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


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


Matthew Thomas’ Top 60 Albums of 2017 + Top 10 EPs + Links to Listen…

Matthew Thomas’ Top 60 Albums of 2017

Top 10 EPs of 2017 + Links to Listen & Buy

 

1. Junius – Eternal Rituals for the Accretion of Light

https://junius-official.bandcamp.com/album/eternal-rituals-for-the-accretion-of-light

 

2. Mastodon – Emperor of Sand

http://www.mastodonrocks.com/

 

3. Elder – Reflections of a Floating World

https://beholdtheelder.bandcamp.com/album/reflections-of-a-floating-world

 

4. Samsara Blues Experiment –  One With The Universe

https://samsarabluesexperiment.bandcamp.com/album/one-with-the-universe

 

5. Racquet Club – Racquet Club

http://riserecords.merchnow.com/catalogs/racquet-club

 

6. Hobosexual – Monolith

https://hobosexualmusic.bandcamp.com/album/monolith

 

7. Kadavar – Rough Times

http://kadavar.com/

 

8. Our Ceasing Voice – Free Like Tonight

http://music.our-ceasing-voice.com/album/free-like-tonight

 

9. Bask – Ramble Beyond

https://basknc.bandcamp.com/

 

10. Wolf Parade – Cry Cry Cry

https://wolfparade.bandcamp.com/album/cry-cry-cry

 

11. Telekinetic Yeti – Abominable

https://telekineticyeti.bandcamp.com/album/abominable

 

12. Sorority Noise – You’re Not As ___ As You Think

https://sororitynoise.bandcamp.com/album/youre-not-as-as-you-think

 

13. Ethereal Riffian – Afterlight DVD

https://etherealriffian.bandcamp.com/

 

14. Quicksand – Interiors

https://quicksandnyc.bandcamp.com/album/interiors

 

15. Spidergawd – IV

https://www.stickman-records.com/shop/spidergawd-iv/

 

16. Forming the Void – Relic

https://formingthevoid.bandcamp.com/album/relic

 

17. All Them Witches – Sleeping Through the War

https://allthemwitches.bandcamp.com/album/sleeping-through-the-war

 

18. House of Lightning – Self Titled

https://houseoflightning.bandcamp.com/album/house-of-lightning

 

19. The Black Angels – Death Song

http://theblackangels.com/

 

20. Pallbearer – Heartless

https://profoundlorerecords.bandcamp.com/album/heartless

 

21. Ohhms – The Fool

https://ohhms.bandcamp.com/album/the-fool

 

22. VOKONIS – THE SUNKEN DJINN

https://vokonis.bandcamp.com/album/the-sunken-djinn

 

23. Mother Mars – On Lunar Highlands

https://mothermars.bandcamp.com/

 

24. Crackhouse – Be No One.  Be Nowhere.

https://crackhouseofficialband.bandcamp.com/album/be-no-one-be-nothing-2

 

25. LCD Soundsystem – American Dream

https://www.amazon.com/american-dream-LCD-Soundsystem/dp/B073Z99YP4/ref=sr_1_1?s=music&ie=UTF8&qid=1514830700&sr=1-1&keywords=lcd+soundsystem+vinyl

 

26. The Atomic Bitchwax – Force Field

https://theatomicbitchwax.bandcamp.com/

 

27. Spaceslug – Time Travel Dilemma

https://spaceslug.bandcamp.com/album/time-travel-dilemma

 

28. Slowdive – Self Titled

https://slowdive.bandcamp.com/album/slowdive

 

29. Nekromant – Snakes and Liars

https://nekromant.bandcamp.com/album/snakes-liars

 

30. Frozen Planet…1969 – From the Centre of A Parallel Universe

https://peppershakerrecords.bandcamp.com/album/from-the-centre-of-a-parallel-universe

 

31. Egypt – Cracks and Lines

https://egypt1.bandcamp.com/

 

32. Electric Orange – EOXXV

https://electricorange.bandcamp.com/album/eoxxv

 

33. Electric Age – Sleep of the Silent King

https://electricagela.bandcamp.com/album/sleep-of-the-silent-king

 

34. Comacozer – Kalos Eidos Skopeo

https://comacozer.bandcamp.com/album/kalos-eidos-skopeo

 

35. Pink Frost – New Minds

https://pinkfrost.bandcamp.com/

 

36. Deaf Radio – Alarm

https://deafradio.bandcamp.com/album/alarm

 

37. Red Scalp – Lost Ghosts

https://redscalp.bandcamp.com/album/lost-ghosts-2

 

