Deafheaven have had their authenticity called into question pretty much since signing to Deathwish Inc.  Mostly by fanatic kvlt types due to their black metal elements. For those of us however that love extreme music, rather than wear it as a badge of honour Deafheaven are a dream come true.

For some reason the concept of authenticity kept swirling round my head when reviewing Sunbather. I thought back to  the NME questioning Ritchie Edward's (of Manic Street Preachers) punk ethics. Resulting in Ritchie cutting "4 REAL" into his arm with a razor blade, and soon before he disappeared off the face of the planet. Deafheaven however don't need to go to that extreme. It's cut into the grooves of this record and easily displayed for all who hear it.

Kerry McCoy and George Clarke have poured their soul into their second full length Sunbather. From Clarke's impassioned tortured screams to McCoy's heartfelt and raw guitar. It's an album of incredible growth and one that should see them gain wider recognition. Lyrically, themes range from longing, self analysis, loss and guilt. Musically it surpasses Roads to Judah, while retaining the ferocity and awe inspiring moments of the debut. In fact it broadens both facets in stunning and often jaw dropping fashion. Much has and will be said off their mixture of black metal, shoegaze and post-rock elements. Fact is while relevant, Sunbather is a remarkable piece of music, regardless of genre.

Music for me is as much about feel as sound and Deafheaven put you through the emotional wringer on their second full length. With a much richer and fuller sound, at times the dynamics are overpowering. The addition of Dan Tracy on drums is a master-stroke, as he provides a more intricate and dominating presence to the rhythm. At times propelling everything forward and equally holding it down on the quieter moments with authority.

Deafheaven haven't strayed too far from the formula used on Roads to Judah. Instead they've expanded on it and damn well almost perfected it. Opener 'Dream House' is a break-neck gallop of power until the closing section of Edge influenced guitar and Clarke passionately yelling "I want to dream". It sticks in the head for days and is both uplifting and despairing in equal doses.

Elsewhere 'Irresistible', 'Please Remember' and 'Windows' are shorter tracks woven into the longer ones. They range from instrumental delicate and beautiful acoustic passages and warped guitar melody incorporating samples of street hustling. These tracks themselves are highlights individually. The title track is  familiar and equally impressive as 'Dream House' and again would be stand out on any  album. However the last two long tracks 'Vertigo' and 'The Pecan Tree' are another level completely.

'Vertigo' is appropriately titled as the opening section matches the description I get from someone who suffers from it. A swirling riff echoing the dizziness and nausea, leads into a full out metal solo before the assault of pummeling rhythm takes over. At near 15 minutes the track twists and turns and features too many jaw dropping moments to list. Throughout Sunbather the dedication Kerry McCoy puts into his guitar sound is apparent and its only a matter of time before he gets more recognition for it as well as their writing as a group.

'The Pecan Tree' closes Sunbather, again over ten minutes it starts with apocalyptic rage before transcending in sounds and styles. Bringing elements of so much music together in their own unique way. It's an emotional charged track of monumental scale. Drums roll out like thunder, everything drops out as McCoy plucks melodies from the ether. Is this real?, you question before gentle piano led melodies transport you off again. All this and so much more before the track fades out. Honestly it's one of the best things you will hear.

In truth words can't do what's on offer justice fully. An album of incredible depth and quality. Much will be said of Deafheaven and this album in years to come.  Just make sure you actually listen to 'Sunbather' before  deciding where you stand. Available to pre-order now through Deathwish Inc including immediate download.

Enter the Church of Misery and take a seat. Close your eyes and let Thy Kingdom Scum fuel your psyche. The introduction song to the album, ‘B.T.K. (Dennis Rader)’ creates an image within the mind of lying on the hood of fire red ‘66 Mustang parked in the middle of a scorching desert in the peak of summer. As it plays on, the mood of the album is felt immediately. A whole body experience takes over, like remembering the feelings evoked on a good trip. Did I say trip? I meant roadddddddd trip. The sound waves of the album crash just as the cymbals do, making the hair on the neck stand up, injecting the noise in the blood.

