So when a band has an extensive back catalogue every new album is always one that fans look forward to. They've had followers; said followers will most likely enjoy new presentations as long as it’s truthful and not a steaming pile of crap a la St. Anger. And that is completely fine. But for those of us who stumble upon a band at the time of their newest release, there are no preconceptions. No memories of classic sounds, no biased opinion. I fall in the later category with Summoning and their newest opus Old Mornings Dawn. Here’s my report…

From the opening choir, flute and drum march intro ‘Evernight’ into ‘Flammifer’ I was immediately hooked, loved it. Black metal in the sense of guitars and vocals. Folk in the mandolins, flute, and other instruments of the like. What strikes me the most is that if you took away those later instruments, the former would make for a straight depressive black metal album by itself. By adding these other instruments Summoning creates such an aura in the music. I myself hail from a cold area, in the winter it is vicious here. And just the first two songs have me aching for a walk in the woods, right before the winter hits.

You may find bits and pieces you don’t like: the snare drum at times doesn’t sound acoustic enough, more like a marching snare. But those are only in certain parts. Used correctly on the title track they set the precursor for a great march through the mountains and wooded lands, an epic trip with views that are breathtaking. This is all done while still maintaining the black metal essence. The soul aching screams, the distorted guitars that move at a depressing pace… They’re counterbalanced by this grandiose choir and “orchestration” (don’t think a normal orchestra, I use that as just a term of extra instruments). ‘Caradhras’ starts out with an array of folk instruments that maintain and become that much more intense when the black metal scoops in underneath. And toward the end it’s all mixed into a somewhat claustrophobic mix then quickly gives way to a clean passage exit.

Final tracks ‘The Wandering Fire’ & ‘Earthshine’ still incorporate all elements used on this album, but seem to push the guitars further, sounding much more dominant in the mix. (That’s not to say the folk elements are gone, just not as dominant in spots). And as I've said before, it all conjures such visuals in my mind; I cannot help but love it. Come next winter I know what’s going to be blasting out of my headphones as I trudge out into the wilderness to meet my ultimate demise at the hands of a pack of wolves or a bobcat. And I’ll be ok as long as I can hear this to the end.

I would urge any fans of a black metal/folk mix to get this album through Napalm Records on June 10th in Europe, and the following day June 11th in the US.

Support artist and musicians you enjoy.

HAIL!!!!

Prog Rock has moved on from its epic, cape wearing days, but it’s essentially most at home in the green and black of the West Midlands. This Wolverhampton-based band play with verve and grace, their particular blend of new prog - rock is peppered with an acoustic edge - taking the crowd from gently bouncing on their toes, to all out dancing.

Stand out songs of the 45 minute set were ‘Bullet Rain’ & ‘This Is England Now’ but the whole flowed smoothly building from a gentle start and held tightly together by front man/singer Adam Broadhurst. He was joined on stage by the regular line up of Jonny Millington (drums), Adam Richard (Bass) and Jonathan Price (lead guitar); with the addition on several tracks of violinist Jack Rowe (a veteran support artist whose commissions have included New Model Army).

Also included in the set was their upcoming single ‘Some Stories’ - A swooping, classic example of a modern folk rock Story song, drawing from across our national traditions; and one from which all proceeds go to Help For Heroes. It is due for release on the 24th of June. It, and indeed the whole of the bands album The Ragged Rhythm of Rain can be downloaded at https://www.underabanner.co.uk/.

The set closed with the tracks ‘Steam’ and ‘Where We Are’. The former was a very different beast, sung with a particular passion, and with a very heavy edge as the lyrics spoke of the industrial past of the bands home town. Both songs were strongly reminiscent of other bands for which that part of England is well known, it could be said they have the ‘Wolverhampton sound’; whilst the lyrics mean this band wouldn’t be out of place on the steampunk circuit, should their inclinations ever steer them there.

Groove, lots and lots of groove is what is instantly apparent on the sophomore release Graveyard Dead from the Canadian metal band Death Valley Driver. An album built on swinging grooves and powerful riffs with a throaty swagger that allows one to reminisce to the days of Pantera at their best. Starting off from the opening song 'Black Vein’ the band allows each member to bring their own character to the music and through this it becomes evident that the Southern blues inspired, groove metal they are blasting out comes from the heart and a blue-collar work ethic that punishes the listener.

Death Valley Driver is not a copy of Pantera but an extension in a genre that seems to try to copy them rather than pay homage to them. There will never be another Pantera; with the death of Dimebag the chemistry to make the type of powerful groove metal that they were capable of is gone. Lots of bands have tried to fill those shoes and failed, but Death Valley Driver has come the closest, in my opinion, to bringing that dirty, blue-collar grove back to metal and this is obvious on the title track of the album 'Graveyard Dead' as well as stand-outs 'Ice Serpent', which to me also pays a little homage to Amon Amarth as well, and the outstanding 'Smoke Whip'.

