Articles by Chris Ball
Only a churl would criticise an album that comes with such a heartwarming tale and several of these songs will be accompanying me on my travels over the summer.
Exodus are still at the forefront of the genre. This isn’t a heritage act for misty-eyed old rockers, Exodus is still very much the real deal.
‘Music For Megaliths’ is at times a genuinely effective and affecting piece of art, with a rare depth and sensitivity.
As ever Desertfest was a blast, and I saw some great acts, but although it’s getting to be almost a cliche to say it now, the best thing about Desertfest is the atmosphere.
Twenty six minutes of utterly committed, intense, gonzoid thrashing, Feral Ohms is like a grungier Reign In Blood. You may consider that a recommendation.
Yep, whatever your preference, commercial or cult, there is something for everyone on Friday at Desertfest, Camden.
There is so much to enjoy on Kidal, so many deft and beautiful performances, that you cannot help but feel a solidarity with and respect for Tamikrest
Hot Thoughts proves what an enormous amount of promise Spoon still have in their locker.
Already a devotee, Chris Ball caught up with Bill Fisher of Nottingham’s cult-come-classic rock exponents, Church of the Cosmic Skull, to find out more about their origins, the upcoming tour and, of course, just what the ‘Cosmic Rainbow’ told them..
This album is about as weird as it gets, but if you don’t enjoy it then you’re even fucking weirder. Instant classic.
A few more tunes like ‘Age of the Raven’ and a tighter editing on the songs and shorter track listing and this could have been a much more impressive debut.
From it’s confrontational title and all the way through it’s punishing noise and scabrous lyrics Why Love Now shows that the scum will always rise to the top.
This was my first gig on the year and seldom do you see a more winning example of the power of live music.
This is definitely an album doom devotees should check out, and although it lacks one absolute killer riff or chorus Witchstone, ironically, have a fine future, despite their apparent ‘Mortal Fear of Infinity’.
As it stands I personally think Dool are very much a band with their own merits who show some promise, but I guess most people interested in this album will have much stronger opinions, one way or the other.
A grin inducing celebration of our youth, for those of us old enough to have grown too fat for our Mudhoney ‘Super Fuzz Big Muff’ t-shirts.
Savage Times is messy, surprising and yet powerfully thematic and with a captivating identity. An essential listen.
There’s nary a duff moment on ‘Dead Planet’, it improves with every listen and draws you towards itself with a terrible and impressive gravity.
No fireworks, no extended musical showboating, no curtain calls, just another damn fine sad song.
This is a wonderful, classy blend, like the best, darkest coffee, sipped kerbside at your favourite cafe.
As much a calling as a career, I doubt David Eugene Edwards will ever stop making rich and beguiling music, but Star Treatment is a fine a time as any to begin exploring it. By Chris Ball