Elder - Omens

By Calen Henry. Omens’ cover, by long-time Elder artist Adrian Dexter, seems at first blush a curious departure from Reflections of a Floating World or Lore’s fantastic, vibrant landscapes; a simple broken statue wreathed in fog. A closer look at a larger version reveals details of the statue lost in smaller renderings.

By Calen Henry.

Artwork by Adrian Dexter.

Omens’ cover, by long-time Elder artist Adrian Dexter, seems at first blush a curious departure from Reflections of a Floating World or Lore’s fantastic, vibrant landscapes; a simple broken statue wreathed in fog. A closer look at a larger version reveals details of the statue lost in smaller renderings. It’s crumbling and overgrown with moss. Much less of a departure from the rugged, surreal landscapes that formed the focus of earlier albums than it first looks. Still a surreal still life of nature. This time after humanity, rather than before.

The album itself makes a similarly deceptive first impression. Where Reflections of a Floating World and Lore each led with massive riffs (like the one that just started playing in your head), Omens gently unfurls with ethereal keys. It sounds almost like a different band, one unconcerned with immediately grabbing the listener. And why should it be? Elder have nothing to prove. Since 2015 they’ve been deep down a sound rabbit-hole anchored by singer/guitarist Nick DiSalvo’s unique droning riffs and spiraling leads. They are light years ahead of any other stoner rock, a genre in which they only fit by association at this point. On top of that, even within their unique sound they've never made the same record twice. From Dead Roots Stirring each album has moved towards closer towards progressive rock while always maintaining their signature riffing.

After a few listens Omens fits into the Elder catalog. It's easy to hear how the softer elements from The Gold & Silver Sessions blend with the big riffs and circuitous leads. Despite the fit within Elder canon, the approach on Omens isn’t without risk. It’s a much gentler album than any before it. The guitar fuzz is toned back, making the HiWatt amp driven sound even more Pink Floyd-ian, accompanied by keys that are far more prevalent and varied. Reflections of a Floating World flirted with keys, mostly the iconic Mellotron patch “3 violins”, and sometimes slightly awkwardly. Here the keys are woven completely into the compositions giving the album a classic prog rock sound to which the band never fully committed before.

Obviously Omens was recorded before the global pandemic, but this calmer version of Elder is a perfect counterpoint to all the stresses we're coping with. The record ebbs and flows naturally, polishing the harder edges of older releases while still maintaining Elder's almost mystical ability to structure long songs so they feel short and are constantly engaging. It's even mastered more dynamically than before (DR 8), making it a warm, easy-to-listen-to proggy blanket in which to wrap yourself and ride things out. It's the perfect version of Elder for right now.

Lotus Thief - Oresteia

By Justin C. I’ve seen a lot of talk about Lotus Thief being post-metal or post-rock or post-whatever, but let’s get something straight: Their latest, Oresteia, is a rock opera, and a damn good one. Remember The Who’s Tommy or Husker Du’s Zen Arcade?

By Justin C.


I’ve seen a lot of talk about Lotus Thief being post-metal or post-rock or post-whatever, but let’s get something straight: Their latest, Oresteia, is a rock opera, and a damn good one. Remember The Who’s Tommy or Husker Du’s Zen Arcade? Yeah, I know, they all happened before you were born, but that’s what we’re looking at here. A concept record telling a story over its length. Except instead of a deaf and blind pinball wizard, the source material comes from three linked tragedies by Aeschylus: Agamemnon, Libation Bearers, and The Eumenides, a 2500-year-old trilogy of plays known collectively as Oresteia.

Lotus Thief’s self-designated genre of “text metal” might still be the best way to think of them. Having grown from a one-off contribution to a Botanist album, the band has put out three striking albums inspired by and devoted to books. Oresteia is probably the most ambitious in scope and sound. The project has grown into a full-fledged five-member band, helmed by frontwoman Bezaelith and her otherworldly vocals.

Given the plays used as inspiration are Greek tragedies, you can probably guess the general themes. In "Agamemnon", the titular King of Mycenae returns from The Trojan War only to be murdered by his wife, Clytemenstra. Revenge is called for, of course, so in "Libation Bearers", Agamemnon’s son comes back, as ordered by Apollo, and commits matricide. His son then flees, pursued by "The Furies", seeking justice for his act of...seeking justice.

The music itself walks right up to an intersection of artful rock and musical theater, of all things. Just a step or two further, and Lotus Thief might have gone over the top for my own tastes, but they walk the line between the nerdy sincerity of musical theater and a more natural expression of feeling that you’d expect from such a skilled rock/metal band. Tension builds and flows with the plot of the plays, but even if you knew nothing about them, the vocal and instrumental performances are top flight. There are no searing displays of technicality, but it’s not that kind of music--this is music based on superior songwriting and flawless execution. The interludes between the songs that represent the plays set the appropriate moods (“Banishment”, “Woe”, and “Reverence”) flawlessly, cementing the show-stopper pieces together seamlessly.

And those vocals. Way back in 2014, I was listening to Rervm while recovering from surgery. I missed the release date of Oresteia. because this time my fuzzy buddy, Marshall the Cat, was having surgery while I simultaneously suffered from a turn-your-body-inside-out stomach virus. It’s bad luck, but it’s hard to think of a voice I’d rather have in my ears at these lower times. Bezaelith croons, soars, and even snarls with a little 70s rock swagger in "Libation Bearers". Some may find the harsh vocals too few and far between, but they act as perfect counterpoint to the rest of the bravura performance.

Will some find this all a little too much? Too dramatic, too literary? Sure, maybe. But it’s their loss. If Lotus Thief decides that their next album will be an ode to the phone book or the source code for Microsoft Windows, I’ll be listening.

Irata - Tower

By Matt Hinch. Apparently Irata has been around since 2007 but I've never come across their name until now. Also, from what I hear, they've gone through some evolution through math-y and fusion realms to reach the point they're at now. While it would be interesting to dig into those

By Matt Hinch.

Watercolor by Santos.

Apparently Irata has been around since 2007 but I've never come across their name until now. Also, from what I hear, they've gone through some evolution through math-y and fusion realms to reach the point they're at now. While it would be interesting to dig into those formative albums preceding this monster 2019 offering, Tower there's enough right here to keep you entertained. If I had to play my hand early on what Tower is all about I'd say "immersive heavy rock fused together with a slight 90s alternative vibe, pop sensibilities, and a tendency toward progressiveness kept in check by a thunderous foundation."

What does that mean? It means Jon Case (bass/vocals), Jason Ward (drums/vocals/synth) and guitarists Cheryl Manner and Owen Burd gather together a variety of styles and feelings, molding them into one of 2019's brightest shining gems.

The title track gets things started with a chugging force meeting bright slices of light (more on that later) shaded by the accessibility of a band like Torche, vocally at least. This song is relatively short. The themes and general feeling are further expanded upon throughout the album. The key word here is "feeling". Irata make you FEEL the whole time. "Waking Eye" is a good example. The chorus gets right into your soul, screaming guitars bite into a swirl of motion amid proggy riffs, and you're taken home by a controlled freakout at the end. The instrumental portion, something Irata does very well, comes with full spectrum dynamics and an enveloping and penetrating essence. A soothing bassline anchors melodic vocals and guitars during one of the album's quieter moments and gives it a somewhat Tool-like impression. That's not the only time Tool comes to mind either. Also, sometimes you could lift a riff from this and plop it into a Mastodon song and it would fit right in. The surrounding parts give Irata their own identity though.