Let’s take a second and look at the title song from the album as I feel it epitomizes everything else on the album and if it were the only song you heard from this band it would instantly reveal to you who they are. The song starts off properly with a short drum intro right into the recurring and main groovy riff of the song. After the intro it morphs into a groovy, almost sludgy chorus that allows the listener to take in the power and finesse of these fine players. The throaty, growling vocals do nothing else but make the listener believe that what these guys are playing and singing is serious and one should pay attention. Of course you don’t have much choice but to pay attention as this song already has you by the throat and is ready to punch you in the face. The guitars on this song are outstanding and even though they are not flashy they move the groove with an appropriate aggression. Finally, you can’t have appropriate groove without rhythm and the combination of drummer Ryan P Gallant and bassist Adam Praught on bass, who thankfully are easily heard in the mix, make this song stronger and more accessible than any other on the album. As I said before, this song epitomizes what Death Valley Driver is about.

Take the time out of your day and listen to one of the strongest groove metal albums to come along in a long time, maybe since the breakup of Pantera. Death Valley Driver has honed in on a sound in their sophomore release that will ingratiate them with the stingiest of heavy metal fans and they will leave you wanting more. The album is out now and believe me when I tell you it is worth your hard earned money to buy this album. You will not be sorry.

Until later, Peace!

On their third full-length album, and first with vocalist Wrathprayer, Sacrilegious Impalement brings a barrage of black metal ferocity not too unfamiliar. That’s not a bad thing though. While they aren’t quite “necro” enough for the diehards to not cry foul, they are competent and write good songs.

Opener ‘Angel Graves’ is a standard mix of quick, sinister riffing, evil vocals and one-speed-is-all-we-need drums. There is a dip in the action that arrives after a thorough solo, though. A crawling out of the weeds, ready to pounce approach. Next track ‘Down for Grim Lord’ is a bit more dynamic though. The mixture of black and death metal is enough to maintain attention throughout, as the speeds vary and the guitars pack melodic sections that add a feeling of need or desperation. ‘For Sins of the Pigs’ starts out slow for the first minute or so, mixing up the flow as it continues with dead man speaking over subdued swanky (swanky?) guitars and standard training drumbeats. The seesawing back and forth eventually stops and the rest of the song becomes like the rest of the sacrilegious affair.

‘Behead the Infants of God’ is the standout track on the album. The blackened thrash attack use here, and song length, show the band taking their abilities, using them to the max, and getting the fuck out of Dodge. The speeds and riffing turning into a conjumbled ball of fiery hell at the end, it’s what this album needs. The next two tracks, ‘Regain the Dormant Realm’ and ‘His Gift Embodied’, both start out and play the same as the previous mentioned ‘Behead…’ But where they falter is at around the 3:30 mark. Both songs dive into parts that make the songs seem too long, be it either an extended guitar solo or a weaving of music parts that feel like filler. That’s not to say that the previous three minutes and thirty seconds were bad. They were amazing actually. All the songs are to that extent, it’s just at times they feel too long and leave me wanting to skip to the next track.

So, that said, the album itself contains good songs and all are well executed and played, they just need to be a bit shorter. If song length isn’t something you struggle with, and you like black metal infused death metal, then I don’t see you having any problems enjoying this album. I just hope for album number four that the band chooses the “shorter is better” route.

You can grab Sacrilegious Impalement’s III – Lux Infera through Woodcut Records right now. Support bands you enjoy, buy their records and go to a show.

HAIL!!!

Just days before launching their debut album, Glasgow band Quickbeam played a hometown gig in an abandoned Victorian swimming pool to celebrate the arrival of said release.

And what a venue it is: Govanhill Baths may not have seen any swimmers for a while, but it survives as a venue thanks to the work of community campaigners who prevented its closure. The show saw Quickbeam and record label Comets and Cartwheels collaborate with local artists to produce an event that encompassed art, projection and theatrics. Not to mention music from one of Scotland’s biggest musical hopes for 2013.

With a glass ceiling far above the makeshift stage in the pool’s deep end, support band (and labelmates) Fake Major arrived in broad daylight, giving something a festival vibe. “We’re in at the deep end now,” announced the band – one of whom was wearing a rubber ring. They worked their way through a steady set of pop-tinged folk, with Richard Ferguson and David McGinty’s harmonies particularly impressive.

Opening with ‘Remember’ Quickbeam quickly arrested the crowd and established their sound – gritty guitars clashing with subtle strings and brass, instantly backing up the  comparisons with Sigur Ros that have accompanied almost every review of the band.

