on by me, don’t ya roll so slow, use your guns and watch me go”, seemingly speaking from the Jackalope’s perspective. One of the standouts on this is “(The Beards Upon) Mt. Rushmore”. FULL of fuzzy guitar tone and solo’s with a rock-solid rhythm section rolling along, you can’t help but to move and groove along to the end. “The Grailknights” follows this formula taking over your mind as you trudge along keeping pace with these guys, wanting to devour it all. “Beermachine” shows the fuel behind the fire as Plainride describes a major component of who they are, with this pace set to incite your thirst and have you drinking deep to slake the thirst that is now consuming. “Devil At Your Heels” comes out of the gate at full force before slowing to a tempo that pulls you forward into this tale of the ‘very influential’ that seems looming. “Warpdrive” is the last track, but not one that you will leave behind. More than likely, you will want to ‘spark up’ for this 15 minute tune and enjoy the ride as it courses you along.
A ‘must-have’ for 2017 and this repackaging is the pinnacle especially considering the gram weight and will seem like a whole new record with the extra’s and clarity that only vinyl can deliver. I look forward to what Plainride next sonic release as they have raised a very high bar with this epic Debut. Kudos to Ripple Music for putting this album on must needed Wax!