There are so many great ideas at play, so many moments of genius, which seem truly special and really sets this band apart from the rest of the scene that they are clearly being lumped in with.
Listening to Vessel of Iniquity is like a brush with Lovecraft’s horror, or the existential musings of Ligotti. Its very existence is seemingly set-up into pushing listeners to confront the very boundaries of what could previously be considered possible or in this case musical. But like the aforementioned authors, those who dare will be richly rewarded.
There are rough edges, as expected from an early release, and often times the influences bear out, but it’s the delivery which makes this such an exciting proposition.
‘III’ checks all the right boxes: there’s melody, heaviness, riffs, guitars galore, beautiful vocals, imagery and so much more yet to discover.
‘First Offense’… will carry you along on a speed rush of caveman riffs and screaming sirens.
Abandoned Glow is essentially an album that sounds like what I imagine the aliens from Killer Klowns From Outer Space listen to. Erected from a labyrinth of grotesque and menacing sounds it exudes an almost constant sense of unease and at its most friendly sounds like some sort of gnarly late night solo venture into psychedelics. Flange Circus is revitalising the scary clown scene; it’s a dirty job but, someone’s gotta do it.
I’m just coming off watching Blade Runner 2049, so reviewing this album makes perfect sense. The songs here on Neraterræ’s The NHART Demo[n]s soundtrack the vacant listlessness of the various empty and lost spaces and people that one encounters in that sort of futurist dystopia.
Hotter-than-Aruba vocals against a darkwave throb of ‘80s synth lines, imperfectly engineered but nonetheless intoxicating.
Everything I’ve heard from them has completely blown me away and Digitalis is no different. Here we find a new side of the band, one that is somewhat more glittery and shiny and nice but, is no less intriguing and enrapturing than their previous offerings.
On his debut, Sean Morales comes up with a combination of seemingly disparate sounds that do make a cohesive whole.
I actually went to grab a cup of tea at this start just so I had something to spit out in utter disbelief as to how fucking superb it was. I fucking love this track so much, this album has just totally blown my little pea-brain to fucking bits.
Caveman black metal is a great descriptor from the press release here, as this new offering from Sortilegia sounds dark, shadowy, subterranean, yet viscerally primitive as well.
The album has many analogues with other bands: Crowbar, Mastodon, Judas Priest, and even a bit of Alice in Chains (Donnelly’s voice is reminiscent of Layne Staley’s at its most powerful). But, like all good bands, King Witch elevate themselves above their influences and create their own sound.
With this album, Iron Walrus have raised the bar with their sludge and doom hybrid as they demonstrate exactly what they are capable of as a musical force and long may they continue doing this.
So that dangerous second album has turned out to be a remarkable achievement which cements Psychic Lemon as one of the most exciting and interesting bands in the UK at the moment, at least within the ever lengthening psychedelic circles
The 40th anniversary of Johnny Thunders and the Heartbreakers L.A.M.F. the lost 77 mixes should ensure its place in Punk/Rock ‘n’ Roll’s history.