Debut single ‘Seven Hundred Birds’ was a real stand out, Monika Gromek’s voice perfectly balanced against the strings, while the swell on ‘Immense’ was huge, the band slowing building the sound into a huge multi-instrumental crescendo that felt like the biggest wave the pool had seen since its heyday was about to crash over the audience.

Andrew Thomson’s delicate piano pitched against Ruth Campbell’s cello worked as well live as it does on record. Indeed, ‘Fall’, with Thomson taking lead vocal, was the first song of the night that deviated from the album, with the guitar cranked up and the post-rock sound more fully realised, despite the sound system in the venue not being as big as it could have been. This proved to be a minor issue throughout, with the sound never quite loud enough to dominate the chatty Friday night crowd. For those who did pay attention, the experience was all the better.

‘Matter’ proved to be the highlight. The ethereal lilt of Gromek’s chorus “I’ve travelled so far for so long…” was majestic, the accompanying video playing out on a screen behind the band only adding to the spell being cast.

Closing with the spectacular ‘Grace’, there’s a hint that this could have been something much more than a gig if only the audience had given more undivided attention. That will matter little to the band, who seemed genuinely moved by the reception they received at the end.

Quickbeam already have one of the contenders for Album of the Year, and if this show was a marker, there’s enormous potential in their ability as a live act. Govanhill Baths was a glorious fit for an event like this and it’s one that will live long in the ear of the audience, but it’ll be interesting to see Quickbeam play a venue built specifically for music. It won’t look nearly as spectacular, but your ears will probably thank you for it.

Percussive tribal rhythms, gritty electronica, soulful voices and rhymes are the ingredients, mix them all together and what you get is Tape Two the second “mini” album from Scottish trio Young Fathers.

I have to say that it is a tasty musical treat and one I enjoyed very much right from start to finish.  From the smooth soul of ‘I Heard’ to the anthemic ‘Come To Life’ and the slightly punk tinged electronica of ‘Queen Is Dead’.  There is a wide variety of songs on this album however these all fit comfortably with the overall stylistic feel of the music.

As for that style of music, the only points of reference I would have is The Streets or a more electronic version of Massive Attack and that is just based on the electronic/rap element and is more a rough guide than direct copy of these .

That aside, Young Fathers have a lot on offer here as the music is well constructed, catchy and there is no padding out of the songs here as these are mean and lean with all excess fat trimmed off.  The guys have a real nice blend going on with smooth vocals and strong rhymes and they keep in real with no cheesy lyrics or clichés.  There is some great production going on as well with all the elements sitting perfectly in the mix and no part overpowering another.  A great juxtaposition of the singing and the rhyming is prevalent throughout the album and nothing seems forced or out of place.  This is proper honest music from the streets with absolutely no fakery.

The songs on offer are extremely powerful and if you need verification of this you can check out the video for ‘I Heard’ online, which is excellent.  So hats off to Alloysious Massaquoi, Kayus Bankole and ‘G’ Hastings who form the Young Fathers for delivering a fine album worthy of anyone’s time and attention.

Young Fathers are a band that I could imagine closing massive festivals with 80,000 people singing along to ‘Come To Life’.  The guys also have a few nationwide dates lined up and again I would urge you to catch ‘em if you can as I would say that Young Fathers live experience would be just as great an experience as the this record is. Tape Two is the finest thing to come out of Edinburgh since Trainspotting.

If you’re going to open your debut full-length album with a damn near 10 minutes song, you better do it with some fucking balls. There’s no half-ass shit to pull, no “made you look” moments. All or fucking nothing. Meet Demon Lung, purveyors of turning it to 11, and all around DOOM monster mother fuckers. I’ve reached my ‘fuck’ quota for a review so I’ll do my best to remain civilized from here on out…

For those interested in the concept, see as follows: “The long-begotten son of Satan, who’s been sent to earth to assemble the three parts of the devil’s bible so that we can speak the name of God in reverse and undo creation”. And summon horned creatures from Hell, Demon Lung so do. From the get go on ‘Binding of the Witch’ with its feedback soaked swirls of hell, these cats aren’t messing around. Once guitarist Phil Burns, bassist Patrick Warren and drummer Jeremy Brenton have all come up in your ears, and the spine crawling whispers of Shanda Fredrick are setting them on fire. To say her vocals are good would be an insult; she takes everything from the choir and puts her tortuous, yet still feminine spin on them. Down right haunting and beautiful. The guys behind her are just as strong and precise in their own crafts. Be it the locked down wails that fly frequently in ‘Devil’s Wind’ or the subdued segues in ‘A Decade Twice Over A Day’, top notch playing and song writing on display all over this album.