A certain leafy green herb might enhance the way this album “hits”, so to speak. As ‘Lambs to the Slaughter (Ian Brady/Myra Hindley)’ takes off, the desert imagery continues. Now cruising on the highway somewhere between Arizona and Nevada, reminiscent of a scene from Fear and Loathing in Las Vegas. With guitars so groovy and bass so heavy, it’s hard not to feel the music coursing through the body with heat and intensity. The album gets better and better as each track is played, like a "Choose Your Own Adventure" book for the conscious mind.

The serial killer themes that are consistent throughout Church of Misery’s discography also add something to the mood, tone, and sound of the band. Each song covers a different serial killer and a different case. As the music floods the ears, the lyrical themes almost create a slideshow of murder, necrophilia, torture, and chaos initiated by those convicted. Almost as if this album (and their others) could be a soundtrack for the live news reports of the guilty being apprehended, capturing a touchstone of insanity.

During ‘Cranley Gardens (Dennis Andrew Nilsen) the audio clips mixed with the groovy sound of the bass almost take you back to the late 70’s, early 80’s (to the time when the murders took place). You can see investigators working on the case in a police station full of smoke, light shining through dirty windows. You can see Nilsen himself, sitting in a jail cell guilty yet unremorseful. As the howl of Hideki Fukasawa’s vocals tells his story, you can hear the cries of his victims almost like echoes against prison walls. You can see Nilsen replaying the murders like a movie in his mind, re-flushing the remains of those he killed down the lavatory all over again.

Perfect for fans of Black Sabbath, Sleep, Boris, Trouble, and Saint Vitus, Thy Kingdom Scum is an all-consuming album. This is definitely one that you want to crank up the volume for. Not for the faint of heart, each song is sure to evoke something inside. It’ll wake you up. Now if you don’t mind…I think I’ll take this album to the road and let it swallow me up. Who knows? The ghost of Peter Kurten might come and sit shotgun while his song ‘Dusseldorf Monster’ plays along.

BONUS: This album includes a Quartermass cover of 'One Blind Mice'. It’s done absolutely flawlessly.

I first came across the Age of Taurus as a doom metal project of vocalist/guitarist Toby Wright back in 2010 after they released a demo called In the Days of the Taurean Empire. They actually formed a year earlier and whilst the demo was clearly a work in progress it sparked enough interest to immediately single them out as a band I needed to keep track of. Since then the group has been hard at work crafting their first album: Desperate Souls of Tortured Times.

The first thing that strikes you about this album is the excellent cover art. Further research reveals that it’s actually a piece of art called An Avalanche in the Alps by Phillip James De Loutherbourg which the band have cunningly found and appropriated. Apparently in this piece of art:

“Loutherbourg, who specialised in such landscapes, adds human drama to the avalanche’s awesome progress via the terrified people soon to be overwhelmed by nature’s power.”

 However, in this case it’s the listener will be overwhelmed by the sheer heaviness of the sounds.

As for the record itself, the production values between this and their previous demo are almost beyond comparison. Desperate Souls of Tortured Times was produced by Jaime Gomez Arellano who has worked with the likes of Angel Witch, Hexvessel and Ghost. This collaboration has resulted in a tight, exceptionally well-constructed sound which is a treat to listen to. The group clearly worships at the altar of legends such as Candlemass, Penance, Mercy, Saxon, Brocas Helm, Dark Quarterer and Black Sabbath but they also pay tribute to NWOBHM’s golden years; so what you end-up with a mixture of doom, bass-driven seventies hard rock and unremitting twin guitar assaults.

The seven songs on offer here stretch for a total of 42 minutes which is an ideal length for a debut LP. Not so long as to be self-indulgent or full of filler material and not too short to be classified as an EP. While each of the songs can be listened to in isolation they seem to be parts of a bigger whole.