"Crawl to Corners" really plays into the feeling of light with the guitars. There's a sense or a vision of light filtering through a canopy of trees and clouds, or sparkling upon moving water. It feels like life and growth, a counter to the mournful trumpet that opens the track. However, when they move into crushing mode the darkness comes swiftly.

Closer "Constellations" features those smooth vocals (quite common throughout), sweet bass and incredible groove. It captures a sense of space. Not just the space with the stars but openness and size. The opposite of oppressing even when they hammer the listener with a concentrated attack. It also feels like being thrust forward with all things passing by in a blur but the impressions left and clear and welcome.

Overall the album feels very put together. There's an effortless technicality in the way the guitars weave together on different paths which makes them hit that much harder when everyone comes together. I'm sure there was plenty of effort involved but it flows so well that the listener at least doesn't have to try hard to enjoy it.

It's a beautiful album. "Weightless" is my favourite example. It's 4:20 long and that was probably what time it was when I first heard it if you take my meaning. Vocals soar over crunchy riffs while taking you to the clouds. The whole song makes you feel alive and weightless indeed. It is, as stated on the track, "...so beautiful. So goddamn beautiful!"

Tower is simply captivating. Irata manage to bring a heaviness together with beauty, catchiness, and emotion in a way that feels transcendent. It lifts the listener up, puts them through a range of emotions and leaves them to experience the album from their own angle. I've found myself spellbound and on the verge of overwhelmed. It's a powerful album that leaves a varied and deeply satisfying impression. You won't be disappointed.

Russian Circles - Blood Year

By Justin C. When I reviewed Russian Circles’s last album, Guidance, I noted that there seems to be a certain obsession with the band’s heaviness, with each new album cycle prompting folks to declare that the instrumental trio is at their “heaviest yet.”

By Justin C.


When I reviewed Russian Circles’s last album, Guidance, I noted that there seems to be a certain obsession with the band’s heaviness, with each new album cycle prompting folks to declare that the instrumental trio is at their “heaviest yet.” The fact that I see statements like this referring to every album makes me think a lot of people are missing the point. In fact, here’s my HOT TAKE: By most measures, I’d say the heaviness quotient* of any given Russian Circles album, including their newest, Blood Year, is pretty close to their baseline level of heaviness.

How closely Russian Circles adheres to metal adjacency might be a way to help clarify their genre, but in reality, the band’s a bit more subtle than that. The basic elements of their style are rock and metal based, and for sure, there are always some truly crunchy moments on their albums. On Blood Year, “Milano” ebbs and flows with some doomy/sludgy flavor, and album closer “Quartered” is pretty much fire from beginning to end. But that said, you need to listen a little more deeply to understand their magic.

I said that Guidance had some of their most delicate work, and going back further, Memorial saw the band pushing their limits even further, going so far as to include guest vocals from Chelsea Wolfe. Compared to those two albums, Blood Year is one of their leaner, more muscular albums. To my ear, they’re working more with their basic elements than on other recent records. It’s heavy in its own way, but it doesn’t lack the nuance that they always bring to their work. “Kohokia,” for example, plays with subtle shifts between light and dark, leaving you unsure as to whether you’re being uplifted or weighed down. And “Ghost on High” is another short gem that the band seems so good at--a fleeting interlude with an almost Baroque feel.

Is Blood Year a game changer for the band? Not really, but on the other hand, it doesn’t need to be. Thirteen years after their first album, Russian Circles remain as beguiling as ever, and they remain the standard bearer for how to do instrumental rock/metal.

*Most of our sophisticated readers of course know that the heaviness quotient is calculated thusly:

Helms Alee - Noctiluca

By Justin C. I stumbled across Helms Alee just one album ago, with 2016’s Stillicide, so I can’t pretend to be intimate with their entire career arc. I’ve seen them described as sludge, psychedelia, and grunge, but I think all of those are off the mark

By Justin C.


I stumbled across Helms Alee just one album ago, with 2016’s Stillicide, so I can’t pretend to be intimate with their entire career arc. I’ve seen them described as sludge, psychedelia, and grunge, but I think all of those are off the mark, especially when talking about their new album, Noctiluca.

I’ve been listening to the promo for this album compulsively. Helms Alee might be metal adjacent at this point, but they manage to mix heavy with charm in a way that have made a recent car accident and injury on top of moving to a new house somewhat bearable. Songs like “Be Rad Tomorrow” have a propulsive, infectious energy. The riff and rhythm are relatively simple, but they’re a great example of doing a lot with a little. Add the combination of both lilting and driving vocals on top in the chorus, and you’ll want to drive down a sun-baked road 100 mph while listening to it.

This particular track also shows off one of the band’s greatest strengths: all three members make strong vocal contributions. Ben Verellen primarily supplies a style I like to call “hollering” next to Dana James’s and Hozoji Matheson-Margullis’s cleans, be they ethereal or driving. The combinations and harmonies brought all kinds of bands to mind, including Kylesa and The Breeders, but that’s more of a “for fans of…” list than anything else.

Helms Alee also manage that rarified achievement of mixing different levels of heavy, light, and trippy while always sounding like the same band. “Play Dead” wanders into early-Baroness territory of heavy rock/metal with interludes of bewitching harmonies, but “Lay Waste, Child” wouldn’t be out of place on the soundtrack of Apocalypse Now. There’s nothing jarring about the transitions, though. This might not be the kind of bruising music that we typically cover here, but Helms Alee have made a cohesive, compelling album out of disparate sounds, and in doing so, they make a compelling argument against anyone who says that rock is dead.

Grayceon - IV

By Justin C. Grayceon, at full tilt, sounds like the work of at least seven people, but in reality, they're a trio. Drums, guitar, and cello. There are other metal bands out there that use violin or cello, but for my money, none of them makes it sound as

By Justin C.

Artwork by Pelham Houchin III.

Grayceon, at full tilt, sounds like the work of at least seven people, but in reality, they're a trio. Drums, guitar, and cello. There are other metal bands out there that use violin or cello, but for my money, none of them makes it sound as seamless as Grayceon does. They do this not by burying the cello in the mix, using it sparingly, or treating it like a guitar or bass replacement. It's always present, fully integrated, regardless of whether it's carrying a melody line or working as rhythm.

You'll see the band described vaguely as "progressive," but as in many cases, that's just for lack of a better description. On their newest, IV, the slithery guitar riff that opens the album in "Sliver Moon" does have a proggy feel, but it's meaty and catchy in a way that a lot of so-called "progressive" metal doesn't touch. "Scorpion" goes for a more straight-ahead rock/doom feel. The lyrics, "She waits like a scorpion, finding the perfect time to strike" might not be the most original metaphor, but Jackie Perez-Gratz's soaring, harmonized clean vocals elevate the line. The whole song puts me pleasantly in mind of classic Heart, if not exactly in sound then definitely in spirit.