The Lung don’t just play heavy for the sake of blowing speakers and shaking your house, though. There is a defined flow of up and down trough each song. ‘Heathen Child’ moves from monstrous thunder to plucked guitars echoing side by side with smooth vocals spoken in a language that I can only recognize as awesome, then right back up to a sped-up tempo that drives home the point that much harder. ‘Hex Mark’ comes in as a ripper and stays that way all the way through; proving that doom can done quick, and with class. If the final two song tandem of ‘Hallowed Ground’ & ‘Incantation (The Hundredth Name)’ doesn't win you over…well fuck you. There. Simple.

Demon Lung should appeal to any and all doom metal fans out there as The Hundredth Name is a prime offering in the genre. I see (and hope) only bigger and better things coming for this band. With an album like this, it is deservingly so. Be sure to go pick it up through Candlelight Records on June 3rd  in the UK, and June 4th in the US.

Support artists and musicians you enjoy and respect. Fuckers.

HAIL!!!!!!!!!!!!!!!!!!!!!!!

Much like my addiction to Swiss roll, for some people more is never enough. You’d have thought two wildly successful “day jobs” would be enough to keep some folks busy. But not so for Katatonia lead vocalist Jonas Renkse and The Pineapple Thief front man Bruce Soord. Clearly they've got too much time on their hands as they have come together to create Wisdom Of Crowds. I can tell you now, I am eternally grateful that these two chaps did a bit of moonlighting. As will you.

Originally written for Renkse’s voice, Soord sought out the acclaimed vocalist to complete the compositions and release the music to the masses. In doing so, Bruce Soord has found the perfect foil for the music he has written. Which is all at once jagged, sharp, melodic, aggressive, tender, sparse and loud. What anchors it all together, what makes it a cohesive mix, is Renkse’s vocals. His delivery is sublime. But we’ll come to that in a bit…

Album opener ‘Pleasure’ sets up the album with Renkse’s weary and plaintive voice stretching across the track as it morphs from electronic intro to a upbeat mix of live instruments, effects and sounds. This album is different to their respective bands yet retains enough familiarity to comfort fans of both. Title track ‘Wisdom Of Crowds’ evokes a faint vibe of early Gotan Project with its horns and sparsely placed guitar lines whilst ‘Radio Star’ leaves you haunted…. leaves you looking for something as Renkse sings "give you the lights, give you the stars, give you a sign".

Standout track of the album is ‘Frozen North’. It’s simply stunning. A melancholic guitar line awash with strings coupled with Renkse’s beautifully evocative vocal melodies and lyrics transporting you to a place of reflection. When, 4 minutes into the song, we descend musically into a fantastically out-there blend of electronica with jagged shards of glitchy noise rhythmically pounding towards the conclusion of the song. It just feels right and natural. It feels magnificent.

Next up we have ‘The Light’, a more traditional (as in what the uninitiated imagine it to be) prog tune that is reminiscent of Saucerful-era Floyd with its backwards guitar and drumbeats. It’s 7 minutes of pure progressive music: bluesy guitar licks on a bed of synths with again startlingly intimate vocals.  ‘Pretend’ counters this with aggressive shards of guitar playing from Soord.

With that we head into the final 3 tracks on the album. The triumvirate of the album in fact. I’ve genuinely never heard an album FINISH with such breathtakingly songs. Most artists would have put these tracks at the top of the album such is their magnificence. ‘Stacked Naked’ shimmers into view with a tenderly melodic  intro backed with some wonderfully harmonised vocals. Renkse’s lyrics painfully urging "if anyone should ask how the story goes just pretend we're almost there just pretend....pretend.....". ‘Centre of Gravity’ is a song that made me think of the bond of friendship, of the shared experiences, of the sharing of secrets and hopes and dreams. It ends with Jonas repeating "hold out your hand", a plea to never let go of what once was but also as an offer of support. And finally ‘Flows Though You’ arrives with a wail of siren and simmering aggression. Renkse defiantly proclaiming "I can lose but I will never break" as the song heads towards a cacophony of drums, guitars and electronica.

So. After all that what is this album like?

Jonas Renkse’s vocals and lyrics are the highlight of this album. They are the lynchpin of the entire record. No matter where the music goes, no matter what genre it delves into, the guiding light is his voice, his delivery and inflection. In Soord, he has found a collaborator that can create music that uses every aspect of his voice and talent.

It is a stunning album in both depth and range of emotion and music. It captures so many genres and yet defies labels. Part rock, part electronic it's all blended together to create and album that lifts you up, makes you think and most importantly makes you FEEL. There is a hypnotic use of space and dynamics from the frailest most intimate ambience to bombastic guitar driven sections that lift your spirits. It is everything you can want from an album and more.