The warped dark harmonies of ‘A Rush Of Power’ start proceedings introducing enormous riffs interspersed with Riddell’s intense vocals, while the rhythm section does an exceptional job at supporting the song structure. ‘Sinking City’ is next and this contains incredibly dense and round guitar work which assaults your ears in a similar way to being repeatedly clobbered with a colossal mallet. Time and again the vocals help to develop a baleful tone while lead guitar solos are thrown around with skilful abandon. ‘Always in the Eye’ and ‘Walk with Me, My Queen’ follow in quick succession both being pounding, kick ass Doom n’ Roll numbers. If you like large, rock-solid tunes which have a timeless, classic sound then these songs will definitely quench your head banging thirst. Next up is the impressive title track ‘Desperate Souls Of Tortured Times’ which pays homage to the downright nasty Sabbath-esque school of thrash, followed by ‘Embrace the Stone’. The ominous playing on this latter track is complemented with hammering drums and melodic vocals which produce an atmosphere that sticks in your head. And finally, ‘The Bull and the Bear’ dishes out a chunk of song-writing excellence which is enhanced by the amazingly tight and solid playing, not to mention the terrific production.

So in summary, don’t expect anything new or innovative as the band have gone for an enduring, classic sound which, if you’re a fan of doom metal, will make Desperate Souls of Tortured Times one of your top ten albums of the year.

One of the stranger sayings in music journalism is that an artist is a musician’s musician. Quite what this is can be argued until the crows come home but maybe, just maybe, Steve Gunn belongs to this creed.

Possibly more known as guitarist in Kurt Vile's band, Steve Gunn has had a bit of an underground career as a solo artist. A supremely gifted guitarist, he spans blues, psych and folk to create heady soundscapes which stick in your head and take you on a journey. This is head music of a higher order and demands headphones to appreciate the true talent at work.

‘Water Wheel’ with its chiming riff is a good place to start, a monotonous riff which builds into drawled vocals and blues guitar interchanges. Imagine the more folkier songs of Led Zeppelin and add a dollop of drone. It is both stunning and psychedelic whilst keeping you grounded by the sheer musicianship of it all.

The songs on this album take their time to seep into your consciousness but the reward is one that will stay with you for a long time. Steve has a knack of making you forget you are listening to muso music and instead creates landscapes for you paint pictures on. Each song may sound the same but the beauty is in the detail as you are carried on a psychedelic blues ride that hasn't been heard since the heady days of Grateful Dead.

In a year where there have been some fantastic unsung albums, it is more than likely that Steve Gunn will get overlooked. This will be a massive shame but for those of us who have succumbed to his charms, we are going to be that much richer. Music like this demands reward for the listener and if you give in to it, you will receive. Astounding and mesmerising in equal dollops, take the journey to a psychedelic delta blues of Steve Gunn's world.

Born in 2010 Diablo Strange is a trio from Moncton, Canada playing a mix of heavy stoner rock and blues. Influenced by the obvious culprits, Clutch, Queens of the Stone Age, Zeppelin, etc…Diablo Strange is set to release their first full length LP Sordid Tales on May 24th. The most obvious thing I found while listening to this album is that these guys are really good musicians and are able to create solid riffs, melodies and solos that flow effortlessly throughout the 11 songs that are part of this album. They move the music from a fast melodic hard rock sound in songs like 'Brown Paper Bag' and 'Sinister' and hit their stonier side in 'Evolution' and 'Borrowed Time'. They are solid with what they put down and Matt Cormier’s gruff vocals enhance the sound that they are producing throughout the album.

However, one of the strongest parts of this album is that they have some really great and catchy songs on this but I am not sure that there is a song on here that is memorable enough to make me want to go back and listen to this album over and over again.  As an example, for me to be able to even write this review I had to listen to this album multiple times because very little of it stood out to me. Where Diablo Strange really hits the mark is on the songs 'Evolution' where the melody and backing vocals by guitarist Marty Surette add so much depth that seems to be missing from many of the other songs on the album. Additionally, when Matt Cormier losses his gruff tone in the song 'Greed' it is a testament to how talented and multifaceted this band can be with their music. The problem is that they do not show that throughout the whole album, which is a shame because the potential is there. One other major issue I have with this album is I think they could have shortened it just a little bit. I think 9 songs instead of 11 would have allowed them to focus on the stronger songs of the album and maybe leave out what becomes filler, like the song 'Babylon' that ends the album.

