Ufomammut “8” Album Review + Tour Schedule + Stream…

Ψ Ufomammut

“8” – Vinyl // CD // DD

Neurot Recordings – released September 22, 2017 

Reviewed by Terry “The Ancient One” Cuyler

 

Dalle Pesanti Psichedeliche Rock Wizards

 

Ufomammut is:
Poia – Guitars and FX
Urlo – Bass, vocals, FX and synths
Vita – Drummer

Ciccio – Soundlord
Lu – visuals

Previous Releases:
– Godlike Snake – full length cd/lp – Beard of Stars – 2000
– Snailking – full length cd – The Music Cartel – 2004
– Lucifer Songs – full length cd/dvd lp/dvd – Rocketrecs/Supernatural Cat – 2005
– Idolum – full length cd – 2lp+cd – Supernatutal Cat – 2008
– Snailking – full lenght double vinyl – Supernatural Cat – 2009
– EVE – full lenght cd – LP+cd+dvd – Supernatural Cat – 2010
– ORO – cd – LP+dvd – LP – Neurot Recordings / Supernatural Cat – 2012
– ECATE – full length cd – LP + dvd – Neurot Recordings – Supernatural Cat – 2015

 

 

Review: 

Hey doomsters this is the Ancient One and I’ve just returned from yet another odyssey through the cyberscape traveling the ethereal soundwaves. While traveling I learned through fellow music heads Italian wizards of heavy psych / stoner / doom Ufomammut  have released a new album entitled “8”. Wanting to know more I wasted no time in getting a early preview but I unfortunately failed you. While I wanted to let you know about it before its  September 22nd release date to give you all time to get your pre-orders in I was unable to because personal issues got in my way.

For those who are unfamiliar with them, Ufomammut (pronounced- ufomam’mut) is a heavy psych / stoner / doom band hailing from Italy. Going strong since 1999 “Ufomammut” was formed by  Poia (guitarist, synth, and sound effects), Urlo (bass guitar, synth, sound effects and vocals), and Vito (drums)  With 7 albums to date the bands upcoming album was released on the “Neurot Recordings label on September 22nd and is the bands 8th album, thus its title “8”.

As in past albums “Ufomammut” fearlessly experiments with sound and music. But what makes “8” unique is the method in which it was recorded. Seeking to give the listener the experience of listening to them live Ufomammut recorded the instruments in live studio sessions. And this painstaking process that has resulted in an amazing album.

Ufo by Malleus - web

Opening with “BABEL,” stoner doom Wizards Ufomammut begin weaving their auditory spell using a language all can understand. While I’d like to tell you which songs I liked most I really can’t. Every time I took time to look at the title of the song playing it broke my trance. So instead I will tell you what I enjoyed about “8” as a whole.

Unlike some music in which you feel like a spectator watching or listening to the metal gods on high, “8” envelopes you making you feel like you are part of the music. Listening to the fuzzed out guitar, drums, bass, droning chants, and psychedelic sound effects had me feeling like I was part of some strange musical mystery cult.  “8” is best listened to in full and if you don’t have a decent stereo I recommend listening with headphones.

Helping them launch their latest album on September 22nd  the “Malleus Art Collective” unveiled it’s “A Malleusdelic Art Trip Into Ufomammut exhibition”  at the release party  held at the Santeria Social Club (Milan, Italy) on September 22nd.

AVAILABLE NOW (Here) https://www.malleusdelic.com/store/index.php… – “The Art of Ufomammut” is a graphic journey by Malleus through 18 years of UFOMAMMUT.  We wanted to put together almost all the designs we created during these years for Ufomammut, from the first album covers to the last silkscreen posters, from the Limited Edition vinyls to the t-shirt designs. 96 pages – softcover.

Like many Ufomammut fans, I would have loved to go to the release party or to one of their European dates following it. But since I can’t get to Europe I can console myself with the fact Ufomammut will also be appearing at the Maryland Deathfest in Baltimore, Maryland next year May 24th – 27th, 2018.  Highly Recommend!!