Having never been to Glasgow's Audio before I wasn't sure what to expect. I was pleased to find a modest sized dungeon teaming with leather and denim clad punters. And this was early on, second band of the night Sunsmasher were setting the tone. The tone being mostly fucking loud and riff heavy. The Glasgow natives were more impressive live than the few tracks I had heard previously online. Definitely a band to see again and keep track off. 

I was impressed and pleased by the decent turn out for this gig. Especially on a rainy Monday night close to the end of the month. And a healthy welcome was given to main support Bossk. I've been a big fan of them since their first couple of EPs. In fact I recently interviewed Tom Begley on all things past, present and future for Ech(((o)))es and Dust. Despite that, this was my first time seeing them live. A ripple of excitement permeated through the crowd as they took to the stage. Clearly others were in the same position as me, long time fans, as 'Define' struck up there was a big roar of acknowledgment. With minimal lighting Bossk set about business in effective style. Gathering together on stage at times in almost a huddle they locked in together and were super tight. Seeing the likes of 'Define' and 'Truth' live was special. Tracks I've played countless times and are classics in my book. Bossk live were worth the wait, going through new tracks as well like 'Pick Up Artist' proving there's much more to come. Performing as if in their own zone with impressive tightness they at times exploded forth, as the music shifted in dynamics. Bossk provided a certain amount of refinement to the evening of otherwise dense riffery. Although what followed was the total opposite. 

Dragged Into Sunlight aren't like other bands. Two antelope skulls are dimley lit red at either side of the stage. A candelabra is placed at the forefront, three thick candles burning. Then when they emerge they are cloaked in shadows and smoke. Facing away from the crowd also, they launched into a set drawn mainly from debut album Hatred For Mankind. There is a brutality and edge about how they perform that was captivating. And then the strobe lights kick in just in case you were starting to feel comfortable. From where I was standing I could see side on through the shadows frontman " T" rather than his back. I have to say he looked totally immersed in his own zone.  Barefoot, he looked like someone with "issues" rather than someone turning their back as some kind of gimmick. The constant strobe flashes and shadows provided a fitting setting for the hate filed cacophony being produced. The crowd at times seemed either confused as tracks merged into one another or simply stunned by what we were witnessing. When "T" turned to the crowd as the final song began it was like a vampire seething at the sun. He looked genuinely uncomfortable summed up as he dramatically blew out the candelabra, and (I think) unintentionally sending it crashing over. There was a few jeers of course, but was a brief light moment in an otherwise intense performance. Dragged Into Sunlight are a band even if you haven't listened to before you should see live. I say "see" but really you'll be lucky if you catch a glimpse through the fog and seizure inducing lights. Well worth it though for a totally different live experience.

Thanks to Bruce Cowie for the photo.

Two things grabbed my attention when this debut by Iron Tongue was announced: 1. It's released on Neurot Recordings; 2. They feature Rwake frontman C.T. on vocals. Straight away I knew I had to hear it, Neurot gets a free pass as their track record and quality control are second to none. Rwake are one of the most respected underground sludge acts, with C.T. also being heavily involved in the scene and the film 'Slow Southern Steel'. So valid reasons for me to check it out.

Given the two reference points mentioned Iron Tongue must be a sludge post-metal experimental act right? The answer is simply no, as this is an album of blues soaked rock. The important thing is however, that it is a brilliant album. Iron Tongue don't deal in bullshit, gimmicks, retro worship and don't need face paint or convoluted imagery to make their point. It's basically a bunch of guys (and girl) getting together and playing some Southern rock.

The song's are lengthy, slow and filled with soul. Although everyone impresses musically, C.T. steals the show, displaying a more stripped down raw vocal approach thereby demonstrating his power and range. There's a range of classic Southern influence apparent, but also even touching on soul. This is apparent on 'Lioness', which reminds me of Aretha Franklin's classic 'Chain of Fools'. The tracks have a steady flow never really going full tilt, but it suits their style and delivery.

Although all the tracks are enjoyable and worthy of praise the first one I heard was '7 Days'. It impressed me so much I had it on repeat for ages. It is still a highlight on the album and displays C.T. at his devastating best. Emotion pours out in his voice in the tail of separation and musically it's all heavyweight.

Another recurring element is a lot of slide guitar work which is perfectly suited to the music. I'm a sucker for a bit of slide but it can often be out of place. Iron Tongue though play like the resident band in Hell's finest drinking establishment. With other commitments it's unclear how much touring Iron Tongue will do. So either make sure you see them live or pour your favourite whiskey and listen to Iron Tongue and let it soak in.

The Dogs Have Barked, The Birds Have Flown is available through Neurot Recordings and thanks to Rarely Unable again for providing this promo copy.

