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!!


EL COLOSSO “Pathways” – Album Review, Music Video & Album Stream…

EL COLOSSO

Pathways – Vinyl // CD // DD

Self Released – released March 14, 2017

Reviewed by Ric “Suisyko” Dorr

Straight out of Melbourne, Australia comes EL COLOSSO, featuring the talents of vocalist Matt Cooper (Bring On The Junta), guitar of Benny James (Dirty York / King Wolf), bass guitar of Craig Fryers (Mushroom Giant / Dive Into Ruin) and drums from  Peter Hayden (Free To Run / The Hybernators). There have been two previous releases from this band, April 2016’s EP “Cannonball” and the advance single ‘Leatherhead’, the first advance from, released March 2017.

Seven tracks and 39 minutes of absolute rock-and-fucking-roll madness is what this record delivers. Listing their influences with all of the usual suspects from Hendrix to HELMET, from THIN LIZZY to LED ZEPPELIN and even fellow countrymen AC/DC and from the first sputtering guitar notes of opener ‘Doom Boogie’ of swelling feedback pummeling with a sonic FORCE of power chords, bass rumble run amok and almost break the skins heaviness of drumheads and cymbals, all within the first minute plus before the REAL body of the song kicks in.

 

Pro Band Pic

 

You can tell this is not going to be your typical 70’s revamped regurgitation but something meaner, louder and hungrier than anything to grace your ears in some time. Halfway through, the pace evens out as we are told that “You are, you are what I wanted” and then back to the running pace that stops for but a split second before that churning guitar and race-fast drumline jump on the bass-punches of ‘Leatherhead’ makes you instantly acknowledge that this was the perfect choice as the lead off to get this record out there. ‘King Ink’ comes in with an almost SOUNDGARDEN stop/start technique and that could almost be CHRIS CORNELL at the mic, the delivery as fierce and powerful as any AUDIOSLAVE song.  It is the absolute perfect touch for this track carrying all the way through to the screaming solo break at the end.

‘The Hunted’ is more of that stoner approach of a slower tempo with fills galore and WAY-fuzzed bass line that is never predictable but holds the band like the thickest icing holds the layers of cake together creating the most delicious sensation as we swallow each crumb eagerly.

The last three in particular really stand out as the high points of this album, are in the perfect running order as a three piece and I would love to see them performed live one after the other. Title track ‘Pathways’ has a rollicking straight ahead pace that made me think of Aussie powerhouse MANTISSA with the alternating phrasing and multi-layered back vox thrown in with an over modulated out-wah pedaled fury that rips right along with the chorus, note for note, beat for beat. Followed by an electrified version of ‘Caught In Limbo’ with the title as just ‘Limbo’ for this album that is the same song but polished and even more emotive than the original, showing that this outfit is serious and ready to take it to the next level with a confidence that rings LOUD from this reworking.

Closing track ‘Moving Mountains’ is the masterpiece of this outing and is the ultimate ‘jam’ track filled with all of the pieces of that puzzle, each note flowing into the next drum beat through the lumbering ever present low end allowing each member to stand tall in their individual roles, stronger as one unit and the sheer passion and strength in the vocal delivery that comes from deep in the bones rises high and clear as crystal in this tome that has all of the heart ripping guitar soloing that screams a millions words never spoken, slicing to the core with each rise and fall of this almost 10 minute bookend to a release that is sure to be one talked about in the annals of this year.

If you have ANY love for music, you need to own this IMMEDIATELY and absolutely MUST  get it into the ears of all around you… catch them live if you are given the opportunity and let’s help them blow this one UP to get them on distant shores… the rest of the world DESERVES to witness the pure glory that IS EL COLOSSO… keep it LOUD!!