 

Tour Schedule

 


The Flying Eyes “Burning Of The Season” Album Review + Stream…

The Flying Eyes

Burning Of The Season – Vinyl // CD // DD

Ripple Music // Noisolution (Europe) – released September 22nd, 2017

Reviewed by Eric Layhe

 

The Flying Eyes:
Adam Bufano – Guitar, Lap Steel
Mac Hewitt – Bass
Will Kelly – Vocals, Guitar
Elias Schutzman – Percussion, Vocals

Tracks:

  1. Sing Praise (4:17)
  2. Come Round (3:26)
  3. Drain (4:41)
  4. Circle of Stone (7:29)
  5. Fade Away (5:18)
  6. Farewell (4:29)
  7. Rest Easy (4:56)
  8. Oh Sister (8:09)

 

 

Review:
The Flying Eyes know exactly what kind of band they are: A riff or two, some vocals, a solo, and a heaping tablespoon of Black Sabbath worship- that’s all they want, and to be frank, that’s all they really need.

Despite it being reminiscent of “the good ol’ days”, it’s always refreshing to hear a band that knows that all they need are guitars, bass, drums, with quality guest keyboards from Trevor Shipley, and a good, solid overall composition.  That’s precisely what Maryland natives The Flying Eyes deliver.

Pro Band Shot 2

Opening track “Sing Praise” bursts out of the gates with an astonishingly memorable bass riff. “Drain” opens with reverb guitars that one would be forgiven to expect out of Survivor’s “Eye of the Tiger” before taking a left turn into Sludge and Doom territory with an absolutely blistering guitar solo. Even though the music is well-composed and performed even better, the vocals of guitarist Will Kelly are the real standout here. They won’t be fronting an opera or performing a Tenor aria anytime soon, but they are absolutely perfect for the music that is focused on here. When this music is coming out of a sound system, images of cruising through the desert in a 1970’s muscle car are sure to follow. This is the type of music that should accompany a vision quest or a protest montage of the Vietnam War and The Flying Eyes seem all too aware of this, owning that image with all the confidence in the world.

However, this album wears its influences (or “influence” in this case) on its sleeves perhaps a little too proudly. The Flying Eyes seem to have listened to Black Sabbath’s “Master of Reality” many, many times and that particular influence seems to show itself quite a bit. That’s not to say it’s their only influence, as by the time the 7th track, “Rest Easy”, begins, some sections are reminiscent of Pink Floyd rear their heads. but by the time the listener gets there, they may have already gotten used to the already strongly-established vibe, giving them something of a case of stylistic whiplash. The riff-verse-riff-verse-solo-riff structure permeating throughout this release gets a little old after a while, and a listener would be excused for needing a couple of listening sessions to really get the intended effect from Burning of the Season, and it takes a little bit of patience despite being a fairly short album at a very digestible 43 minutes. Make no mistake, this is a high quality and highly recommended album.

On the whole, Burning of the Season is an album that knows what it wants to be.  If you are looking for an album that provides what is promised very effectively despite putting nothing particularly new on the table, then you should look no further than The Flying Eyes’ excellent new release.

Live Band Shot


Monolord “Rust” Album Review + Tracks Stream…

Monolord

Rust – Vinyl // CD // DD

Riding Easy Records – Release Date September 29th 2017

Reviewed by Andy “Dinger” Beresky

 

Lineup:
Thomas V Jäger – Guitars & vocals
Esben Willems – Drums
Mika Häkki – Bass

Born:
2013

Review:

I don’t write many reviews of actual doom albums, for good reason.  It’s a surprisingly complicated subject, not to mention a very personal one.  The whole stoner doom “genre” has a rather rich history, which through inexplicable luck, I’ve been privileged enough to play a small part in.  Like any other “genre” (and I use the word very loosely), it’s tough to pinpoint its exact birth, the point where it all started.  There are obviously precursors, though for me, the first real groundbreaking record of the genre was Sleep’s Holy Mountain.  And what exactly made it so groundbreaking?  It was such a convincing replica of the Black Sabbath model, condensed into a power trio, that even Black Sabbath said that Sleep did it best.  Perhaps you’ll already see where I’m going with this.  Stoner doom isn’t generally about innovation and originality, unless you’re YOB.  It’s more about the VIBE, man….