Look, this genre of music that Diablo Strange has decided to join may be one of the hardest to breakthrough in the metal/hard rock world. There are just too many really good bands that have shown that they have the superior stuff and it takes a great record to be able to keep up with these giants. Diablo Strange has produced a competent and catchy album with plenty of bad ass riffs and hooks that will make you take notice of them. The problem for this album is there are not enough of these catchy moments to make the album memorable. I think Diablo Strange has the ability to do great things; and I honestly hope they figure it out because from what I have heard so far from them I think they might have what it takes to run with some of the big dogs.

Until Later, Peace!

When I got Beyond Mortal Dreams’ (BMD for short) promo, I wasn’t sure what to expect. Slapped my name on it and gave it a listen. A blind pick, no listens, just said ok. To my enjoyment and thank-fuck-this-album-doesn’t-suck-ness, BMD have made an awesome EP.

To sum up the detailed history of BMD real quick: Members left, visions and ideas weren’t the same, temporary hiatuses, lead man Doomsayer kept going and now we have this slab of fucking evil death metal in our hands. ‘Feast of Carrion’ is a quick-fire blast of urgency and fire falling from above. Blast beats and occasional galloping drums keep this song at high speed all the way through. And when the guitar solos come in, they mean business. Starting slow paced and dipping in the “shred” category, they are what a solo should be. ‘The Filth of Their God’ has a nice mid-pace tempo. Even though the drums blast a lot, there is still a locking groove to this song. The guitar riffs are a perfect fit with the drums, really locking in the song. ‘Dreaming Death’ is a death metal epic; starting slow and full of dredge then progressing into a solo that command the depths of hell to erupt. This track is mostly instrumental, and the vocals that are used only add to the evil, spell-binding feel. I can’t say enough how BMD utilize their guitar solos and tones. Closing out with a blasting rendition of Beherit’s ‘Beast of Damnation’ is never a bad way to close out.

My only gripe about this album is that the vocals aren’t mixed high enough. The vocals I do hear sound great, and I think they should be a little more predominating. Aside from that, this is a perfect EP for any fan of death metal. Their must be something in the water in Australia, the bands that have been showing up from there have produced amazing album after album. Maybe our lovely Editor of All Things Heavy, Sander van den D, would be willing to send me on an all expenses paid trip to investigate? I urge you to encourage him to make this happen.

This EP is now getting a 12” MLP vinyl treatment via Lavadome Productions. Specially mastered for vinyl, released on oxblood, one-sided 12” LP with pentagram etching on blank side; it will be available in May 2013. Limited to 350 copies and digitally available through any major digital vendor of your choice, there’s no reason not to check this out.

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

Let’s not beat around the bush here; Lychgate’s self-titled debut album is evil... really evil. If one look at the album cover doesn’t already give you that impression, the first few minutes of music certainly will. For a band consisting of members from Esoteric, Lunar Aurora and Omega Centauri, among others, this kind of atmosphere was always expected; it’s the execution of it that is most impressive.

From the opening minute of 'The Inception' it is apparent that this is not going to be a comfortable journey, with the use of a church organ creating a particularly unsettling tone. 'Resentment' is a great track but consists of mostly mid-paced black/doom metal, and it’s not until 'Against the Paradoxical Guild' that the album truly comes to life.

The latter track features an awe-inspiring vocal performance from Greg Chandler, who utilises his terrifying high-pitched shrieks to full effect. The music is just so much more sinister when Chandler leaves his mark on it, but kudos to the rest of the group for enveloping his vocals in some truly magnificent soundscapes. This is black metal of the highest standard, further evidenced by 'In Self Ruin', where the pace really kicks up and the avant-garde and progressive elements come to the fore. These are all experienced musicians from very forward-thinking groups, and their willingness to experiment gives the album a really confident air to it. The blistering guitar solo that comes in about a minute into the song is an unexpected move, but is pretty much as good as it gets for the genre.

Also expect to hear everything from hypnotic chanting ('Intermezzo'), blastbeats ('Triumphalism'), and acoustic breaks ('Dust of a Gun Barrel') during Lychgate’s latter half, which rounds up the album perfectly. There are no weak tracks here, making the 38 minutes of music go by quickly, but memorably. In short, if you’re a fan of any of the bands involved, enjoy ‘artsy’ black metal of any kind, or like music that will make you want to hide beneath the bed covers, Lychgate is definitely for you.