It's weird that you can listen to a record 20-odd times and you're still not entirely sure what the next song is going to sound, or more importantly, feel like. Mind you there's a good chance it will start off with a simple melody as it pulls you close in an embrace and starts to whisper in your ear. Just don't count on it always being gentle and loving, for this is truly a record of emotional contrasts that pretty much cover the full spectrum. It's this lottery that creates an album whose style helps break the record free from so many post-rock cliches.

If you followed the process of making the record on fb or twitter you'd know how much thought and effort Sydney trio Solkyri put into the making of their debut album Are You My Brother. It's really paid off too, because despite the familiarity of the different styles found on the record, the breadth is at the same time adventurous and harmonious, and there's enough experimentation to prevent it from just sounding like so much other music.

'Home' contains beautiful warbling vocals from Hannah Cameron, who also provided the lyrics. Her voice is strong but largely restrained and a far cry from the girlie sounds pervading Australian indie pop at the moment. Full of individual character, she builds on the sadness set up in the introduction with almost a tinge of folk, although the structure is more linear than cyclical. Vocals are also used in the final track, although they are strictly musical rather than lyrical. Other than these two it's strictly instrumental.

There are periods of sheer uplifting joy in tracks like 'With Strawberries Like Dead Men' and 'Threads of an Old Life', yet even here the former gets you punching the air or trying to keep up with some fast air-drumming, while Threads is more happy, content and almost has a sense of relief, as if rebuilding from tragedy rather than happy in isolation.

That's not to say Strawberries is all joy and the opening half contains an element of fear and uncertainty, almost despair with its powerful use of strings and piano. The dynamics of the song are magical with great use of resonance, silence, and towering, majestic layers of sound. The production in the record is of consistent quality but it's here that it shines the most, as if this is the reference point. In fact the song feels like the reference point for the whole album in every way and that the other songs all exist in some kind of relationship to it more so than to each other. It's a different feeling than when you might pick out a favourite or stand-out track, or that one song you often find that contains elements of all other songs. It's like this is Solkyri in its natural state and the other songs are its other moods.

It's in this context that the two shortest tracks 'Oklahundt' and 'Glory' work well, being very simple and reflecting that emotions and feelings are not always intense or complicated. Call them fillers if you must, but they are not simply bridges between songs. 'I Am The Motherfucker', on the other hand, is long, intense and anguished, with great swells of anger and despair.

Are You My Brother doesn't grab you and hold you or shake you like some records do. Solkyri use restraint and subtlety, allowing the rich contrast, diversity and dynamics to keep you engaged. By usual post-rock standards these songs don't all belong together in one place, but the fact these brilliantly performed and produced songs are in one place is the reason the record's so fucking awesome.

Albert Einstein once said: “Time is an illusion.”

Hexvessel have managed take this illusion and ingeniously apply it to their rambling 70s inspired psychedelic forest-folk. The result is that the thirty-five minutes running length of their Iron Marsh EP released by Svart Records actually warps the very fabric of space-time. Seconds are stretched and distorted; these are perceived by the listener as hours or even days. At the end of the EP you feel like you’ve had your ears subjected to this dirge for an eternity. When will it stop? Who knows, it just seems to go on, and on, and on ….

Released in May Hexvessel was something of a step into the unknown for me. I’d never heard anything by this strange Finnish group before and I thought what the hell I’ll take a listen. In hindsight perhaps I should’ve tried to catch their No Holier Temple album then perhaps I would’ve have properly prepared my ears for what was to come? I could have bought some cotton wool and plugged them up. So, I’m guessing if you’ve read this far you’ll not be surprised to hear that I wasn’t particularly taken by these five songs, one of which is a Yoko Ono cover. Yes, you read that correctly a Yoko Ono cover! Fundamentally, this EP is one massive over-indulgent weird art project which should have been left alone in the middle of one of the forests they’re trying to pay homage too.

The first track is ‘Masks of the Universe,’ which clocks in at thirteen gruelling minutes. You get horns, a string section, organs and gently picked guitars which all vie for position and it’s simply just bizarre.

“This is the end of the world
This is the end of the world
this is the end of the world
this is the end of it all.”

Well, I was certainly wishing for the end of the world so I could stop listening to this; however, to be fair the song did eventually pick-up somewhat with some slight doom laden riffing but it was all too little too late. Perhaps the target audience for this track are people who are totally stoned? I guess that it would certainly help to get you through to the end of the track, as opposed to just feeling an overwhelming desire to doze off through sheer boredom. Sure, it’s clever dreamy, ephemeral, floating stuff but that’s what makes it so dreary and monotonous.

Next up we are treated to ‘Superstitious Currents’ which thankfully is only a few minutes long. Ghostly vocals, melancholy violins and creepy occult themes merge with the next tune: ‘Tunnel at the End of the Light’ which again conjures up a similarly depressing soundscape.