Sleep once again pulled off a landmark album with Jerusalem/Dopesmoker, which was innovative only in that it pushed the limits of length and repetition to their logical extreme, eschewing traditional songwriting structures in favor of elements from classical composition and Eastern motifs.  Perhaps most importantly, it established the importance of unique tones and massive low end above all else.  It’s largely unimportant from a critical perspective that the album is so monotonous – the repetition actually works in its favor, whereas with other genres, it would not.  Dopesmoker simply punishes, relenting only in shorter, quieter sections.

Other groundbreaking albums in the genre followed suit – Acid King pretty much perfected the combination of fuzzed out post-Sabbath riffs and ethereal vocals on Busse Woods.    Electric Wizard’s Dopethrone pushed the limits of production to the very extreme, with spaced, blown out vocals, hyper fuzzed guitar, unearthly effects and massively distorted bass.  I often deride this album as my least favorite of the Electric Wizard catalog, sheerly because it doesn’t sound GOOD.  However, that was never the point.  It doesn’t sound like anything else that came before it, and that’s why it’s so important.  I remember the first time I heard that bass burst in with that massive riff from “Vinum Sabbathi”, and my jaw literally dropping in disbelief.  Nothing had ever sounded like this up to that point.  Nothing.  Sure, Witchcult  Today sounds much better, Black Masses has much better songs….and Dopethrone will always hold a special place in my heart.  When you get into these groups, there’s only a couple ways you can get out….

Tour Schedule

There’s a few other landmark albums I’ll reference for context – Warhorse released As Heaven Turns To Ash, offering a sound that branched into death metal territory, utilized more dynamics and pushed the extremes to which a guitar can be downtuned.  Despite their sole album, they’re always going to be fondly remembered as the band that blew Electric Wizard off the stage when they ventured to our lovely continent on their first American tour.  Around the same time, Sloth borrowed Electric Wizard‘s gear and somehow unveiled a real corker of an album that seemed to stop both time and space in the wake of its gravitational field.  Goatsnake dropped a couple key albums around the turn of the millennium, matching big tone with accomplished vocals and making Sunn 0))) amps a household name and a much valued commodity.  A little later down the line, The Sword’s main achievement was in marketing and promotion, though they did introduce faster tempos and broke away from the established power trio format, utilizing NWOBHM inspired harmonies.  Conan pushed the limits of volume and heaviness with their first release, issuing forth a single-minded and monolithic statement of intent.  Uncle Acid and the Deadbeats injected sugar coated Beatles-eque harmonies into their psych-doom, and frankly, also changed the face of marketing by deliberately cultivating an air of mystery, concocting a lovely yet bogus legend around their origins, and then initially refusing to play live.  This combination resulted in massive hype.

Of course, there’s also the first Black Pyramid album (full disclosure: I am a member of), which for some inexplicable reason made quite a splash at the time.  I don’t know – I just tried to draw influence from these bands, and I also tried to write good, brutal songs that mix things up in terms of tempo and style.  I wrote the lyrics to be evil in a way that I didn’t think evil was fully explored in the genre.  That’s it.  It wasn’t rocket science or anything, and I’ve honestly never fully understood the appeal.  I guess it just hit the right spots at the right time.

Band Pic

Enough ruminating on the past, let’s fast forward to the present.  It’s 2017, stoner doom is somehow still a thing, and Monolord is the band of the movement.  They are a Swedish trio and their bassist was previously in the grind outfit Rotten Sound, whom I rather like.  The other two were previously in Marulk, whom I’ve never heard.  I suppose that doesn’t matter all that much, as they’re in Monolord now, and I’m writing about them.

What can I say about Monolord?  How do they contribute to the landscape of the genre?  Well, first off, their name is an excellent description of their sound.  Secondly,  they’re very obviously influenced by most of the bands I’ve listed above, with the obvious exception of The Sword.  There’s some serious Sleep, Electric Wizard, and Acid King worship going on, so if you dig those bands, I don’t see any reason you’d write this off.  Thirdly, they’re a relatively young band, though not green by any means.  Their first album was released in 2014, and they’ve had an impressive array of releases since.  A single here, an EP there, a sophomore album in 2015; they’re certainly staying busy and making a name for themselves.  Their sound has stayed pretty consistent from their first release, and it’s everything that you’d want and expect from a good stoner doom band – downtuned, fuzzy guitar interspersed with trippy effects and bursts of feedback, huge bass tones, spaced out vocals, and a rock-solid drummer holding it down underneath all that precious noise.  They tend to stretch song lengths upwards of ten minutes at times, though I’d be hard pressed to define what criteria differentiates their decision to keep a song shorter or to extend it.  If I had to venture a guess, I’d say they just ride out the riffs that they really, really like to play, and this lends an authentic, organic vibe to what they’re all about.  That’s vitally important in a genre that’s so inherently derivative.