Jamie Ward (ex member of Kyte and current member of the post-rock band Maybeshewill) and James Stafford (a member of the alternative rock band kids in cars) are the two men behind the Dark Dark Horse, an electronic project based in Leicester.

Jamie does the music and James is the voice, two ingredients for a great recipe that I strongly recommend you to taste. The only problem is the high risk of reliance on their music!

Ambient-Electro addicted will love Centuries, the debut album of Dark Dark Horse that has also a slight feel of down-tempo. But the main difference between Dark Dark Horse and other bands with the same music style is the absolutely beautiful voice of James Stafford.

Centuries is a wonderful experience throughout its 10 tracks that, all together, are an amazing listen. Each tune is the step of a journey in the time dimension. This kind of listening brings you to remember your past, to live intensely your present and to hope and dream for the future.  

The album starts with ‘Sharks’ that introduces us to the Dark Dark Horse musical world with its electronics and glitch, down-tempo vibe. The chorus itself seems welcoming the listeners to the journey across Centuries.

The keyboard riffs of the first track bring us to the following ‘Ethics’ that is a soft and relaxing tune.  Apart from the voice, what is superb in this song is the piano played by James Stafford accompanied by a repeated electronic beat that gets faster towards the end of the song hypnotizing the listener. In its simplicity this song captivates with its beauty.

‘In A Lifetime Before’ made me think about Mùm typical sound with the plus of the warm James’ voice that works like an additional instrument perfectly combined with the piano, the guitar and the electronic beats.

‘Spit Our Regret’ is one of my favorite tracks from this album and it’s a work of beauty and intelligence. It has a fast rhythm with a melodic voice and lengthy post-rock undertones. But the atmosphere is the most intriguing part of this song.

Our journey across Centuries goes on with 'Southwest of Orion' that is a sort of continuation of the previous track with the addition of a xylophone. The outcome is an alternative/indie sound  perfectly blended with a very well produced electronica.

The longest track of the album is ‘Mercury Nevada’ but even 8 minutes of this track are not enough. It starts slowly with an awesome piano but after a few it changes completely, like a song in a song. The piano leaves the scene to lo-fi vocals, drum beats and hand clapping that can be the perfect soundtrack to your best chill-out night. The rhythm gently declines towards the end and the sound becomes clear like the sky over northern landscapes making this song a very atmospheric and wholly immersive experience.

The final duo is the synthesis of the whole album: calm vocals, drum beats, warm piano and chilled electronic are all present with the vocals really taking center stage to celebrate the end of the journey or the arrival at the point where there’s no more difference between the past, the present and the future.

‘Two Gestures’ and ‘Centuries’, as the album title, are 7 minutes of freshness and originality that offer a lot with their wide variety and culminating with a brilliant final chorus.

Jamie Ward and James Stafford’s duo formula is winning thanks to the originality of their sound and to the character of the songs that, all together, are like a wondrous diamond with its beautiful, stunning sides.

Dark Dark Horse will release their debut album Centuries on Function Records next  May 27th and I hope to see them live as soon as possible. 

1. Ingredients: Dark Throne, Converge, a wolf, a chainsaw, some surgical thread, a bunch of plastic sheeting, guitars, bass, drums, and a microphone.

2. Place all “supplies” in the back of a rusted out Econoline touring van. Any van will do, as long as it is rusty.

3. Find a nice, quiet place to do some “work.” Maybe a secluded cabin in the woods or a nice warehouse.

4. Prep the area and start cutting, being especially careful not to lose any piece of said bands or wolf. This could change everything. Make a tidy pile in the corner of the room.

5. Though the pile looks intimidating, start selecting various bits and begin sewing. That surgical thread will come in very handy at this point.

6. Once all the parts are stitched together, the monstrous beast that has been assembled should look (and sound) somewhat like Belgium's Hessian. Their debut full-length, Manégarmr, is a masterwork of blackened-hardcore debaucheries.

Manégarmr, the word, is an anglicized name for a wolf, or "Moon-Hound," in Norse mythology. This gigantic beast tirelessly chases the moon across the night sky. Ultimately, the wolf catches and swallows the moon in order to bring on the morning light.