38. Earth Drive – Stellar Drone

https://earthdrive.bandcamp.com/

 

39. I, Captain – Tiid

https://icaptain.bandcamp.com/album/tiid-2

 

40. Red Mountains – A Slow Wander

https://redmountains.bandcamp.com/album/slow-wander

 

41. Olde – Temple

https://stbrecords.bandcamp.com/album/olde-temple-2

 

42. Devil Electric – Self Titled

https://devilelectric.bandcamp.com/album/devil-electric

 

43. Sautrus – Anthony Hill

https://sautrus.bandcamp.com/album/anthony-hill

 

44. The Janitors – Horn Ur Marken

https://thejanitors.bandcamp.com/album/horn-ur-marken

 

45. Electric Moon – Stardust Rituals

https://electric-moon.bandcamp.com/album/stardust-rituals

 

46. The Re-Stoned – Chronoclasm

https://re-stoned.bandcamp.com/

 

47. Clouds Taste Satanic – The Glitter of Infinite Hell

https://cloudstastesatanic.bandcamp.com/album/the-glitter-of-infinite-hell

 

48. Ufomammut – 8

https://ufomammut.bandcamp.com/album/8-2

 

49. Lamina – Lilith

https://ragingplanet.bandcamp.com/album/l-mina-lilith

 

 

50. Space Witch – Arcanum

https://spacewitch.bandcamp.com/album/arcanum

 

The Final Tasty 10

 

51. Radio Moscow – New Beginnings

http://radiomoscow.net/

 

52. Geezer – Psychoriffadelia

https://geezertown.bandcamp.com/

 

53. Gypsy Sun Revival – Journey Outside of Time

https://gypsysunrevival.bandcamp.com/album/journey-outside-of-time

 

54. Tau Cross – Pillar of Fire

https://taucross.bandcamp.com/

 

55. Aphodyl // Cosmic Fall – Starsplit

https://psyka.bandcamp.com/album/starsplit

 

56. Summoner – Beyond The Realm of Light

https://summonerboston.bandcamp.com/

 

57. Contra – Deny Everything

https://robustfellow.bandcamp.com/album/deny-everything

 

58. Bloodnut – St. Ranga

https://bloodnut.bandcamp.com/

 

59. Poseidon – Prologue

https://ripplemusic.bandcamp.com/album/prologue

 

60. Propagandhi – Victory Lap

https://propagandhi.com/

 

 

Top 10 EPs of 2017

 

1. Mastodon – Cold Dark Place

http://www.mastodonrocks.com/

 

2. Howling Giant – Black Space Wizard Part 2

https://howlinggiant.bandcamp.com/album/black-hole-space-wizard-part-2

 

3. Kal-EL – Astrodoomeda

http://www.argonautarecords.com/shop/en/music-/235-kal-el-astrodoomeda-lp.html

 

4. Cachemira – Jungla

https://cachemira.bandcamp.com/album/jungla-2

 

5. Derelics – Guilty of Being Young

https://derelics.bandcamp.com/album/guilty-of-being-young

 

6. Bad Monster Black – Diablo

https://badmonsterblack.bandcamp.com/album/diablo-ep

 

7. MAIRA – EP

https://maira.bandcamp.com/album/ep

 

8. Traffic Death – Dead End

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

 

9. 1968 – 1968 EP

https://1968band.bandcamp.com/releases

 

10. Norea – Norea

https://norea.bandcamp.com/


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

Bell Witch “Mirror Reaper” Album Review + Stream…

Bell Witch

Mirror Reaper – Double CD // DD

Profound Lore Records – released October 20, 2017

Reviewed by Terry “The Ancient One” Cuyler

Hello everyone this is  The Ancient One and I want to tell you about a new album I came across just recently called Mirror Reaper by the Seattle based duo BELL WITCH. Founded in 2010 by Drummer/Vocalist Adrian Guerra and Bassist/Vocalist Dylan Desmond, BELL WITCH nearly came to an end. Unable to continue due to his struggle with alcohol and meet  contractual obligations, Dylan Desmond had to make the heartbreaking decision to release founding member Adrian Guerra and replace him with Jesse Shreibman, of the grind-core band Transient.  The two of them had been trying to keep the duo together in its original incarnation but were unable to do so because of Guerra‘s increasing addiction.  Alcoholism is motherfucker of a disease, with a mind of its own. On May 17, 2016, Adrian Guerra passed away in his sleep from heart failure while Mirror Reaper was being recorded.