pics and patches

If anything, I’d say that the consistency has been Monolord’s strongest suit up to this point.  They haven’t made many efforts to tread new ground, and up until, they haven’t really felt the need to.  Their second album, Vaenir, is a little more polished than the debut, and this was exactly what they needed to do – double down on what’s obviously working.  The Lord of Suffering 10″ showcased a little more maturity in the songwriting department, and it’s still exactly what you’d expect.  This brings us up to Rust, where they’ve thrown out everything that’s come before, re-written the proverbial book and drastically redefined who they are as a band.

….

I’m just kidding, none of that is true.  Any one of the songs on Rust could have comfortably fit on a prior release.  That’s by no means a bad thing – I’ve already touted the consistency of their artistic vision.  The subtle though obvious shift this time around is that they’re beginning to make more use of the studio to explore more textures and sounds, and it makes for delicious little surprises interspersed between gargantuan riffs.  After opening the album with two pretty straight forward songs, the title track initiates with a haunting organ intro that drives the catchiness of the vocal hook home.  Once the riffs do actually drop, it makes for an extremely effective counterpoint.  It’s a seemingly little thing, and it makes a whole world of difference.  This is my favorite track on the album, and I think it’s the best song they’ve written to date.

They follow this up with “Wormland”, an instrumental with slower, more deliberate riffing that takes a stark turn once again into more melodic territory, with a most triumphant, transcendent lead guitar line once again surprises by finishing up with a violin echoing the same melody.  “Forgotten Lands” once again surprises us by making ample usage of its near 13 minute run time, detouring into a full-blown psychedelic breakdown mid song, with a delightfully wonky guitar solo and more exotic, modal guitar work.  The final song, “At Niceae”, basically utilizes a false ending.  It’s an otherwise standard track for Monolord, except that the riffs fade out, leaving us with feedback.  I thought the album was over, and then an acoustic guitar kicked in, overlaid with some heavily echoed vocals and a sorrowful melody.  It’s a great conclusion to a well executed album.

Monolord_Band Pic

As I stated earlier, there has been a maturity inherent in the development of the band, and it’s firmly showcased on Rust.  It’s not like they’ve gone full prog or anything – they still do what they do best, which is just heavy, zonked to the nipples doomliciousness.  There is simply an increased emphasis on melody within the songwriting itself, while retaining the heavy, trippy sound that’s made a name for them.  As far as how it fits into the continuum and tradition of the genre?  Well, they’re currently on top of the game.  Electric Wizard’s last album was far from their best work; it’s most likely their weakest.  Veterans like Acid King and Goatsnake are only sporadically active.  The Sword have a full-blown musical identity crisis on each album.  If Sleep actually drops a new album, that will be a game changer based on the strength of the one song they’ve recorded since their reunion.  Since for some inexplicable reason, there’s still a lot of interest in this sound, it leaves a lot of room at the top for more established bands that aren’t quite stoner royalty yet,  like Windhand and Cough, as well as newcomers who are able to make a name and get some momentum behind them, like Monolord and Vokonis.