Review – The Balls ‘Self Tilted’ Album

The Balls
‘The Balls’
Self Released – CD/DD

 

Band Logo

 

In the last review I wrote, I essentially defended a band’s decision to name themselves something silly and/or generic. I’m not going to do that here. I’m going to break character here a bit, because this part isn’t exactly a review, it’s friendly advice: change your fucking name. Immediately, while you’re not branded with it yet. This is your opportunity to do so with the minimum of consequences. It’s not only a stupid name, it not only lacks any descriptive quality to reference the band’s sound, it’s not only completely ubiquitous to the point of rendering any Google search to find any info on your band completely pointless, there are also other, more established bands named The Balls….for some odd reason. One is some self-proclaimed old guys playing instrumental biker prog surf rock, whatever that is, and they’ve been around awhile. One of them is from Worcester Mass, pretty close to home for me, and they’re some kind of juvenile sex joke punk band, for which the name is actually fitting. My 2 cents – let them have it, you’re better off without it. You’re risking the potential to be confused with, lumped in with, or even sued by one of these existing acts. See the bands Middian And Husky for details on that last bit….

With that out of the way, I can take off my asshole hat, and dawn my reviewer hat. As indicated above, I had a bit of a hard time tracking down any actual information on The Balls, though I believe that they’re a power trio from Melbourne Australia. I have no idea who is in the band, or who plays what. They sound like a meat and potatoes rock band coming from the old school stoner rock tradition, with the post-Kyuss style of vocals, down-tuned guitars, and a big rhythm section. The singer reminds me a bit of the guy from Dozer. I’m not a huge fan of that style of vocals, though I tolerate them because they’re also ubiquitous when it comes to this style. That being said, the vocals on this debut album are The Balls strongest suit.

Pic of Band

 

The album kicks things off with “4th Of July”, a ripping riff-fest with some dark, heavy vibes racing through the melodies. It’s got a propulsive groove that’s set in motion by a bass intro before the guitar goes full throttle. We’re talking about that kind of up-tempo biker rock that Orange Goblin so effectively harnessed with their breakthrough album, The Big Black. In my mind, this is the territory where these guys are at their best. Throughout the course of the album, they definitely try a few different approaches stylistically. The second tune, “Not A Word”, is a bit more mid-tempo, though it retains the dark melodic senses and highlights the soaring vocals. They lose me a bit with the third song, “Runaway”, as it’s a bit more plodding during the verses and a bit more buttrock in the chorus. It’s a partying, AC/DC kind of tune that reminds me of the first Bad Wizard album, bare-bones, bluesy and mean, though I for one miss the darker overtones.

Things slow down and get a bit more atmospheric and slow with “I Forget”, which showcases a bit of the singer’s range and versatility in the lower registers as he croons through the first portion of the tune. They follow that up with another slow burning ballad, “Tragedy”, which once again features some most triumphant vocals in the chorus and a decent yet minimalistic guitar solo, one of the album’s few, and an addictive, groove-laced ending. They bring things back to the quicker tempos with the last songs, a one-two punch of “The Easy Truth”, which is easily the album’s heaviest (and shortest) track, and then “Alibi”, the album’s longest track. “The Easy Truth” is my easily favorite track on the album, as the guitar work is the most distinctive and original, the singing is really over the top in that blown out, shredding your vocal chords kind of way, and the arrangements aren’t predictable. It covers a lot of ground for such a short tune. “Alibi” is pretty much in the same vein as “4th Of July” stylistically, although more drawn out and dramatic in the spacious ending.

This is a solid debut from an up and coming band that has a lot going for them. It’s obvious that they’re a newer band trying to figure out what works for them, and I’d personally like to hear a bit more fretboard pyrotechnics from the guitar department. Adding a second lead guitarist could be a smart move, adding oomph to the overall sound while allowing for some more fiery, energetic solos and clever arrangements. That’s just me though, as what they’re doing now is working well enough to expand upon. If you’re into any of the bands that I’ve name dropped throughout the review, do yourself a solid and give these guys a listen.

Reviewed By Andy “Dylan Thomas” Beresky
Editor – Taste Nation LLC