Perez-Gratz doesn't just stick with clean vocals, either. "Let it Go," which in lesser hands might be a cheesy ballad, is energized by her vicious screams of "LET GO!" competing with the chorus. Contrasted with the cleanly sung "When you find the one you love, don't let go," it's a bit of a mixed message in terms of dating advice, but it's very effective music. The contrast, plus the lovely melody and pure earnestness is hard to resist.

If I had one nit to pick--and it's a small one--it's that the band occasionally adds what I'll call "codas" to songs that don't really need them or don't have the length to support. I feel like "Scorpion" wants to be a straight-ahead, straight-to-the-point rocker, but one can be tricked (as I was) into thinking the band has moved on to another song when it ends with a slower movement, and "Sliver Moon" uses a similar structure. The musicianship is nothing short of stellar in the main parts of the songs and the codas, but they feel just a touch disjointed in songs that are only around the four-minute mark.

That said, I can't imagine anyone who liked their previous work not liking this album. Though no huge departure from All We Destroy, IV gently incorporates some of the changes found on Pearl and the End of Days. There's a refinement and a polishing you can only get with talented musicians collaborating for well over a decade. They've been a bit quiet for a while--this is their first new material in 5 years--but even on first listen of the promo, I was immediately sucked back in by their charms.

Sólstafir – Berdreyminn

By Hera Vidal. Sólstafir is one of those bands that grows on you, especially when you look past their earlier material and realize how much they have changed since their inception. They may have started as a black metal band

By Hera Vidal.

Cover art by Adam Burke.

Sólstafir is one of those bands that grows on you, especially when you look past their earlier material and realize how much they have changed since their inception. They may have started as a black metal band, but, over time, they have moved towards a more accessible post-metal sound, with softer rock influences. However, there is a deep, emotional well behind the music and the lyrics, and the atmosphere Sólstafir creates is one of the most immersive a listener can get into. After all, what better way to explore the various facets of your musical experimentation than by building on what has already been done?

In the beginning, Berdreyminn (Icelandic for “dreamer”) sounds like the sonic landscape their previous release, Ótta, had created. It’s soft, almost like a lullaby, and it’s filled with a presence that you can feel. The softer rock influences take center stage on the album, complementing the vocals, almost lifting them. It creates a sense of calm that stays with you throughout the album, even as it ends and begins again. Although the metal is there – in the emotional vocals that seem to reverb throughout the album – the most prominent aspect of the album are the instruments. If there one thing Sólstafir can do well, it’s layering their music to where it’s most effective.

Everything about Berdryminn is polished and emotional; there are no notes out of place, nothing unexpected that the listener has to worry about. Given that the musicality and the instrumentation of Berdreyminn is excellent, it should come as no surprise that the vocals have taken a backseat. The music has created this atmosphere that you don’t want to come out of, and the vocals, with their almost hypnotic timbre and quality, reinforces this comfort. Berdreyminn could have been a second Ótta, with its instrumental quality and vocals, but it’s not Ótta – it’s a different sound altogether, and one that stays with you long after it’s over.

Despite the brilliance of the music and vocals, the quality of its sound, and the dream-like nature of the atmosphere, Berdreyminn does have the unfortunate chance of becoming stale rather quickly if one is not paying attention. There aren’t many things that makes this album interesting the first time around; to catch the subtleties, you need to listen to the album numerous times. It’s simple to gloss over Berdreyminn, especially when the pacing is odd and the atmosphere stays the same throughout the album. However, Berdreyminn does have the saving grace of having different parts a listener can focus on during each spin or listen.

All in all, Berdreyminn is a fantastic transition from their old material. I am excited to hear where the band goes with their new sound and I hope that, wherever they go, they continue to make stellar music.

Ordos - House of the Dead

By Calen Henry. Based on the spooky cover art, a foreboding mansion in front of a blood moon, issuing a river of lava, Ordos’ House of the Dead looks like it could house almost any metal sound. Thankfully Ordos sound like groovier Monolord meets Beastwars with a dash of Ghost. Trust Sweden, the land of Monolord, Salem's Pot, and Vokonis to deliver your stoner doom.

By Calen Henry.


Based on the spooky cover art, a foreboding mansion in front of a blood moon, issuing a river of lava, Ordos’ House of the Dead looks like it could house almost any metal sound. Thankfully Ordos sound like groovier Monolord meets Beastwars with a dash of Ghost. Trust Sweden, the land of Monolord, Salem's Pot, and Vokonis to deliver your stoner doom.

Firmly rooted in riff worship though they are, Ordos' greatest strength is variety. Stoner doom lives and dies by the riff, but can often simply be a band murdering said riff with the fuzz turned up to 11, like Sabbath from hell. It takes a special band (Monolord) to make that no frills approach work long term. Ordos have the riffs and the chops for it but they're thankfully not happy with just killer riffs.

It's almost like they came up with the aesthetic for the group then crammed in whatever music they thought was necessary to make it awesome. House of the Dead is, unsurprisingly steeped in the occult with tracks like "Satan Venit" and "The Witch" and, musically, everything supports the spooky vibe they've got going on.

The vocals are of particular note and range from throat singing through spooky horror movie narration, Matt Pike/Hyde inspired howls, and straightforward bluesey singing. Metal vocals sometimes come off as an afterthought, simply added because that’s what you do to complete your band. Ordos’ excellent vocalist forms an integral part of the sound and helps elevate them to something really special.

The instruments complements the vocal changes extremely well morphing effortlessly from thundering grooves into smooth extended leads. The riffs and rhythms are particularly excellent. They never stray too far from stoner doom expectations but never fall into total Sleep worship.

The magic is that it all holds together and never meanders. The relatively short 42 minute runtime helps that too. I'm telling you now, Ordos are the next Monolord. They're going to be big. Get this album.

Angela Martyr - The November Harvest

By Justin C. When I see band with a "for fans of" list that includes Godflesh, Slowdive, and Alice in Chains, I really have no choice but to check it out. That's how Angela Martyr's debut, The November Harvest, was described in promo materials. I'll give you my bias up front: Alice in Chains is probably one of my favorite bands, so this review will no doubt be colored by that fact

By Justin C.


When I see band with a "for fans of" list that includes Godflesh, Slowdive, and Alice in Chains, I really have no choice but to check it out. That's how Angela Martyr's debut, The November Harvest, was described in promo materials. I'll give you my bias up front: Alice in Chains is probably one of my favorite bands, so this review will no doubt be colored by that fact. Most bands trying to pull off that influence would get a stern talking to from me when they failed to do AIC justice, but I'm happy to report that Angela doesn't have to get a tongue lashing.

Morgan Bellini is the main man behind Angela Martyr, but listening to his previous project, Vanessa Van Basten (see here and here, for example), will do very little to give you a sense of Angela Martyr. As far as the "for fans of..." statement goes, it's actually a decent summing up, if a bit reductive. The vocals immediately call Layne Staley to mind. Check out "Georgina," for example, and tell me there's not a hefty dose of Alice in Chains, both vocally and musically there. There are plenty of other spots where their unmistakable sound is an influence, but luckily, Angela Martyr isn't just a retread.