In closing, I’m continually perplexed at the longevity of stoner doom.  Other genres that are so pigeonholed and overspecialized have only occupied a single moment in musical history before they’ve been forced to evolve or become redundant and obsolete.  You can’t really call it a trend – trends quickly rise and fall within the realm of heavy music, though doom’s rise in prominence has been slow, steady, and continual.  Indeed, there are those who have already evolved beyond their humble roots, bands like High On Fire, Elder and YOB.   What is it about turning up really loud, tuning down really low, and aping Black Sabbath that’s had such a lasting, overarching appeal?    Is it that musically, it digs right to the very roots of metal, the birthplace of all things heavy? Is it some primal, ritualistic element buried deep within the collective human subconscious?  Is it an attempt to identify with, and thereby transcend the darker aspects of human nature?  Some kind of catharsis for our more socially unacceptable emotions and fantasies? Once again, I don’t really know.  I can tell you that even I’m not immune to its perpetual pull – even though I’m bored with the more common cliches associated with the genre, I’m such a sucker for a huge, over-amplified Sabbath riff.  In that regard, Monolord has delivered the goods in spades.  As always, my brain jumps right head to “what are they doing to do next?”  It’s a fair question even now.  Will they continue down the path of predictable consistency, with a pragmatic and gradual approach to change, or will they choose to truly branch off into the outer limits, returning to us with some unique permutation of psychedelic doom-inspired mayhem that will blow our minds like the forebearers of the genre did before them?


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!!

 


Nekromant “Snakes And Liars” Album Review + Stream…

NEKROMANT

Snakes And Liars – Limited Vinyl // CD // DD

Transubstans Records – released June 16, 2017

Reviewed by Ric “Suisyko” Dorr

 

Established – 2011

Location – Vänersborg, Sweden

Band Members:
Adam Lundqvist– Guitars
Mattias Ottosson – Bass/Vocals
Joakim Olsson – Drums

 

Previous Releases:

As SERPENT – ‘Master Of Ceremony’ single (Oct 2015)

“Nekromant” (Dec 2015)

As NEKROMANT – ‘Stoned To Death, Doomed To Die single (May 2017)

‘Ashes & Rain’ single (June 2017)

 

Review:

Quote – “Fans of Black Sabbath, Pentagram, och and so on will not be disappointed!” Enquote. The first words I saw used to describe this three piece from the land of the often refereed ‘NWOSHM’ movement of the last several years, with bands rising to the forefront that are letting the rest know that they are just bloody sick of nu-metal and the glut of ‘pretentious hipsters’ that think they know what good old blues-based HEAVY is about with their auto-tuned machine based garbage and hyper-polished turds being passed off as the best-yet…

Back to basics, balls out and cranked to the top, these guys show that they are here to represent with some of the best progressions and time shifts held high on thick bass runs that hit you in the chest with each note. No splintering of genres here, but higher, CLEAR vocals that are easily understood, unlike so many that permeate anymore and the fit is tighter than a glove with the precision-playing that slices cleaner than the sharpest blade.

Coming together in 2011, Adam and Mattias spent the better part of the next two years consumed in a series of jamming/drinking sessions in the metropolis Mjölby, located in the eastern part of Sweden, playing hard rock, which did result in an EP and an LP.  It was in 2013 that  they joined forces with Jocke, a hard-hitting drummer with roots in both heavy metal and other types of music, that everything coalesced into what is now presented to us as NEKROMANT.

 

Band Pic

 

Thirty-five minutes totaling from 9 tracks that stand out on their own as individuals as well as are the perfect summation as a whole. From the immediately head-banging inducing opener ‘Stoned To Death, Doomed To Die’ with it’s quick-gallop paced tempo and screaming squeals of harmonic bending strings over that soaring vocal, the stage is set and even the seemingly effortless time shift halfway through, you are hooked for what will prove to be exactly what you have been waiting for to show; that true rock-and-fucking-roll still exists. This is proof positive that it is indeed alive, well and flourishing in all the riff-laden, relentlessly paced ecstasy you could ask for. And when ‘Funeral Worship’ hits, slow and rolling low, it is the precise gear-shift needed, fully owning a doom-laden structure with Mattias’ voice ringing clear and true, never wavering in delivery all the way to the sudden-stop ending.

‘Black Velvet’ comes out in full 80’s metal glory, wringing of a sound that made me think of a mixture of Italian masters BULLDOZER meets WITCHFINDER GENERAL in a salute to the essence of that heavy duty blues-rooted guitar onslaught so thick in tone that you almost forget there are only three guys in the room here, where ‘Ashes & Rain’ is from the start all loopy and heavily, dare I say it, ‘progressive’ in structure and pace in the arrangement that transcends any labeling with the various soft-touches scattered throughout this song.  Again, further showing a versatility you may not have expected after the last full length, yet sounds honest and natural here, and in my opinion is what makes for legendary music. It can really be heard if you mean it when you play it.  When it is from the core of your being as these songs each show these three are doing, then they become timeless and relevant as would seem to follow their original statement in intent.