Then we move onto the low-point of EP, yes the cover of Yoko’s ‘Women of Salem.’ Apparently the band feels that Yoko Ono is a severely undervalued musical innovator. Eh? What? Is this the same Yoko Ono who was with John Lennon? Hmm, I’m not so sure about this. Let’s tick the boxes with this track: odd, tick; occult, tick; trippy, tick. Sounds reasonable on paper, but when you hear it it offends your sensibilities. Honestly, it’s like filler material found on a damaged LP of a 1972 musical which folded after one week. Chants of ”Salem, Salem, witches must hang” and “must kill, must hang” don’t help the situation. There is a nice duet between McNerney and Rosalie Cunningham, but I would struggle to think of anything else positive to say about it.

Then finally, the EP ends with ‘Don’t Break the Curse’ which was fairly uneventful and forgettable.

So, in summary “Iron Marsh” is a weak release from a band which may well be capable of better things. For sure they are good musicians and there’s nothing wrong with borrowing heavily from the 1970s, psychedelia, or doom but if you’re going to do this then make sure you pick all of the best bits and not the parts which most of the influential bands from each genre have decided to leave out.

Avoid.

Death Karma are a two piece blackened death metal outfit from Czech Republic. A Life Not Worth Living is their debut EP and it proves to be an extreme introduction that’ll leave you with an echo on the inside. Comprised of members Tom Coroner (Cult of Fire, Lykathea Aflame) on drums and Infernal Vlad (Cult of Fire, Zio, Maniac Butcher) on vocals, guitars, and bass, the four songs on this EP will surely grab you by the throat and keep you interested with its varying speed changes and style.

'A Dead Oracle' opens the album with slow, drudging chord progressions that fill the room with a particular mood almost instantly. Without warning the pace speeds up, striking the system like a whip on skin. The vocals are ruthless, something you’d imagine hearing from a suffering, mortally injured soldier. The whole track sounds primitive and raw, perfect for those who love the brutality of death metal and the lamented guitar sounds produced in black metal.

'G.G. Funeral' opens with a pornographic audio clip that almost makes you check your Internet browser to see if some kind of rated X pop-up emerged while you were trying to listen to music. The track swiftly explodes out of nowhere into an extreme composition of vicious drumming, and heart attack inducing guitars, causing a shift in the original mood of the album. The death encrusted riffing carry this track on, leaving you wondering what else is in store.

The third track on the EP, 'Dark Omens' presents with a different vocal style, almost as if Infernal Vlad suddently takes the role of a Satan worshiping choir member, summoning his congregation. The track is heavy, like an unrelenting hammering to the face until it is beaten beyond recognition. The track could easily be background music to visuals of someone dying a vicious and violent death and leads perfect into the closure of the EP.

'DeathKaos' is the standout track on the album. It strikes like a thunderstorm, with crashes of lightning every few seconds. The vocals are strongest on this track, spewing devastation in the form of sound directly into the chest. The guitar sound is eerie, coupled with the howl of the vocals and the blaring of the drums, it strikes vehemently while blazing its path.

Although the EP as a whole isn’t over the top unique, it is definitely going to turn some heads. These guys have something with this release, fans of their previous work and new listeners who are in love with extreme metal should be eager to give it a listen. A Life Not Worth Living was released on Iron Bonehead Productions on May 10th, 2013.

A little over a year ago when the existence of Palms was announced to the world there was a rush of excitement about the band. Both Isis and Deftones are revered and incredibly influential bands in their own ways. Expectations were set and for the next year everyone had to wonder what it would be like. Would it transcend the sum of its parts or would it fall into the “supergroup” trap and be too self aware to deliver? Would they be able to step outside of the considerable expectations and create something new but not alienate their collective fanbases? Luckily Palms have delivered a gorgeous debut that is not only worth the wait but exceeds expectations at every turn.

Comparisons to both Isis and Deftones are inevitable but it is apparent from the outset that Palms is quite different than both. ‘Future Warrior’ opens with a simple synth texture and mild electronics before dropping into a mid-tempo groove that is both familiar and fresh sounding. Anchored by wiry guitar melodies and airy vocals it gives a taste of the moody dynamics that make up much of the record. By the time the final climax of the song thunders in, it is apparent that Palms are reaching for the more grandiose and beautiful side of heavy music. Layers of delayed guitars, basses and softly twinkling keys fade out into the spacious ‘Patagonia.’ The opening waves give way to an effected bassline in lockstep with the drums, while hazy vocals and guitars play off each others atmospherics. As ‘Patagonia’ stretches and expands it avoids any cliched "heaviness" Ultimately, this is Palms’ biggest strength on the record. Their ability to be huge and expansive without relying on chugging riffs and overdramatic volume shifts is masterful and refreshing.