I'm not sure about the Godflesh part of the description--I probably would have cited Jesu instead, as the music tends to have that glacially heavy undertow of Justin Broadrick's early Jesu work--but reasonable people can disagree about which Broadrick project they hear the most. If forced to be mathematical about it, I probably would write the equation AIC + Jesu = Angela Martyr, but as I hinted at before, bands that can be that easily reduced aren't usually very interesting ones, and Angela Martyr is deceptively complex.

Mood-wise, The November Harvest carries you along on a wave of Alice in Chains-style darkness, but without delving into the utter bleakness that band often conjured. Melancholy, and maybe a bit druggy at times, sure, but the bottom never really drops out. The electronic instrumentation--call it Jesu influenced or Slowdive shoegazy or some combination of both--helps buoy the sound as well, giving the whole thing an almost-poppy feel at times. I think the combination of those two elements is what makes this such an engaging listen, rather than something that could have easily just become a grunge throwback. There's not a huge variety over the tracks, but letting it wash over you as a single musical statement isn't a bad way at all to spend 47 minutes.

The 13-plus-minute closer and title track is a bit of an odd duck. It more or follows what's come before, with the exception of a long interlude in the middle that kind of sounds like...slow carousel music? The soundtrack to fairies cavorting in the woods? On first listen, I confess, I kind of hated it, but I sort of learned to surrender to it on repeat listens. Intellectually, I can't really tell you what it's doing there or why, but it's an interesting twist in an album otherwise so consistent.

So what would my "for fans of" statement for this album read? I kind of hate those because they're usually a disappointment, but if you're looking for something that conjures that psychedelic but still metal sound--a place Alice in Chains dwelt--but without trying to be as crushing and dissonant as the music we usually review here, you'd do well to check Angela Martyr out.

Lantlôs - Melting Sun

By Sean Golyer. Uninteresting. Slow. Samey. All words that ran through my mind upon first listen years back, and subsequent listens. I didn’t think much of it back then and sorta wrote it off as a weird little experiment from the band post-Neige, but nothing more. Cherry Quartz had some cool moments, though. I did like that track. I gave it some more listens.

By Sean Golyer.

Artwork by Pascal Hauer.

Uninteresting. Slow. Samey. All words that ran through my mind upon first listen years back, and subsequent listens. I didn’t think much of it back then and sorta wrote it off as a weird little experiment from the band post-Neige, but nothing more.

Cherry Quartz had some cool moments, though.
I did like that track. I gave it some more listens.

Well, I guess Azure Chimes is pretty neat too.
Yet more listens.

Damn, Aquamarine Towers has a really great climax and a pretty catchy line.
Before I knew it, I was giving this album a spin on (at least) a weekly basis for months on end. That continues to this day.

One thing the album always had going for it was its sound. It’s so warm, pleasing, and inviting on just about any set of speakers or headphones I put it through. Not to mention it’s not quite like anything else I have heard before or since, particularly in the context of the type of music Lantlos is writing. There’s moments where the guitar tone has a very “scooped”, almost “djent” sound to it, but not always. This is usually a turn-off for me, but used here it seems pleasant and fitting. The bass sits very nicely and prominently under the guitars, adding further layers of warm distortion. Accenting them are some distorted bass synths that crop up from time to time. The vocals are awash in reverb, but not buried to the point that I can’t understand them. The drum-work rounds everything out, being subtle and just carrying the rhythm and adding cymbal washes when needed, or being the driving force behind the heavier moments on the album.

Photos by Webzine Chuul.

The use of space and atmosphere in the mix is other-worldly. “Ethereal” is an adjective I like to use when describing this album to others. While other related bands in a similar vein such as Alcest or Les Discrets often feel like they’re chasing the sound of childhood nostalgia, bittersweet memories, or just plain melancholy, Melting Sun transports you to another space and time altogether. A saccharine heaven, filled with unending rays of pure, golden sunlight reflecting and refracting against a sea of multi-colored crystalline mountains. A place to depart and reflect on the better parts of your once earthly existence. This is the ultimate escapist album and has a nostalgia all its own when the final moments of closer “Golden Mind” wash over you.

That’s not to say all this “feel good” atmosphere comes without heaviness. To the contrary, the masterful use of space and timing only serves to make the heavier and more energetic movements that much more explosive and massive. If you’re any level of a guitar tone-head, or like me just really enjoy the sound of well-crafted mixes, this album is nothing short of a marvel. A wide variety of clean and distorted timbres and textures are on display at any given time. Nary a sound ever comes across as “thin”, “muddy”, or out of place. Nor does it sound too clean or overproduced, it’s all very organic. A testament to a careful and well thought out recording and mixing process, most of which seems to have been done in-house with the band. Impressive.

Melting Sun is a gorgeous album waiting to reward the patient listener. Its hooks are subtle, but they’re certainly there. It proudly sits among some of my favorite albums of all time, or at the very least one of my most listened to. There’s a sort of unspeakable quality to both the atmospheric songwriting and the huge mix that makes it difficult for me to put into words even after over 2 years of listening to it regularly. If you wrote this one off early on as I once did, I highly recommend giving it another spin. There’s more depth here than what it initially lets on, it just takes a willing listener to take the dive as I have.

Short and to the point 5

By Aaron Sullivan. Unless you’ve been living under a rock you may have noticed a huge influx of Black Metal bands out of Iceland recently. Bands like Svartidauði, Sinmara, Misþyrming, and Zhrine. But to be honest

By Aaron Sullivan.


Unless you’ve been living under a rock you may have noticed a huge influx of Black Metal bands out of Iceland recently. Bands like Svartidauði, Sinmara, Misþyrming, and Zhrine. But to be honest, none have really done much for me. With the exception of one, Ljáin. Jef Whitehead (Leviathan, Lurker of Chalice) posted them on his Instagram, and if he’s promoting them then who am I not to check it out. Glad I did.

The two albums are atmospheric and raw at the same time. Vocal deep in the mix adding the cacophony of it all. Shifting rhythms keeping things from getting stale. Reminds me of a less chaotic Skaphe (who is half Icelandic themselves). How these guys have not been signed yet is a mystery to me. So check them out before they are so you can say, “I knew them before they were signed to <label name here>”.

Artwork Daniel Obzejta

Out of my scene here in L.A. comes Wovoka and their album Saros. How would I describe this band you ask? Well imagine if you will Neurosis and YOB making sweet sweet love. Go on, do it. Good. Now the love child produced by that love making would undoubtedly be Wovoka. The atmosphere and vocals of Neurosis combined with the riffs and sheer towering tone of YOB. First time seeing them live was like being run over by a herd of slow moving elephants. Their sound fills your ears to maximum capacity. Glacial in movement and in weight.