For those unfamiliar with Bell Witch, the Duo occupies a special place in the metal scene as they rely on nothing more than bass, drums, and vocals to create their haunting funeral doom sound. The best way I am able to describe what they do is to imagine having nothing but black paint and a goal of painting a picture leaving no part of the canvas untouched by the paint forcing the artist to rely on texture to create the negative and positive spaces that make up an image. While many musicians can do this with sound to a point, BELL WITCH’s Dylan Desmond and  Jesse Shreibman have taken it to the next level on there 83 minute single track album Mirror Reaper.

Band Pic

As with past albums BELL WITCH’s Mirror Reaper is a continuation of that which is ghostly. After reading an article about the new Bell Witch album in which Dylan Desmond explained that the track’s theme is about mortality and the experience of dying. Some may want to call this ambient and I suppose you could if you sat down reading a book and used it for background noise. But if you actively listen you will find it easy to picture in your head what is going on for the person on their deathbed.

With a steady mournful riff by Dylan Desmond and slow purposeful beats by  Jesse Shreibman, they sound like a mourner crying and the dying person’s fading heartbeat. When I got to the part were of the song in which Jesse Shreibman stops drumming I found it easy to envision those last moments after the heart stops as I listened to the soft crooning and the soft ghostly bass. Listening to this sort of messed me up as it reminded me of being in the room as my own father died.  While I am certain this album started out being an exercise in thought, I believe  Adrian Guerra’s death made the album a reality for  Dylan Desmond and  Jesse Shreibman that affected the end result leaving BELL WITCH fans with a monolithic masterpiece!

From BELL Witch’s Bandcamp page
“During the writing process we were devastated by the loss of our dear friend and former drummer, Adrian Guerra. In love and respect to his memory, we reserved an important yet brief section in the song for him that features unused vocal tracks from our last album. This specific movement serves as a conceptual turn in the piece, or point of reflection. We believe he would be proud of it as well.” Adrian Guerra (R.I.P.)


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


Iron Monkey “9-13” Album Review + Stream…

Iron Monkey

“9-13” – Vinyl // CD // DD

Relapse Records – Released October 20th, 2017

Reviewed by Terry “The Ancient One” Cuyler

The Simian Rage Has Returned!!

 

Hey all you doom freaks this is The Ancient One and I have just learned of the return of Nottingham, England’s IRON MONKEY. Their original line up was: Justin, Greaves, Johnny Morrow, Jim Rushby, Doug Dalziel, and Steve Watson . Formed in 1994 this band of misanthropes sole purpose in life was to irritate and piss as many people off as they could. Spewing forth an  auditory assault of bellicose, nihilistic vocals IRON MONKEY then fronted by Johnny Morrow was doing a hell of a job. But, like the notorious  G.G. Allin they developed a cult of Misanthropic followers who liked what they were doing and so began IRON MONKEY’s then 3 year recording career that produced 2 albums and a split album with Japan’s Church of Misery.

Rumored by its cult of follower to have been playing when Pantera’s frontman Phil Anselmo had a near fatal heroine overdose the  IRON MONKEY S/T debut album  was first released on the Union Mills label. The release generated a stir that when combined with their insane live performances lead them to being signed on with Earache Records who re-released the album in 1997. Soon after its defection to Earache Records, IRON MONKEY released their  masterpiece of negative rock “Our Problem” in 1998. Then in the following year they released their IRON MONKEY/Church of Misery Split album. Following their split album the band members got involved in side projects and with the death of their unholy vocal terror  Johnny Morrow in 2002 it seemed IRON MONKEY was to be a legend relegated to compilations and box sets that old SLUDGE-CORE / PSYCHO-DOOM fans told the young’uns about. But the Fat Lady hasn’t sang yet.

Rather than call IRON MONKEY a memory,  Steve Watson and Jim Rushby with addition of current Chaos UK drummer Brigga have returned once again, this time on Relapse Records with their album “9-13″. So get yourself ready for this psychotic power trio to unleash their simian rage. While Johnny is no longer on this earth to assault us with his beastly vocals Jim Rushby who has taken up the mantle is a force to be reckoned with. Throughout the 9 original tracks and 48 minute album, Jim Rushby  assaults us with bellicose hate filled  rants as  Steve Watson lays monstrous fuzzed out sludge laden riffs with Brigga pounding out warlike drum beats.

Band Shot

While I had a great time listening to 9-13 it really seems to take off with the album’s 4th track “Toadcrucifier – R.I.P.P.E.R.” It is the point were I start hearing some ass kicking guitar leads to go along with the breakdowns. With Five short verses THE ROPE, NO HOPE, NO HOPE, THE ROPE, THE ROPE… The 7th track “The Rope” is a breakdown that prepares you and flows into “Doomsday Impulse Multiplier”. Listening to this album has truly damaged me!! Listening was like being attacked by a baboon in the throws of a PCP induced rage. Available on Relapse Records  “9-13” is set for release on October 20th, 2017!!