Manégarmr, the record, plays like the soundtrack to this nightly hunt. It is intense from start to finish. There are brief moments when the moon is allowed to catch its breath, then it is right back to the gruesome hunt. Angular guitars swoop in and seem to come from every direction. Speed and dexterity play a major role as well. Things move fast and the vocals are fierce (and reminiscent of Dwid from hardcore legionnaires Integrity). It is an angry record; about as aggressive as it gets. This is a good thing. Cathartic and almost perfect in its execution, Manégarmr will no doubt catch many peoples' attention in 2013; fans and critics alike. It is already marked as a best-of on many lists (this guy included).

It doesn't get much better than Hessian. This monstrous, blackened-hardcore/grind spewing beast of a wolf is on the prowl. The moon better watch its back.

Led by Nathan Baumann and filled with musicians from the likes of The Ocean, Coilguns, Shelving, Derrick and Rectangle, The Fawn could easily put out albums that lack musical merit but still get consumed due to their separate pedigrees. They could, but they sure don’t. Collegium is not a sum of its parts, no, but an album from a band with its own voice, its own identity.

The organ that opens (and flows through) ‘Arche’ is instantly spine-chilling yet warming to the soul. The acoustic guitars that make their way in ever so seamlessly are loud and clear, even though the volume is low and smooth. And as far as the vocals go, well, I’m in awe at what my ears are hearing. There may be a thousand albums out there with vocals just like this, BUT THEY ARE NOT THESE VOCALS. Sorry, I got a bit carried away there. This is just an album, it’s music, that although almost entirely acoustic, packs so much beauty and emotion. The cello and extra noises added on the tail end of ‘Two Traces’ compliments the entire previous minutes of vocals and strummed guitar in such a manor, well, I honestly can’t put it into words.

‘Queen of Rain’ is a call of beauty for the clouds to pour out their hearts and wash away any worries you may have in your mind. With its cello (I believe?) backing up guitars and drums that flow at a bit of an upper pace, I find this to be my favorite track on the album. As cheesy as it may sound, but as I’m writing this it’s raining and I couldn’t be or feel better. ‘Good Friends’ finds a nice bass drum being played and backing organ creeping in as the vocals of ”…if I ever come back home, know if I ever come back home, we’re still good friends". It’s painful and hopeful at the same time. ‘Summerbreeze’ is the kind of song you hear around a camp fire with a few friends or at 1 AM on open mic night at your local pub. You know, that time when that one guy plays that one song that everyone will be talking about even though only 6 (!) people were there cause all your mates had to be at work the next morning.

‘Dive’ is the final track here. And I honestly am not going to give too much about this track away. I’ll simply say that it is the only way this album could possibly end, and it left me with a few tears in my eyes. A heart-warming ending to an album that I was never meant to review, but feel lucky enough to have heard. That’s all you’ll get from me.

You can pick up The Fawn’s Collegium through Hummus Records. Don’t sleep on this one. While everyone is out there hopping on trends and what’s “hot”, you should be listening to this.

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Tumbleweed Dealer are in the stoner/dessert/sludge rock category according to their Bandcamp and Facebook pages. I'm no expert in any of the above so wouldn't be able to tell my sludge from my dessert from my stoner. My only real exposure to this ‘genre' of music would be Kyuss, Monster Magnet and possibly some Clutch all these bands I really like, so I was really looking forward to getting the cans on and slip sliding into the groove.

First off the Album Cover for Tumbleweed Dealer has a very 70's psychedelic feel and really does set the tone for the music that the duo from Montreal, Canada serve up for their debut. Getting into the music, it really does lean into the stoner/desert realm with song titles such as 'Opiates', 'How To Light A Joint With A Blowtorch', 'The Sacred Mushroom And The Cross', and 'Sons Of The Desert'. Stylistically the overall feel for the songs is definitely slow groove based riffs with a real feel for improvisation and jamming.  Think early Sabbath slowed down, real heavy riffs enough to shake the head, brain, in fact the whole street. Some of the songs on offer are epic ranging from the 5 minute 30 to the 9 minute mark and all with a hypnotic effect  layers of guitars all playing a slight variation on a theme. As good as the riffs are I think the tracks could use some vocals in the style of Neil Fallon which would really take everything up a notch. For me the best track on the album is 'The Sacred Mushroom And The Cross' which actually changes tempo during the song and really shakes things up. A few more tempo changes in the songs and Tumbleweed Dealer wouldn't just be a good album, it would be a great album.