From the windy city comes the artist J.R. Robinson. He is the mastermind behind the band Wrekmeister Harmonies. When it started it out the band was more of a collective. J.R. being the main guy and with each album bringing in a slew of artist from the Chicago scene and elsewhere. Names like Sanford Parker, Jef Whitehead, Bruce Lamont, Marissa Nadler, and many others. The songs, like on my favorite album of his You've Always Meant So Much to Me, were sprawling 30 minute plus slow burns of jammy rock ambience rising and rising until a giant crescendo. Combining elements of DOOM, and experimentation, post-rock, and drone. Like a darker Godspeed You! Black Emperor. He expanded upon this for the next two albums. But with his latest Light Falls, some things have changed.

For one he has a permanent band mate in the multi-instrumentalist Esther Shaw. Two, no more 30 minute plus songs. The album contains seven songs that are no doubt connected (as evidenced by the title track broken into three pieces) but can also stand alone. Having been fortunate to have seen him live several times I get the feeling it was these live shows that may have informed this albums shorter song lengths. They have a real live feel to them. But then what do I know. Maybe the man just needed a change. Either way this is still a worthy addition to an already great catalogue of music.

Wreck and Reference. A band that recently was listed in an article on Invisible Oranges titled, 10 of the Heaviest Modern Bands Without Guitars, I would agree. I first heard them on their second album Want. I was struck immediately. To be that heavy in mood, to be that aggressive vocally, drumming with such power, and while not a metal band, sure feeling like one.

Their evolving catalogue is well documented on this site. With their new album, Indifferent Rivers Romance End, the mood is still heavy but the music, not as much. Softer in tone perhaps but not in message. This album feels more open allowing the layers to be heard more. I know the word “mature” is sometimes seen as a bad word for some. But I think it describes this album well. They have honed their anger and depression. So instead of firing a shotgun that spreads their sadness anywhere and everywhere. They instead use a heat seeking missile to annihilate their intended target. Who ever that poor unfortunate person may be, even if it's pointed at the band themselves.

Last, but certainly not least, another band from my Los Angeles scene is Skyeater. Made up of former musicians of Crowhurst (they were on the self-titled album) and now going about it on their own. But don’t expect that type of Black Metal, this is atmospheric and ritualistic. They combine the atmosphere of Lluvia and the ritualistic feel of Merkaba. The drumming is top notch. The thing I dig the most is they have three vocalist with three distinctive vocal styles. One a guttural black metal style, another almost depressive suicidal, and the other black metal style with just a hint on hardcore style in it. Don’t think the rawness is only a result of this being a demo. It translates to the live sound also.

They are currently in the process of recording their full length at Earhammer Studios with Greg Wilkinson (Asunder, Lycus, Fórn) at the helm. To be released next year on Baneful Genesis Records.

Planes Mistaken for Stars - Mercy & Prey

By Justin C. Sometime in the early 2000s, I was seduced by a deal from rock/punk/indie label Deep Elm Music. Give them $30, and they'd send you 30 CDs, but the catch was that you couldn't choose which 30. While I'm sure I got $30 worth of listening enjoyment out of the whole wad of CDs I received

By Justin C.

Sometime in the early 2000s, I was seduced by a deal from rock/punk/indie label Deep Elm Music. Give them $30, and they'd send you 30 CDs, but the catch was that you couldn't choose which 30. While I'm sure I got $30 worth of listening enjoyment out of the whole wad of CDs I received, I know only one CD actually survived in my collection to this day: the self-titled debut of Planes Mistaken for Stars. Vocalist/guitarist Gared O'Donnell's voice is the hook that pulled me in. Call it sandpapery or gravelly or even Rod Stewart with a hefty dose of MEAN added in, but it's raw and unmistakable.


I've seen the band itself tagged with all manner of genre labels, from "indie rock" (fair, but not descriptive) to "screamo" (not really) to "emocore" (I don't even know what that is), but maybe we can make that simpler: let's just call it good old-fashioned, gut-punch hard rock. I think that works for what is arguably their best album, Mercy, which came out in 2006. Their label folded shortly after the album came out, denying this masterpiece the promotion it surely deserved, and Planes disbanded shortly thereafter.

For 10 years, Mercy has been a mainstay in my rotation. The riffs, the rock-solid rhythm, and that voice. The album opener, "One Fucked Pony," starts with a far off-sounding guitar before the main riff kicks in, so propulsive that it sounds like it's trying to outrun itself. The first line of vocals, "Here lies pestilence feeding on the flesh of our discontent", gives you a pretty good idea of the mood of the album, and it's PISSED. "One Fucked Pony" heads straight into "Crooked Mile," with another chunky riff and the vocals, "We beat west / It beat us back". If this album were a character, I'd say it's a brawler, but one who's on the verge of losing the fight, whether it be to a couple of loudmouth jerks at the bar or life in general. But losing or not, he's sure as hell going to take a piece of his enemy with him when he goes down.

Mercy rarely lets up in intensity; most of it makes me feel like running around and lighting things on fire. "To Spit a Sparrow" offers the tiniest reprieve in its opener before an angular riff and almost-painful-sounding vocals take over. The title track does the same, but it's not until the closer, "Penitence," that the band gets quiet, although the recitation of sins in the lyrics offers little emotional respite. I never tire of this album; some days I know are just going to be "One Fucked Pony" days, and I need to hear it. So when I found out Deathwish was re-releasing it as prelude to the band's first new music in 10 years, I was pretty psyched. The question, of course, is how could the new one possibly stand up to the band's peak album?

The answer is slightly tricky. On first listen, Prey didn't draw me in like Misery did. "Dementia Americana," which as a phrase is as good a description of the current political climate in the U.S. as any, seems to start the album in mid-song, with a bit of aural chaos and the repeated bellow, "Taker / You faker / Motherfucker / Who the fuck are you?" It’s like being thrown into the middle of an argument that started before you arrived, but maybe this in medias res opener makes sense for a band that was interrupted for 10 years.

Still, I wasn't sure this album was for me. Bands and people grow apart, and I thought that might be the case here. But over the course of many listens, I realized I had to let this album grow on me, or as a critic once said about Tomorrow the Green Grass by The Jayhawks, "These songs wanna crawl into your closet and live with you till next fall." If Mercy was the brawler, maybe Prey is the same guy 10 years along. Still fighting, but with a few more scars and maybe a little more perspective.

The shift announces itself almost immediately, in the second song, "Till It Clicks." The guitar is quiet and eerie, and those raspy vocals stay low to match. But near the two-minute mark, we get a quick blast of that old fire. "Clean Up Mean" follows a similar path, with low-down menace at the start, ratcheting up to the chorus of "I don't wanna love you no more". "Black Rabbit" goes the stripped-down route, sticking to dissonant acoustic guitar, piano, and electric organ.

That's not to say the band is all slow and no go. "Riot Season" is pretty much exactly what the title says--a propulsive punk track made deeper by some excellent moody bits. It's an unsubtle statement on the current political climate, as O'Donnell said in an interview with CLRVYNT, "It’s a scary time; it’s a time where we’re on the cusp of, 'holy shit, this could go tits up any second,' you know? That’s where we are right now. I wasn’t shying away. 'Riot Season' is called 'Riot Season' for a reason. That’s not coded."