From the soft fade-in wash cymbal of ‘Inside Yourself’ with another crop of time-shifts from hell, perfectly stirred into this brew, to the instrumental indulgence of ‘Mardröm’ through to the even-slower measures of ‘Never Saved’, there is no room for dissapointment here as you have been consumed along the path you have been walking with this album to get to the title track ‘Snakes & Liars’ that gives its ALL with its staccato opening that is close to being the fastest beat on this album and you are pulled right along this almost two minute run through the “Fortune and Fire” described.

Closer ‘Spelmannen’, which translates to English as ‘Player’ is sung in Dutch, has an almost traditional-folk song feel to it before the power chords hit, and even then, still maintains an anthemic feel that made even my black-heart feel a little less dark in the soaring solo sections and chorus alike. Excellent choice to wrap this package together and there is not one song on here I would not want them to play in a live setting!!

Keep this one as an option on your best-of lists for 2017, make SURE it is part of your library, AND your best buddy’s too and catch them live if the chance comes to you… keep it LOUD!!

Band Logo


Blues Funeral “Awakening” Album Review + Video…

 

Blues Funeral

Awakening – CD // DD

Self Released – August 25th, 2017

Reviewed by Terry “The Ancient One” Cuyler

 

Line-up:
Jan Kimmel (El Janni) – Guitar, Nord, Vocals
Maurice Eggenschwiler – Guitar, Vocals
Cory Cousins – Drums
Gabriel Katz – Bass

Right now I’m sitting here at my laptop struggling put words together to describe what I just heard, and come right to the point rather than lose you in the lines of a long rambling review. Doing so will be difficult but I must try. Not too long ago I got a promo release of the new album “Awakening” by Blues Funeral, the band’s sophomore album.

Live Band Montage

 

As one who feels music rather than just hears it, playing what’s described by Blues Funeral as music influenced by “Early rock, proto-metal, jazz, classical, and things that make your skin crawl”  this is definitely the kind of music that speaks to me. What impressed me most about “Awakening” was the whole package. The harmonious vocals, the lofty guitar leads with earthy rhythms and the drums that gives the music a heart. This music took me back to listening to the late nights listening rebroadcasts of “The King Biscuit Flower Hour” on the local Classic Rock station were I was schooled on rock as a teen.

“Awakening” is what I would call a new AOR (Album Oriented Record) classic.  If you dig bands like “Deep Purple”, “Cream”, Led Zeppelin and The Allman Brothers then you are sure to dig this. The flow of the album renders you to listen to it in its entirety to let the sonic glory shower down and permeate into your being. These are the songs that stood out most for me:

‘Awakening,’ the albums title track sounds like kickass hybrid of a 60’s proto metal and classic 80’s metal song and establishes the band’s sound for the listener. Taking the lead guitarist and vocalist Maurice Eggenschwiler opens playing a soaring guitar lead in and is then followed by a soulful organ lead by electric organist, guitarist, and vocalist Jan Kimmel (El Janni). Throughout the song El Janni and Eggenschwiler play both competing and complimentary sounds that kept me waiting to hear what was next.

Track 4 ‘Firedrake’ blew me away. Featuring the vocals of Ms. Kelly Cousins with Lyrics by: Jan Kimmel.   This song is inspired by “Cormac McCarthy’s ‘The Road” and speaks of hopes and aspirations in a post apocalyptic world. Full of organ, bluesy guitar riffs and leads;  Eggenschwiler,  El Janni, and Ms. Cousins are simply amazing.  Refusing to let up Track 5 “Casimir” grabs the listener with lofty guitar and vocal leads, melodies, harmonies and rhythms.  While Eggenschwiler and El Janni are as amazing in The closing track ‘The Gathering Dust’ drummer Cory Cousins, and bassist Gabriel Katz shine through.  The riffs are sublime and hard hitting.  A perfect way to finish this release in proper form…EXCEPTIONAL!!

Blues Funeral will be playing a CD release show on August 25th at White Oak Music Hall in Houston, Texas alongside DoomstressFiddle Witch and the Demons of Doom.