So I'm still no clearer on how to define the genre that Tumbleweed Dealer would fall into but suffice to say that the guys deliver a powerful album loaded with great big slow heavy riffs all wrapped in a psychedelic jam packed goodness. So if you like any of the above bands or genres then you will definitely like these guys. The album is out now definitely one to check out.

It is way too tempting to douse this review in whisky, hang it up across a hemp washing line, and blast it with buckshot whilst gargling engine grease as my eyes roll back in my head.

But that's what Murder By Death do.

As the house rock music comes to a silence, as the lights go down, in the Dingwalls in Camden, London; I am feeling the full force of sinusitis kicking me in the head after a five day period of flu; cooped up in bed with tissues and Lemsip.

MBD kick off with ‘Kentucky Bourbon’, tranquil in its descent, making me think of homestead movies, sodden mud bricks, and grassland isolation. I don't like Whisky, but I am all too ready to romanticise it; feeling more like I am in a saloon, drinking and ranting whilst old Joe plays the ivories, I manage to get over my illness and soak up the atmosphere.

Throughout the first half of their set, MBD play songs from their album Good Morning, Magpie'before crossing over during the second half to songs from In Bocca al Lupo - 'Brother' was a highlight, Adam Turla's vocals crashing over the PA, and Sarah Balliet's cello creating some beautiful soundscapes.

Booze. Cowboys. The Old West. 'The Gunslinger' by Stephen King. Lost relatives, and the sadness that comes with them. I found myself ruminating on all of this, in unison with what was coming from the stage.

Something else about MBD; their vibe makes me think of theft. Every song will have an aspect that I will want to pilfer for my own creative needs; a drum fill, a chord, or a vocal melody. They make you feel as if all is ripe for the taking, and this seems to go hand in hand with the liquor, cigarettes, and dead zombie children theme (listen to 'Who Will Survive And What Will Be Left Of Them?' if you don't understand)

Musical swag that you're tempted to bury in the sand; but I can't help but introduce all of my friends to them. You HAVE to listen to this.

Surprising is their cover of INXS's 'Never Tear Us Apart', of which I have memories of bellowing away whilst lying in bed as a child. Their twist is certainly their own; print it off, throw it in a barrel, let it age for a decade, and you've got a single malt version of the original.

They finished off the night with 'The Day' from Magpie and asked the crowd to sing along. I was only disappointed that they didn't play anything from Like The Exorcist, But With More Breakdancing and if you've not heard of Murder By Death, I would suggest starting there.

Ahhh remember Invasion? A 3 piece London metal duo made up of one bloke, two chicks who played heavy jams that you could almost dance to. They reminded me of Big Business fronted by a soul singer and they kicked some absolute ass. The album The Master Alchemist rocked, they were a top notch live band and the only way was up for this stupendously unique outfit. Then one day they broke up, well I’m not sure if it was ever official but it seemed to just fizzle out. I never saw an official announcement but they just stopped playing gigs… gutted. However, a few months ago I was over the moon to hear magic was happening and the band were realigning in the forum of Vodun… Hurrah!! This meant Chan and Zel morphing Oya & Ogoun, teamed with some chap called Oli who takes his role in the band as GHEDE on guitar. What’s more is that they hit the studio early doors and recorded a 7 track EP entitled Eat Up the Sun, wonderful stuff!

You’ll all be happy to know all the magic that Invasion possessed still floats around in abundance within Vodun. The opening and title track ‘Eat Up the Sun’, introduces itself with a  trippy sample before launching into the main body of the song which picks up from where Invasion left off, stupidly sludgy guitar matched with quirky drums and deliciously dreamy vocals! This time they have a heavy voodoo influence and get dressed up in wicked costumes which carries over into their sound. There is another psychedelic dimension which makes it an exhilarating listening experience, almost like they have been hanging out with Swedish psychedelic rockers Goat. The exceptional level of song writing is still there, very catchy pop tunes with not one bad egg. The second track ‘Red Flag’ is a prime example of this catchy chorus, which gets stuck in your brain (for fucking weeks) and is probably the best song on the album. The new guitarist has slotted in wonderfully, heavy as hell but presented in such a different context and of course Oya’s vocals are simply stunning.