So Prey has plenty of piss and vinegar, even if it isn't the non-stop freight train that Mercy was, but you know what? That's O.K. There's no great template for aging rockers. For every rock or metal band that manages to stay relevant past their initial burst of youthful creativity (like Bowie), there are 100 that utterly fail to age gracefully (like Metallica). There's plenty of fight here, and if this is Planes Mistaken for Stars getting a little older, than I'm happy to go along with them.

Russian Circles - Guidance

By Justin C. Russian Circles is now 10 years into their career, with six full lengths. An instrumental trio with just guitar, bass, drums, and the very occasional guest vocal appearance. So how do they manage to keep their sound so distinctly

By Justin C.


Russian Circles is now 10 years into their career, with six full lengths. An instrumental trio with just guitar, bass, drums, and the very occasional guest vocal appearance. So how do they manage to keep their sound so distinctly their own without making the same album over and over again? Is it just pure musical goodness? Yes, I'm going to go with that.

Guidance is an interesting choice for an album title, given that the cover art is a photo of a man being led to his own execution. Bassist Brian Cook's husband was given an envelope with a series of photos, with no explanation other than the enigmatic line, "I thought you should have these." We don't know if the man is a good guy or a bad guy, a political prisoner or a murderer, but it's hard not to hear a sense of defiance in this record after seeing that image of a man with his head held high, walking to his death.

I did a little more reading about this album than I usually do, but I found it interesting that Pitchfork's take was of a "more bad-ass Russian Circles" on this album, when my initial reaction was that it had some of their most delicate work to date on it. But in reality, it has both. The band has always been masters of dynamics. They don't pound you over the head with exhausting LOUDsoftLOUDsoft grinds like some bands in this genre do (*cough* Explosions in the Sky *cough*). Their swells and fades are well earned and well composed.

Photos by Caroline Harrison.

The first four tracks of Guidance merit special attention. They appear to be parts of one musical whole--there's no break between songs until the fifth track--so one's left to wonder if they're telling a story about the man on the cover, or something else entirely. All I know is that those tracks take me somewhere, and it's a place I want to stay. "Asa" is the delicate opener, with a faint tremolo riding over a simple but very effective plucked figure. At times, it put me in mind of Zeppelin's solo guitar works like "Black Mountain Side" or "Bron-Yr-Aur." Before you know it, though, the drums roll in like a thunderstorm and a sweeping riff comes in with "Vorel." "Mota" brings that defiant feeling again, with a very tasty staccato riff and a great moment when the bass steps out, loud and buzzing. "Afrika" rounds out this four-movement tour with cascades of sound and piercing melodies, giving you all the feels you need.

The rest of the tracks deserve this kind of attention, too, whether it's the abrasive dissonance in "Calla" or the doomy intro to "Lisboa," but song-by-song reviews can get tedious. So the bottom line: even if you think you're not a fan of instrumental music, or you have "all you need" with some of their contemporaries, just go buy this. Then listen. Then repeat with all their other albums.

Desert Storm - Omniscient

By Ulla Roschat. Omniscient is about 50 minutes and ten songs of a blues infused southern stoner rock with a definite psychedelic vibe, touching metal territory, especially with the vocals, and spiced with funky jazzy elements as well as with calm acoustic parts. It’s also the 3rd full length album of NOLA based … wait, no … Oxford, it’s Oxford UK they come from… all right

By Ulla Roschat.


Omniscient is about 50 minutes and ten songs of a blues infused southern stoner rock with a definite psychedelic vibe, touching metal territory, especially with the vocals, and spiced with funky jazzy elements as well as with calm acoustic parts. It’s also the 3rd full length album of NOLA based … wait, no … Oxford, it’s Oxford UK they come from… all right, Oxford based five piece rock/metal band Desert Storm.

The opening song "Outlander" is a fast paced blues laden groovy stoner track. With this track the band comes strutting into a dark dive bar, like a genie released from the bottle, blaring boldly: "We are Desert Storm and we are going to set this place ablaze!". With this magic spell the bar comes to life…. there’s drinking, joking and shouting, stories are being told, with passion and emotion.

Each of the following songs is like a different aspect of what is going on in the bar, each of a distinct character with a measured intricacy, surprising moments and twists, but they are complected, with intertwining textures, magically bound together by a secret formula that is only effective within the walls of this bar.

While the first songs are all dominated by a groovy stoner vibe that is slowly sliding into a dark heavy swamp atmosphere, the 5th song "Home" is a kind of break, a hauntingly beautiful, dark, bluesy folk tune with clean vocals. From here the songs take on more of the jazzy, funky, boogie attitude, without ever letting go of the southern boozy swamp feel.

With the last song "Collapse of the Bison Lung" the genie struts out of the bar as bold as he came in, stomping and raging with one last crushing blast to make sure the destruction is complete and the magic goes up in smoke.

Open the genie’s bottle, or simply push the play button for Omniscient and Desert Storm will take you to the magic bar with their intoxicating homemade spice blend of bluesy, funky, psychedelic and dark folky tunes they use to create their unique style of southern downtuned heaviness.

The song "Home" is featured on The Wicked Lady Show 83

Ladder Devils - Clean Hands

By Matt Hinch. Trying to find a starting point to talk about Clean Hands, the first proper full length from Philly's Ladder Devils is not an easy thing. Because it's just so damn fun to listen to.

By Matt Hinch.


Trying to find a starting point to talk about Clean Hands, the first proper full length from Philly's Ladder Devils is not an easy thing. Because it's just so damn fun to listen to. And try as I might there's a similarity to a band I just can't put my finger on despite the list of names I'll drop later and it's gnawing at me.

The easiest place to start I suppose would be that these boys make a lot of noise. Taking a template of post-hardcore and noise rock, they inject a fierce energy and enthusiasm. This is most apparent in how there is rarely just one voice doing the singing. Similar to early Kylesa but that's still not the reference I feel.

On tracks like “Nameless, Faceless” you can get a feel like you'd get from Cancer Bats. A spitting vengeance over cascading noisy melodies and gnarly low end with guitar-swinging hardcore recklessness. That moves into “Feeling is Natural” which showcases their grungier influences, in particular Local H, at least vocally (also on “Eyes of the Mundane”). It also contains some of their nastier downstroke power.

Throughout, Ladder Devils move with a punk swagger and bounce married up tightly with infectious riffs, vocals and energy. That game plan makes the sad carnivalesque “Land of Beauty” stand out with its slower cadence and piano touches.

That they've done splits with Kowloon Walled City and Fight Amp makes perfect sense as they too bring a thunderous low end and gnarly tone to the dissonance, noise and sweaty attitude.

The sonic vistas of guitar melody on “Remember the Tooth”, the incredibly upbeat “Midnight Eyes” and its loud indie rock vibe, and the KEN Mode-styled sludge quality of “The Combine” only add to the melting pot of sounds to be found on Clean Hands. Despite the diversity, or perhaps because of it, it still all sounds like Ladder Devils. The band cites Nirvana and The Pixies as influences as well, and one can hear the rubbery hardcore of Norma Jean or the Chariot in there too.