 


Sound of Origin “Seeds of the Past” Album Review + Stream…

Sound of Origin

Seeds of the Past – CD // DD

Self Released – July 8, 2017

Reviewed by Terry “The Ancient One” Cuyler

 

Track Listing:
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.

 

Pro Band Pic Color

 

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.

Band Logo

 


Devil Electric “Self Titled” Album Review + Stream + Tour Schedule…

Devil Electric

Devil Electric – Limited Vinyl // CD // DD

Kozmik Artifactz – releases August 11th, 2017

Reviewed by Terry “The Ancient One” Cuyler

 

Standing at the cross roads of blue, rock, and psychedelic is the  Melbourne rock quartet Devil Electric. The band first debuted in 2016 and gained a sizable following among stoner, psych, a doom fans with “The Gods Below.” This 4 track fuzzedelic blues EP full was of bluesy vocals done by Pierina O’Brien and heavy riffs laid down by Christos Athanasias- Guitars, Tom Hulse -Bass, Vocals, and Mark Van De Beek- Drums. Encouraged by the fans response Melbourne’s Devil Electric is preparing to release its 2nd release; their debut “Self Titled” Full Length on Germany’s Kozmik Artifactz Records.

Tour Schedule

 

When describing the bands 2nd album Tom Hulse, the bands bassist, backing vocalist and co writer said in the album press release “Lady Velvet” was written with the idea of painting a picture at the forefront. I wanted to create images and draw a theme in the listeners mind within the first few lines, touching on opposing forces and building a character. The song is about the push and shove of relationships we experience with the world both on a human level and a fictional/dramatized one. There’s always light and shade in life and when you run your hand across velvet you can see it change in color and form, reflecting just that in a material form.” 

After listening to this album several times now I’d say Tom Hulse did a pretty good job describing both the song Lady Velvet and the entire album both lyrically and musically. While the band is most definitely rock they take a different approach to heavy rock than some bands. Throughout Devil Electric, Pierina’s bluesy vocal style adds a dark element to the music as Tom,  Christos, and Mark lay down the psychedelic heavy blues rock. This are showcased especially in the instrumentals ‘Monolith’ and ‘Lilith.’ The songs I like most from the Devil Electric album are ‘Lady Velvet,’ ‘Acidic Fire,’ ‘The Sacred Machine’ and most of all ‘Hypnotica’ as Pierina vocals really cuts loose.

 

Devil Electric will be released digitally, on CD and vinyl on August, 11th, 2017 and is available for per-order right NOW. If you are a fan of Graveyard, Kadavar, The Dead Weather, Blues Pills, The Well, Electric Citizen, Black Sabbath you may like this band. Don’t be afraid to comment and share our posts with your friends.  Strongly Recommend!!


Helmer “Helmer” Album Review + Stream…

HELMER

Self Titled – Digital Download

Self Released: July 4, 2017

Reviewed by Ric “Suisyko” Dorr

 

Founded – December 31, 2013

Location – Chicago, Illinois

Genre – rock / thrash / acoustic / doom metal

Band Members:
S
tevil Helmer – guitars
Matt Westlake – guitars
Elvin Rodriguez – vocals
Dave Bizzigotti – bass
Gary Farano – drums
Tracy G. – guest guitar (“Bag Of Dimes”)

 

Previous Releases –  “A Million Pieces” single (2013) / “Ivory Tower (Acoustic) single (2015) / “Bag Of Dimes” single (2016)

Two years and three months in the making, this “S/T” album marks a landmark with it being the first full-length release from HELMER and is right on time to fill a void that has been growing wider in scope.  That being original music filled with power and managing to avoid falling into any of the trappings of heavier music while showing a mindset of singularity… to make ‘formula music’ obsolete and forge forward wielding ‘axes high’ in this 9-track, 38+ minute venture into the mind of guitar-master Stevil Helmer.