The EP is free on Bandcamp at the moment so to not check it out would make you very foolish indeed. This is such a unique band with truly excellent songs which will get you listening again and again. The final track ‘Zaka’ plays us out with a hypnotic jam and confirms Invasion’s metamorphosis into magical hard rocking force which will bring nothing but joy to your brain and smiles to your face.

There must be something in the water over there in Switzerland. First I got to sample to delights of an excellent prog band and now along comes more Swiss finery in the shape of Geneva’s This Misery Garden with their second album Cornerstone.

The album opens with the one-two punch of ‘Human – ET’ and ‘Holy Clutch’. A sequence that I would have reversed as I found ‘Holy Clutch’ to be the more natural opening track… hey ho. Vocalist Steve displays a set of pipes that have the silkiness of a crooning Eddie Vedder with the roughness of Chris Cornell. It’s good stuff already, there is some great guitar work going on in the chorus of ‘Holy Clutch’ with some excellently melodic vocals on top. No sign of a guitar solo yet.

‘Angry Child’ up next and I must admit to feeling a bit disappointed with this track. It seems to feature a number of clichés found in generic, nondescript rock (plinky echoey piano intro, whispered-breathy vocal breakdown, drums processed to sound like they’re coming out of tiny headphone speakers). It all seems a bit tried and tested to be honest. Which is why it’s good news that the next song (‘Mr X Was Right’) is a step up again in terms of quality control. The chorus has great breadth allowing Steve (you know, the vocalist) to stretch out and has some great drum work (from Stephan) throughout the song.

The rest of the album features much the same to be honest. There are some good rock tunes on here with soaring choruses and the occasional chug riff thrown in. The standout track for me is ‘Death Head Colours’. Why this is this track number 10 on the album I have no idea.  This should be in the first half of the album. Some fantastic riffs, a great vocal performance and an off kilter drum pattern. It’s a shame this is hidden so far into the album. Although maybe that is a reward for the patient listener….

This is a great accessible hard rock album. It has shades of Soundgarden, Life of Agony (circa Soul Searching Sun). It has many great moments but it doesn't excite me. Each song feels the same, as though they have stock parts in the band song writing bank and simply slot them into place. Let me be clear: this is a great radio rock album. The songs are solid, the production is top notch and the playing is superb. There is nothing wrong with this album. It's the kind of record you put on in the car when you're going for a drive or long journey. There is nothing here that you haven’t heard before; it's certainly not reinventing the wheel. But that is no bad thing. It’s just, for me, too generic.

Last year’s Blues Funeral saw Mark Lanegan produce what may very well been the best album of his career and finished high on critics end of year lists. He has decided to follow this with a collaboration with blues musician Duke Garwood. Unfortunately the result is one that seems more like a bit of a vanity project than a new album.

The gravelled voice mixes well with Garwoods guitar but there is a slight hint of selflessness about it. Instead of having any soul, the results are rather clinical and don't provide any meaning as to why these songs were written. There are moments which rise above the norm but not very often.

Highlights are a stunning ‘War Memorial’ which funereal imagery could easily have fitted on last year’s album and the slowburning ‘Mescalito’ which brings to mind Lanegan’s earlier work with Screaming Trees. Both are classic Lanegan that take you into a nether world of death and blues. The rest of the album just doesn't match.

‘Cold Molly’ is probably the nadir of the album. Completely out of place with its electronic beats and stuttering vocals, it is jarring and unmatched. Maybe on another album this would have worked but then the lyrics are simply a pastiche and you find yourself despairing of its worth.

This is made up by ‘Death Ride’ with its devil imagery but it's too little too late really for an album that could have been so much more. Having set the bar so high this is certainly not one of Lanegan’s best efforts and can be filed under disappointment.