I still haven't nailed down that one familiarity that eludes me but maybe there isn't one. Maybe Ladder Devils combine a wide range of sounds so effortlessly that everything comes together so invitingly that the mind is tricked. It doesn't really matter though as Clean Hands is an incredibly fun and fantastic experience.

I'm not sure what a ladder devil is though.



Note: If you want to support the band directly, you can get Clean Hands for a slightly higher price at the Ladder Devils own Bandcamp.

House of Burners compilation

Written by Matt Hinch.


The fellas at Pre-Rock Records sure put together one cracker of a compilation in House of Burners, the label's first release. Painstakingly curated by the label (made up of members of Shooting Guns) it offers a “cross section of Canada's heavy/psych/garage scene” leaning heavily on the psych end of the spectrum. Covering bands as far west as Victoria, BC and as far east as Moncton, NB this is the sort of compilation I get excited about as the likelihood of these bands actually passing through here is pretty good.

Here's a few words on each of the 16 tracks.

Powder Blue - “Go On Forever” (Saskatoon, SK): There are days I wish this song would go on forever. It's got an easy, breezy rock base riding a wash of psychedelic keys and serene female vocals. It's totally chill and swollen with relaxing melody.

Public Animal - “One Way Ticket” (Toronto, ON): Public Animal is Ian Blurton of C'Mon's new band. And they kick ass. This track has lots of rock energy, lots of vocals, groove and keys. I've heard they're great live and given this track, that's no surprise.

Bison - “These Are My Dress Clothes (Live)” (Vancouver, BC): Even a good recording such as this does no justice to the experience of seeing these sludgeoners in the flesh. I gave my chiropractor fits and this song was a big reason why.

The Switching Yard - “Tanya” (Saskatoon): One of the biggest highlights of the compilation, TSY find a riff that works and ride it along the tracks while adding texture and psychedelic flourish with few vocals. Brilliant psych-rock.

Shooting Guns - “Taylor St. Champagne Room” (Saskatoon): Of course there's a Shooting Guns song. Good one too! Killer grooves hold down the fort as psychedelic keys move in and out of focus, making it both earthbound and spacey at once.

Krang - “Upstairs” (Edmonton, AB): This one sounds very jam oriented. Bluesy guitar meanders around as psychedelics (obviously) swirl, dive and weave. Dynamic track where the guitar “speaks” with so much heart.

Lavagoat - “Moleman” (Saskatoon): Undoubtedly the heaviest track on hand, it's thunderous and vile. Heavy as a brick doom riffs smack you with a face full of sludge and bile. Oh, and some psychedelic touches of course.

Hawkeyes - “March of the Elephants” (Kitchener, ON): This one's almost as heavy but much more psychedelic. Not sure what the elephants are high on but they're trippin' stratospheric, man. Massive riffs, hypnotic groove and no vocals to get in the way.

Mahogany Frog - “Saffron Myst” (Winnipeg, MB): The least “metal” and arguably most psychedelic of the bunch. Programmed beats and lush synths/keys set on a dreamy course through undiscovered areas of the mind, stimulating hormone release if you know what I mean. Sexy!

Chron Goblin - “Deserter” (Calgary, AB): With a name like that, expect stoner rock. And yeah, you got it. But this one has stomp to it. More like beer and whiskey are the driving force of beefy riffs with southern flair. Crack a cold one and groove out!

Black Thunder - "Too Late/Death Stare" (Regina, SK): So fuzzed out I have to go brush my teeth. Beautiful riff-fest straight outta the early 70s. The percussion is fantastic. Think Dozer, sHEAVY and just about the whole Sucking the 70s compilations.

Rehashed - “F.U.C.K.” (Saskatoon): The oddball of the lot. This is full out hardcore rage. Mosh pit violence and vocal venom (think Blacklisted, Ringworm) lay a serious beating from a dive bar basement. No psych at all but damn does it make you want to kick the shit out of something.

Devonian Gardens - “Glow” (Calgary): Bewitching and a little eccentric. Sounds like gypsies tripping on mushrooms. The journey here is far from linear taking psychedelic side trips that can disorient the listener in the best of ways.

Cop Shades - “Burn This Village to Save It” (Moncton, NB): This one has kind of a greaseball indie rock vibe but with balls. But of course, it does shoot off into orbit as psych is almost necessary. But refuelling on this ball of dirt needs to happen too.

Clunt & The Scrunts - “Card in the Spokes” (Victoria, BC): This is some pretty catchy and upbeat rockabilly type stuff. Some Americana gets brought in to break up the speed. Cool shit. Wouldn't seem out of place in a Tarantino movie.

The Pack A.D. - “Night Crawler” (Vancouver): Steel guitar leads into a “We Will Rock You” beat. The duo rides out a simple hypnotic riff with tripped out, multi-tracked vocals. Be careful, detachment from reality is a possibility.

And there you have it. 16 tracks from a range of Canadian bands, most of which can make you trip balls if you aren't already. It's a most excellent selection of tunes, from the burly and bloody knuckled to the idyllic and intoxicating. Trust me, there are some medical grade pupil dilators on this. Dig it!

[Go to the post to view the Bandcamp player]

Idre - Idre

Written by Matt Hinch.


I'm gonna get this out of the way early. I don't listen to much Neurosis. I haven't even heard Through Silver in Blood for heaven's sake. I know, I know.) That alone should preclude me from reviewing ANYTHING, especially the debut self-titled from Oklahoma City's Idre. The Neurosis influence is thick and leans on the Americana side of that sphere which is in fact the side of Neurosis I have trouble grasping. Across Tundras delving further into that too made me shy away from them. But that's not to say I wasn't going to give Idre the benefit of the doubt.

Idre is steeped in forlorn, dustbowl melodies and slow, plodding movements making for the type of album that requires a certain mood to be fully appreciated. At the same time, Idre is all about creating mood. They do so by shifting volumes, instrumentation and pace over decidedly long songs.

“Factorie”, the first of two tracks clocks in around 26 minutes. A simple crashing thump slowly builds into a flow to open the track. It morphs into a desert landscape of sorrow, loneliness and regret. It's painfully plodding cadence is that of a man mentally agonized to put one foot in front of the other yet undeniably compelled to do so knowing what fate lies at the end of the road. Depressing vocals narrate with a Steve Von Till/Johnny Cash resignation until the sun sets around the halfway mark. Tension mounts as darkness surrounds lo-fi guitars buried under mountains of distortion. An extended instrumental section hypnotizes the listener as the molasses-thick rhythms meander through the plains searching for a peace that cannot be found.

“Witch Trial” comes in at half the time as its predecessor but is no less circuitous or sorrowful. A militant snare marches on through the track's opening movements. It's a more menacing tone but still slow, despairing and hypnotic. Loud/quiet dynamics and varying degrees of urgency and force soundtrack melancholy and sadness. Near the track's conclusion the heavy rolls in like thunder clouds. The fuzz level reaches doom proportions and a heavy drone sets in ensuring burial, not ascendance.