Pic Stevil Helmer

Each of these tracks is ‘tall-enough’ to stand on their own, much as ‘Bag Of Dimes’ and ‘Ivory Tower’ have done, originally released as singles, and together as a unit, the resulting compilation is simply…. KICK ASS!! From the dark fade in of ‘Electromagnetic’ to ‘Burn The Rain’, with a staggered tempo entry, it is clear there is no rest or compromise offered in the relentless pulling as the HELMER train keeps you moving along with no thought of anything but MORE…

‘Caveman’ has this chilling harmonic squealing that turns into the thickest chunky melody that keeps hitting hard and heavy as we “Shine, shine, shine, shine…”, while ‘Two Birds, One Stone’ hits your brain asking “If Misery loves company, than why am I alone?” and the body of the song is immediately rolling hard, grabbing you along.

‘Pure Madness’ is more of a doom/stoner track in it’s delivery, nice and even and filled with guitar textures galore to fill the most ardent guitar fan with happiness and when ‘Hey Hey My My’ hits, there is nothing to do but scream along with this absolutely genius update that even NEIL YOUNG would have to smile wide. On the version I purchased, the original version of ‘Ivory Tower’ is including in all it’s haunting acoustic glory that was how I heard it first and shows how much even one song can progress just by shifting gears. In MY opinion, the combination of both versions, acoustic first, followed immediately with the electrified would be the perfect set closer/encore in a live setting and would melt heads off.

Get YOUR copy of this immediately, share it out and shove it down the throats of the unwilling. Get out and see this music live if you are afforded the opportunity and keep it LOUD!!


POSEIDON “Prologue” Album Review + Teaser Video…

POSEIDON

Prologue – Limited Vinyl // CD // DD

Ripple Music – Release Date:  JULY 21st, 2017

Reviewed by Aaron “Red Beard” Wall

 

Poseidon…crushing, destructive, monolithic. Juxtaposed with melodies of melancholy and the starkest and darkest of beauty. Poseidon…volume, monster thickness of tone. Rhythms with a pulse that can go from subtle to leveling pulverization. Emotional atmospheres of foggy desolation. Based out of East London these four blokes bring the smoke and the ash. Raza Khan-Drums // Matt Norris-Guitar // Matthew Bunkell-Bass/Vocals // Jaime Starke-Guitar hurl fire and smog. They bring a weight down on you that hits the soul. Prologue  is Poseidon’s Ripple Music debut. Ripple most definitely know what they are doing. The label is the leader of heavy in North America and expanding. Signings such as Poseidon and this concrete slab of a record will keep Ripple’s reputation held in extremely high regard.

 

Band Pic

 

Prologue begins with ‘The Beginning The End The Colony.’ Our journey starts with a slow build of epic proportions. Feedback and tension swirl around your brain. The thickness pushing and putting pressure on the mood. As the monolithic and devastating riff drops, the drums of thunder kick in heaviness and groove that suffocates, and simultaneously exhilarates. Slow, meaty, weighty, emotionally charged sludgy doom. Midway through, the flawless vocals come in as Poseidon proceed to drop the sledge. The band transitions into an atmospheric and dissonant short reprise. Complete with swirling and weaving leads. You are able to catch your breath…if only for a minute. Savor that breath, because the last four minutes of this jam, the band will crush your lungs, your mind, your heart, and your soul. All has gone black.

Mother Mary Son of Scorn follows. A poignant acoustic dirge that lets the sparks and ashes fall and settle, on the smoldering landscape of desperation. Beautiful and dark, lamented and empty. This song makes you feel. Feel deep.

Chainbreaker  breaks the chains. The beast is rising. Slogging across a swamp of mud and guts. Angry and agitated, the creature destroys the tethers of persecution, and is coming for the black tower. Tribal rhythmic drums mimicking the heartbeat, guitars raining molten lava. Waves of noise suffocate, as passionate and desperate vocals send shivers up the spine.

 

 

Closing track Omega opens with a biblical sermon on top of clean guitars with some reverb. The mood it sets is  immediate and intensely felt. Poseidon smash the psyche and the face until the final note.

On Prologue, Poseidon lay the wood. This record takes you on a dank and darkened  journey of diabolical sludge and doom. Neurosis noise, ethereal Yob vibes, Conan crushing tones. From the opening feedback, to the feedback at albums end, Prologue has everything. Heavier than one hundred heavy things. Emotional with weight and eerie underlying melodies throughout that are amazingly beautiful. Poseidon will be making waves, or should I say…Poseidon will be making tsunamis. We are all going under, and we are all going to be swept away.