Additional Links:

http://ironmonkey.bandcamp.com/album/9-13

https://youtu.be/5Bc1vnGpu_M?list=PLq6NULtuhFumlE6qykJxcStiDhhYfJzpv

https://youtu.be/L-S-LsLJqIc?list=PLq6NULtuhFumlE6qykJxcStiDhhYfJzpv

https://youtu.be/_JH0os_xukQ?list=PLq6NULtuhFumlE6qykJxcStiDhhYfJzp


Clouds Taste Satanic “The Glitter of Infinite Hell” Album Review + Stream…

Clouds Taste Satanic

The Glitter of Infinite Hell – CD // DD

Self Released – October 31st, 2017 on Helloween!!

Terry “The Ancient One” Cuyler

 

Yum…May I have a second helping?”

                  

Hey everyone this is Terry the Ancient One and I got some more kickin’ Doomaphonica for your Rocktober by  Clouds Taste Satanic. Formed in 2013,  Brooklyn’s instrumental Doom Quartet is made up of bassist Sean Bay, drummer Christy Davis, guitarist Steven Scavuzzo, and guitarist David Weintraub. While pretty close mouthed about themselves on their Facebook Page and just as mysterious in Encyclopedia Metallum, They have managed to amass a small army of followers which I think is due to the fact Clouds Taste Satanic is promoted mainly by their loyal and deeply devoted fans through word of mouth and social media outlets.

While “DOOMED & STONED”  has been quoted as saying “one of the most remarkable and tragically unknown metal bands of our time continues to reach new creative heights.” in their review of latest album by Clouds Taste Satanic.  I must say I disagree on the part about them being tragically unknown. If they are then tell me why I am seeing them all over Facebook’s various metal and doom pages and communities and in the big underground Webazines: Decibel Magazine , CVLT Nation, DOOMED & STONED, Outlaws of the Sun, The Sludgelord , Metal Bandcamp, Sleeping Shaman  and these are just the big ones. DOOMED & STONED, as cool as I think you are I think you’ve smoked a bit much.

Band Logo

Now that I have probably pissed off the Rolling Stone of doom music I will tell you a little about Clouds Taste Satanic latest musical offering  “The Glitter of Infinite Hell.”  Scheduled to be released October 31st, 2017, this 4 song, 74 minute demonic masterpiece of doom backs one hell of a punch. It’s songs fell like an opium dream turned into nightmare. Quite possibly inspired by Old Scratch himself “The Glitter of Infinite Hell” seems to tell the story of Lucifer’s rebellion and fall with the songs Greed, Treachery, Violence, and Wrath.

Opening Track off “The Glitter of Infinite Hell”

The songs feel like an opium dream turned into nightmare. What’s really cool about this album is the songs sound like the titles they are given. Through a brilliant combination of Doom, Sludge, Psychedelic Rock and Stoner riffs; “The Glitter of Infinite Hell’s” tracks manage to convey the meaning of the songs titles. For instance, the opening track ‘Greed’ sounds like a hulking beast lumbering across the land it laid waste filling its maw in a vain attempt to satiate its endless hunger. I could continue about every track but I think you are going to have to listen for yourselves to fully understand.  You now have your soundtrack for Halloween this Year compliments of CTS!!

Break out your headphones for this one boys and ghouls  Clouds Taste Satanic has some amazing ear candy ready for you. In “The Glitter of Infinite Hell.”  If you can’t afford this one, beg your  mom, dad, wife, husband or don’t buy that $6.00 Cup of Coffee for One Day… and spend the $5.00 to get the digital download, or $7.00 for the CD. If that doesn’t work, sell blood, volunteer for an experiment, sell sperm/eggs or you could try to sell your soul to Satan. In the mean time here are some of their past videos and a Bandcamp link to the new album.