Idre is very chill but like rays of sun peaking between broken clouds, moments of more fevered blood find their place. The slow and hypnotic nature settles the listener into a trance. The patient listener is rewarded by the syrupy dynamics and myriad subtleties that continue to manifest over multiple listens. Idre's vision is clear and well executed. While I enjoyed the louder/faster sections more, I was surprised by how much Idre grew on me. It's apparent that this band could go in a number of directions on future releases and succeed. Or simply soldier on through the haze.

[Go to the post to view the Bandcamp player]

The Shrine - Bless Off

Written by Matt Hinch.

Cover by Kris Kirk

Not enough of what I listen to would be considered "fun". Black metal's not fun. Doom's not fun. Death metal's not usually fun. But you know what is fun? A motherlovin' fuckload of fun? Bless Off, the newest from California trio The Shrine.

Following the success of their debut (Primitive Blast) they've gotten even better. Bless Off is still as energetic but perhaps a little less punky. Don't worry, they're still holding on to their love of Black Flag. In fact, "The Duke" features lyrics written by Chuck Dukowski himself for an unreleased Black Flag tune. I'm no Black Flag expert but The Shrine share the same sort of groovy pulse with a bit of swing.

The other side of The Shrine's chosen path is Black Sabbath. No, they're not drudging the depths of doom but you can find Sabbathisms throughout. Bassist Courtland Murphy's style reminds me a lot of Geezer. "Hellride" is pretty doomy during the solo and if the riffs that open and close "Nothing Forever" aren't unabashed Sabbath worship I don't know what is.

Bless Off, (and The Shrine in general) is sickly infectious riff rock pulling from '70s garage rock, the aforementioned Blacks and a healthy dose of sun-baked stoner rock. Their solar powered groove machine bears a lot of similarities vibe-wise with former tour mates Fu Manchu. But instead of cruisin' the highway in a Chevy van adorned with airbrushed boobies, The Shrine are carving empty pools like the skate punks they are. Forget the soundtrack for Lords of Dogtown, you just need this.

Vocalist/guitarist Josh Landau plays fuzzy, fast and loose with scorched, bluesy solos. His simple lyrical approach and straightforward song structures are quite refreshing and far too easy to get behind. Many sing-alongs with his punk-infused snarl and holler ("Tripping Corpse", "Destroyers", "On The Grind") and much air guitaring are to be had.

Holding down the drum throne is Jeff Murray. Although I figure he bounces off of it a fair bit. His hard-hitting Animal-esque style is pure energy but not without a little flair. And cowbell (More cowbell!). When I'm pounding through the floorboards in time with his kicks and otherwise not using my hands for driving, my ride magically transforms into a VW Thing with the top down, a "trunk" full of beers and a glove box reeking of pot. It's fucking party time, dude!

Bless Off is gritty, amped as shit and so catchy it's ridiculous. It bangs harder than a dorm room bedpost on a Saturday night. Heshers and punks unite! Grab your boards, beers, and bongs and hang on for the party of the year. If this doesn't get you hard, well you can just Bless Off!

[Go to the post to view the Bandcamp player]

Man's Gin - Rebellion Hymns

Written by Aaron Sullivan.


Man’s Gin return with their second album, Rebellion Hymns. This is the side project of Eric Wunder. One half of the amazing Black Metal band Cobalt. But those looking for Black Metal look else where. This is band exploring the genres of Rock, Country, Americana, Blues, and Folk all mixed up into what becomes Man’s Gin’s sound.

As I expressed in my year end list that this album made. Man’s Gin’s first album Smiling Dogs is among my all time favorites. It hit me like a ton of bricks musically but more importantly lyrically. The album got me through some rough times in my personal life. The lyrics spoke to me as if they were written for that exact moment in time with what I was going through. The lyrics from Nuclear Ambition 1&2 especially. The line "So sinners unite, the sloven and weakened. If you’re beaten or broken press on frustrated." was inspiration and still brings a smile to my face every time I hear it. So when hearing there was to be a new album, I was excited to say the least.

Immediately with the opening of Inspiration you know it’s Man’s Gin. What is also known very early on is that unlike the raw, almost live feel of Smiling Dogs, Rebellion Hymns finds the band spreading their musical wings. The piano, upright bass, and acoustic guitars are all there, but how they exist in the songs is much fuller and not as straight forward. The addition of instruments like accordion, harmonica, melodica, and sax (provided by the great Bruce Lamont) all point to the eclectic nature of this album. The other difference is how each song stands on it’s own. No two sound alike, but still have that Man’s Gin feel. Whether the Tom Wait-ish Off The Coast of Sicily, the almost metallic Old House (Bark at the Moonwalk), or the ambient interludes, they do their best to never repeat themselves. The album also features vocal appearance from Jarboe and the other half of Cobalt, Phil McSorley.

The word that comes to mind when hearing this album is expansive. While the first album sounded as though you were in the rehearsal room as the band played, this one feels like a band that knows what it is capable of and wants the world to hear it. All while never losing it’s raw personal feel. Not a an easy task to accomplish. But then Man’s Gin is not an ordinary band.

[Go to the post to view the Bandcamp player]

Russian Circles - Memorial

Written by Justin C.

Photography by Ryan Russell

Instrumental music has never really gotten a foothold in pop music, outside of the occasional one-hit wonder. There are probably a lot of reasons for that. I remember a long-ago interview with jazz trumpeter Wynton Marsalis, during which he mentioned that people often told him they didn't like instrumental jazz because without the vocals/lyrics, they didn't know what the song was about. And if we're honest, pop music isn't a genre that values high levels of musicianship--if you strip the vocals away from most pop music, you're not left with a whole lot to get excited about.

Photo by Pedro Roque.

But metal is a genre that doesn't care too much about mass appeal, and the musicians it attracts often have some serious chops both on their instruments and their songwriting abilities. Enter Russian Circles and their fifth full-length, Memorial. I've long been a fan, and although Memorial might not be their heaviest work so far, it may be their best. "Memoriam" opens the album with a delicate, finger-picked guitar figure, but it's just a brief prelude before "Deficit" kicks in with soaring guitar leads and a thrashy main riff, along with probably dozens of other layers that make these songs such an immersive listen. They may be a trio, but they throw out a heck of a lot of sound. "1777," the longest track on the album, is the soundtrack for an epic flight over a mountain range, and it also shows off one of the band's many strengths: Dave Turncrantz's fantastic drumming. The production of the drums is noteworthy in itself because of the crystal-clear, natural drum kit sound. But even if you don't geek out on production, the playing itself is a revelation. The song features a drum solo that mixes percussion and melody in a way that only the best drummers can manage.

Photo by Pedro Roque.

It's tough to pick out a favorite track. "Burial" is probably the most aggressive song on the album, with plenty of menace and some black metal-style guitars, but immediately following that, "Ethel" is an almost-rapturous release, featuring right-hand guitar tapping throughout its length that, unlike most tapping wank-fests, doesn't make you want to punch someone in the face. The album closer and title track has another great twist in store: vocals from the band's touring mate and reigning goth/folk queen Chelsea Wolfe. Their last album, Empros, also ended with a track with vocals, but Wolfe's incomparable vocals about loss and ghosts, drenched in reverb, add a perfect end cap to this amazing album.

[Go to the post to view the Bandcamp player]