‘Mission Sunset’ takes the open and spacious atmosphere even farther than the opening tracks. The fuzzy optimism of the opening verse quickly gives way to a subdued, melancholic build. Pining vocals blend with crackling guitars before releasing all of the tension into a hushed middle section, before crescendoing again to the songs powerful zenith. ‘Shortwave Radio’ sits next to ‘Mission Sunset’ and also works because of its alternating light and dark moods. Guitars, bass and vocals layer melodies over each other through tenuous mood shifts until tightening into a brooding climb to the heaviest section of the album. These two songs in particular show off the expansive arrangements and dynamic range that Palms is capable of.

Whereas both ‘Mission Sunset’ and ‘Shortwave Radio’ thrive on slow builds and climactic release ‘Tropics’ is all ethereal beauty. Echoey keyboards and subtle slide guitar flourishes combined with some of the best vocals on the entire album make ‘Tropics’ a sublimely gorgeous song. The final song on the record ‘Antarctic Handshake’ is one part dreamy ambient meandering and one part upbeat soundscape. The final delayed refrain closing out the album with a quiet whisper. You’ll probably just start the whole thing over at this point.

What really works for Palms is the attention and emphasis on mood and feel over brute force. The music undulates and breathes without ever sounding forced or overwrought. Repeat listens begin to yield even more layers and little bits of ear candy that show the care that went into this project. There is enough here for fans of both bands to find some comfort in but it is still a very new and unique endeavor. Many people will be wondering if it was worth the wait, rather than the end of a wait, I hope this is the beginning of a long career.

It is marvelous.

Killsong is perhaps an apt name for a band that wants to do everything differently and that’s certainly the case here. After listening to their debut album He is Risen this Australian oufit might give you the impression that they are a bunch of lunatics but in fact we have to deal here with some very experienced veterans in the Australian experimental music scene. With former members from bands like Squat Club, Darth Vegas, Mr.Bamboo and Jimmy Swouse & The Angry Darts among others, this collective presents a whirlwind of styles in a quite deranged way. Influences from metal, funk, jazz and even spoken poetry are melted into an avant-garde form of music where nothing makes sense in terms of melody, harmony, rhythm etc.

The 5 ‘songs’ are in fact bizarre stories told by the maniacal vocalist Dano, sometimes very hilarious but then again also quite heartfelt. ‘Dear Anthony’ opens with saxophone, waltzing from jazz to blues and some freaky, over-zealous vocals which immediately reminded me of Captain Beefheart but above all John Zorn’s Naked City (with the screams of Yamatsuka Eye). After 3,5 minutes the song suddenly becomes a weird spoken word performance in which the story is told about a lost youth friendship due to the fact that ‘Anthony’ got a girlfriend. It’s hilarious but also very recognisable about the change of people when they grow up.

‘Pissflaps’ Magic Medicine’ is the weird title of a mainly instrumental piece that kicks off with some strange classical chamber orchestra playing again something of a waltz of polka. Next, the band changes gears and it’s back to jazz slowing down the pace. This, rather dark, atmosphere (with the sound of laughing children), is then abruptly slashed by disturbingly distorted laughs and a frantic outburst with wild sax and screaming violins again in the vein of John Zorn’s Naked City. The 2nd part of this piece has some twisted lyrics about rabbits (in fact it says: "Don’t fuck rabbits") and sounds like one rabbit has gone mad in working itself towards an orgasm.

Is that You Mr. Roebuck?’ has some explicit lyrics about…well you should listen yourself. The music again is a kind of whirlwind between jazz, trashmetal and funk. ‘Hotdogs’ is a nod to Captain Beefheart’s period with Frank Zappa (Bong Fury) telling the story of an unhappy guy who, under false pretences  is taken to the red light district in Amsterdam to meet a she-male called Layla Laticia. But when this unhappy guy finds this out he gets so angry that he want to kill his friend and of course the she-male with a…..hotdog!

The final piece ‘He is Risen (slight return)’ is a melancholic, drowned in alcohol, Tom Waits kinda blues played in a piano bar. In between you get the typical Zappa inspired, quick but short sound collages. Finally the piece gets louder and louder with the noise of distorted hammering on a piano first sounding like a child’s toy, repeating itself like the end of an LP, but in the end sounding more like a passing train. A sudden silence marks the end of this twisted journey.

Obviously this album is not for the weak at heart, in fact you must have a very open mind for musical experiments but if you have…..this is a very good album and it makes you definitely look forward to more from this mad and deranged combo.

There’s always a thin line between genius and madness and this certainly applies to this work. Listen and decide for yourself.