Band Pic

Additional Links:
https://www.facebook.com/CloudsTasteSatanic/videos/970541083038312/

https://www.facebook.com/CloudsTasteSatanic/videos/1106859459406473/

https://cloudstastesatanic.bandcamp.com/album/the-glitter-of-infinite-hell

https://www.facebook.com/CloudsTasteSatanic/


Nihilosaur “Hymn & Ruin” Album Review + Stream…

NIHILOSAUR

Hymn & Ruin – Digital Download

Independent – Released July 1, 2017

Reviewed by Mike Hackenschmidt

 

Line Up:
Florian Analfox / Voices, Bass
Felix Geniusfix / Guitars, Samples
Tiwo Meiz / Drums

Review:

From the nether regions of Poland, Nihilosaur return with their 3rd full length album entitled “Hymn & Ruin”. Nihilosaur has a unique sound. I don’t feel that music needs to be categorized but it’s a lot easier to describe a band by their genre. Usually when I don’t know how to classify a band I’ll hit the net and check the usual places. Wikipedia is my go to but Wikipedia never heard of Nihilosaur. My next stop is Encyclopedia Metallum who list Nihilosaur as “Death Metal / Hardcore”. Even the shortest of listens leads me to believe that what they actually meant when they said “Death Metal / Hardcore” was “we don’t know”. Off to Nihilosaur’s Facebook page where they list their Genre as “Hymn and Ruin”…. That’s not a fucking genre. That’s the album title. I assume what they mean when they say their genre is “Hymn and Ruin” is “We don’t care”. I don’t think we can lump them into any category.

With that in mind, I think the best way to describe Nihilosaur’s sound is by conjuring up an image in your mind of the Nihilosaur itself. What would that be? First, the Nihilosaur is ancient & long dead but reanimated, presumably by some toxic waste and a few shots of lightning though no one knows for sure. Some of the Nihilosaur’s flesh was preserved in the tar pits from whence it came while some places the flesh is rotten, even decomposed to the bone. Its movements are slow. Despite having emerged from the pits a decade ago, tar is stuck to the Nihilosaur’s exterior. Flowing like molasses off its body with each movement, despite leaving a trail behind there seems to be no end to the muck. Nihilosaur is large, carnivorous and hungry – but not evil. No. Nihilosaur will devour you with indifference; not malevolence. He’s also horny as fuck.

Let’s see if we can complete the metaphor as we tour through the album. Starting with the cover, the analogy breaks down but let’s ignore that for just a minute. We’ve got a comic book style cover with an upright elephant with multiple arms, its trunk rammed into its gut. I guess it’s eating itself? I’m not really sure. The lettering of the band name looks eerily familiar and I’ll kick myself when I figure out where it’s from. Hopefully you’re reading this and yelling it at your screen, maybe I’ll hear you. Anyway, I have no clue on the significance of the elephant. Maybe it’s some sort of Nihilist symbolism though that’s a complete nonsense thought.

The album opens with a track called “No, No, No”. The heavily distorted guitars start the number, giving us a clue as to what comes next. The drums and bass of join the fray filling out a thick doom sound. Slow, melodic, distorted voices start creating eerie, ancient doom. They soon give way to death voices but quickly return to eerie again. Unfortunately none of the voices are discernible so I have no idea what this song is about. I agreed to review this album based on the band name alone (it’s so clever!!) and was hoping to hear what these guys have to say. The incomprehensible voices are a theme throughout the album. In fact the voices are turned down so they don’t stand out but rather blend in with the music. I suppose this is why the band calls them voices as opposed to vocals. It does suit the sound.

Moving on track to track, we have an atmosphere of thick goo. Imagine your lungs filling with tar. How they achieve such density with a 3 piece is beyond me. I would guess it has something to do with the heavy distortion and the blending of the voices which throughout the album go from eerie to death vocals to deep chants to low rumblings to screams.

Bimp Picture

Song titles like “A Kiss is the Beginning of Cannibalism” and “A Bag of Bones” tell me the Nihilosaur is hungry…or perhaps he was. After all, it’s not a bag of drumsticks, it’s “A Bag of Bones”. Song titles like “Night is My Nudity” and “What Are You Doing After the Orgy?” tell me he’s horny… but then again, if “A Kiss is the Beginning of Cannibalism” then he’s probably planning on working up an appetite during the orgy. Don’t go anywhere alone with the Nihilosaur unless you want to be dinner.

The album closes out with a track called “Reptile Parthenogenesis”. If you’re not aware, parthenogenesis is when an animal impregnates itself. Get ready for there to be many little Nihilosaurs running around having orgies and devouring whatever’s in their path. (Edit note: after writing this paragraph and submitting this review, I woke up in the middle of the night and realized what the elephant is doing to itself on the album cover… a little parthenogenesis action!!!).

Seriously though, it’s hard to take a band seriously when their members have names like Analfox and Geniusfix. I have to assume that they don’t take themselves too seriously either. That’s a trait I think is very admirable in music and musicians. It’s supposed to be fun. Grab a copy of Hymn and Ruin, give it a listen and have a good time.

11999722_10153681440203179_4715115568631966706_o