So Dutch band Bismut were a completely new unit to me prior to this but a live stream of ‘Obscuramento’ piqued my interest. Long songs, no vocals, played by a power trio who seem to have locked horns in some kinda deranged psychic rehearsal room cage match. Last man playing wins the jackpot! A serious project to undertake, I’d say.
Retrocausalityis, as you’d expect from the premise, a hefty, liquid soundscape. Each track is finely crafted, and the band themselves can play like absolute motherfuckers, and throw into the cauldron some red-hot effects wizardry, you got in ya hands one of the most interesting records of the year. Continue reading →
Born and bred in South Australia back in ‘13, Kitchen Witch are a solid, dirty little stoner-blues quartet, fronted by vocalist Georgie Cosson.
Together they lay down fat and trippy riffrock grooves, and some ripping, fuzz-drenched guitars unleashed by Conor Kinsella. Simon Elliott and John Russo (bass and drums respectively) provide a rock solid backing for these seriously hefty stoner doom tunes.
The songs on Earth And Ether have a deeply eclectic Aussie tone to them as well.
‘Cave Of Mischief’ could provide an excellent soundtrack for when the band is cruising into the Jerramungup Roadhouse for a gig whilst the amazing ‘Sunrise’, with it’s lumbering, behemoth riffs could steam roll the earth with it’s creeping momentous peak. Continue reading →
In this foul year of our lord 1347, a vile black pestilence has blanketed our land, destroyed our crops, decimated our farm beasts and carried many of our people to the other side. Our leaders have taken to behaving more like jesters whence holding court, and the frozen air we breathe rains a disease that settles in the lungs and suck life from all those exposed to it.
But all is not lost; a band of minstrels, veterans of many a campaign, have arrived, seemingly through a Doorway Of Time, in our once glorious land and taken up arms against our foes, battling all with a powerful lust to destroy the sinners and restore our paradise to its former glory.
Butterfly is the new band for a hardened handful of rock and metal veterans (members spending time in bands like Abremalin, Earth, Mass Confusion, Hobbs Angel of Death). They have a neat line in heavy rock’n’roll, with shades of Blue Oyster Cult, early ‘70’s folk music and a cauldron full of “meat and potatoes” metal, screaming dual solos and chunky vocals, this band of minstrels have got most of their bases covered. Continue reading →
If you’re a fan of heavy psych-rock with big, clean femme vox and you haven’t already checked out Blues Pills, I’d suggest their third LP, Holy Moly wouldn’t be a bad place to get on board.
Blues Pills are now approaching ten years old (they grow up so fast!), and, as bands tend to, have had a couple of personnel changes. Founding members Elin Larsson and Zack Anderson remain, with Zack recently switching to guitar to accommodate the departure of original guitarist Dorian Sorriaux. Long time drummer André Kvarnström now has Kristoffer Schander as his rhythm section “partner in crime” and the pair do a mighty fine line in rnr too.
‘Proud Woman’, a tune whose lyrical content is much needed in this day and time stamped a hefty footprint on the colour and tone of Holy Moly. Ripping vocals, some sweet gospel-esque b/v’s, raunchy and riff-heavy, it’s a driving thunderous tune.
Motörhead. Loud. Dirty. Tough. But fair! Led by Ian “Lemmy” Kilmister, a murderous bassist with gravel rash pipes, purebred rock and roll heart and the only constant member of the band. They had a forty-year career, and never once compromised their style or attitude.
Hearing the Motörhead classic Ace Of Spades as a teenager was a revelation. That sound! Powerhouse rockin’ metal with a hefty blues boogie spine holding the songs together. Headbangers loved ‘em; punks loved ‘em. Your neighbours hated ‘em but nothing could change the influence they had.
From beginning to end, Ace Of Spades is chock full of bruising tunes like the title track ‘Ace Of Spades’, and bookended by Lemmy’s anti-heroin ode, ‘The Hammer’, with its sledgehammer riffs, and caustic lyrics. The anthemic ‘(We Are) The Road Crew’ was Lemmy’s testament to the team who made the tours happen, and also heavy evidence as to why Lemmy was held in such high regard by all who dealt with him. Continue reading →
So here we have Zenith Moon, and their brand-spankin’ new single ‘Gypsy’. Zenith Moon is a Melbourne trio (who have a tendency to add the necessary members when the wind is blowing in the right direction!) with some heavy retro vibes coursing through their veins, and have been hitting the board since their inception in 2018.
While some pretty, lysergic juices are wrung from the guitars, and peppers the tune with chunky chords, the bassist lays down some Motown-driven melodic bass runs which gives front lady Kahli Rose a clear path to crank out her big, soulful rock’n’roll vocals that lift ‘Gypsy’ to the heights it deserves. Continue reading →
So here we have Scott “Wino” Weinrich’s third solo LP, the poignantly titled Forever Gone and another addition to his acoustic work from recent years. With a great interpretation of the Joy Division track ‘Isolation’ released a couple of months back as a “teaser” for the new record, it wasn’t hard to see this was gonna be another commanding album.
The move to acoustic material after decades of bulldozing doom and stoner rock may have come as a surprise to some, although something that immediately came to mind was reading of the Birthday Party, after relocating to England and having limited access to equipment, writing their darkest and most menacing material on acoustic guitars while delving into lounge music. An excellent example of how the discrepancies between influences and style in any creative medium don’t necessarily determine the output. Continue reading →
So Wino is a man who really needs no introduction (but here’s a brief one anyway!) when you’re talkin’ heavy rnr. From St Vitus, The Obsessed through to Spirit Caravan and beyond, and his more recent folky acoustic material, he is someone who has always delivered the goods, and never compromised his vision. So a cover of ‘Isolation’ by Joy Division, who also happen to be an old fave band of mine, struck me as an interesting choice. Continue reading →
Greek band 1000mods have been around the traps for a decade and half, give or take a millennium and have achieved some solid success on the back of their formidable live performances and heavy duty stoner rock. So, on the back of this, they have now produced LP #4, Youth Of Dissent.
On face value, it’s a much more “radio friendly” album than the first three releases, although it’s not without their trademark grit, just with a few more “pop” oriented tunes. And I do have to say, some of the uptempo tunes, like ‘Lucid’ and ‘Pearl’ took me straight back to the Sydney of the ’80s and its glory daze of Aussie beer-fueled riff-rock and the plethora of post Radio Birdman and sub Celibate Rifles bands who kept venues packed. Continue reading →
Opening my email in the wee small hours, I found lurking the new release by Ethyl Ether, titled Chrome Neon Jesus. Just another bunch of rockers with one foot in the glitter, the other in the grave I thought, but I duly slung it onto the record machine. Let’s just say, I’m fucking glad I did. These southerners (Ok, South Africans to be precise) have certainly got a handle on making a great record. They’re not a one trick pony either, and cover some fairly broad ground stylistically with their material.
The opener to CNJ is ‘The Smoke Waits For No Man’, whose breezy intro quickly becomes a neat ’70s era tune. And mayhaps Scummo [Aust PM – Ed] can purloin this tune as a soundtrack to his next clusterfuck, sorry, I mean “Political Campaign”! This one also had me waiting with bated breath for an epic synth solo, but sadly, they didn’t deliver on this promise. Continue reading →