Out of the wild hills of North Wales floats the wispy, ethereal strands of some long lost music. Torn between the frazzled Heathcliff of Wuthering Heights and the more rustic charms of a Welsh mythology, a contemporary edge has pervaded and sent us Casi Wyn.

It is easy to picture Casi flinging her arms aloft on some desolate mountain up in Snowdon but then that's purely because of the strong Kate Bush influence seeping through every pore of this EP. Not that this should be taken as a sign of some part time Florence. Not at all...what we have here is a precocious talent, a diamond in the rough. Casi Wyn may possibly be the most wondrous voice I have heard.

Superlatives aside, let the music speak for itself. What we have are five songs, four of which are sung in Welsh. Being Welsh myself, it is with shame that I don't understand the lyrics as I am one of those that don't actually speak the language. This is a moot point though as it is the emotion of the singing that brings the songs to life. These are songs from an old heart, songs of joy but mostly songs of sadness. A song of life may be a perfect way of describing them.

‘Canfod’ starts with what sounds like some really odd trilling but settles down into a sweet folk song which builds into a suitable climax. The Latino inflected ‘Tywyll Heno’ follows which reminds in parts of Madonna's La Isla Bonita although takes this concept and runs with it. Joyous and breathtaking, it is pure joy distilled.

Best are the two tracks that follow, ‘Gwythio’ and ‘Fan Hyn’. Both are dark and brooding and show how Florence and the Machine could sound if they stripped back all the histrionics and threw away their singer – ie. They haven't got a chance. Ms Bush would be proud of this music and you can't say fairer than that.

It is with slight dismay when Casi sings in English on ‘Winter’ then. Maybe it's because we have been swept along in flights of fancy making up worlds for ourselves. Either way, it is still a great song and shows a more dance orientated side to her music. Rave it up in the Welsh mountains, it’s just the way we like it.

Yes, this review may sound fawning but music like this does not come around that often. A sign of good music is when you play it on repeat and this EP has not left my ipod headphones for days. It is a magical, breathtaking voyage into territory which has been done before but seldom with as much panache as this. Stunning and mesmeric.

Andrew Wyatt, front man of electronic/pop act Miike Snow has presented us with a curious collection with his debut solo album Descender. Grandiose does not do this opus justice as it features the Prague Philharmonic Orchestra as a 75 strong backing band. Wow. Just read that again, a 75 piece Philharmonic Orchestra. The PR informs us that members of The Libertines, Interpol and Tortoise were also involved, though I’m not sure which instrument they were given to add to the “intricate soundscapes” being “weaved” and “explored”.

There have been a few notable albums in recent times where orchestras have been dragged kicking and screaming into studios to mix with various rock/pop acts. Some have worked well, The Divine Comedy’s A Short Album About Love, Ian McCullough’s recent reworking of Echo and the Bunnymen tunes. Some have been messy, overblown affairs; I give you Metallica’s hideous S & M.

My first listen to this album was a thoroughly joyous affair, the production and sound of the mass band swells around your head and there’s a real vibrancy in combining introverted electro pop to this huge wall of sound. It works incredibly well and the arrangements are first class, it’s all over too soon with a running time of only 32 minutes. The title track is a short splurge of electronic oddness giving the orchestra a well earned piss break.

Repeated listens and deeper delving into the songs raises a few issues for me though.

Somewhere along the way, probably in the midst of painstaking arranging of parts/instruments, Andrew has forgotten to write distinct memorable tunes. Which isn’t to say that there aren’t some treats on Descender because two of the tracks, ‘Harlem Boyzz’ and ‘And Septimus…’ are gloriously melodic and sprightly numbers that could easily have fell off the Spector/Motown production lines. Wyatt’s voice is a wondrous thing, a sugary falsetto that is soulful and non-intrusive. Rather than trying to compete with an orchestra, which some singers might do, the marriage between Wyatt’s hushed tones and the full arrangements works very well indeed.

Some of the other tracks suffer from the weight of trying to appear dark and unsettling, the melody lines getting lost in the arrangements so that the tracks tend to meander with no real purpose. When the collective body of songs only span 32 minutes, you feel a little short changed for this, but then, the intention probably wasn’t to do Miike Snow-with added strings. In the midst of my critical appraisal, I must mention the garish ‘In Paris They Know How To Build A Monument’ which goes all theatrical on us, however well intentioned this track is, the almost spoken chorus tag line just irked me.

Listen, the ideology behind this album (making of captured on documentary, no less) is daring and I admire Wyatt for taking the bold step. There’s a real sense of excellent creativity at work and it’s a shame that such an expansive and elaborate album will probably not receive the expansive audience it might deserve.

I’m sure Andrew Wyatt is proud of his achievement and the satisfaction of creating such a unique album must be immense. In this day and age of cack-handed computer studio jiggery pokery I’m grateful that there are some musicians who want to use real instruments and thoughtful arrangements, to give us music with soul. The good will out. 

In today’s music scene, lines are continually being erased then redrawn to the point where the lines are so many they make up the color of the floor they were once meant to stand out on. Sidious’ brand of black metal-meets-death-metal-meets-epicness is no different. Blurring lines and walking a somewhat familiar path like those before them. The line is often jumped over and moved, as it should.

‘Insurmountable Mass’ is the first track on this short, but sweet, EP. Slowly moving in with choirs and orchestrations before it gives way to machine gun drumming, symphonic keys, cutting guitars and powerful vocals. It’s all a familiar type of black metal mixed with death metal, I just catch the leanings more toward the later, much to my delight. ‘Sentient Race’ is an immediate song of epic proportions that does not stop once to give you a little breather at all. It’s a straight bulldozer from start to finish. The other two tracks on this disc are just as strong, if not stronger than the other too. Throughout Ascension to the Throne Ov Self Sidious never miss a step. Whether it be, the harrowing solo at the end of ‘Nihilistic Regeneration’ or the title track with its brief flirting with a mild tempo shift now and then; it’s all done flawlessly. A primal feeling almost generates throughout leaving me feeling the sweat and blackened blood that went into making this.

Sidious have no reason to change the formula of what they’re doing. Ascension to the Throne Ov Self is a great first impression and I am eagerly looking forward to the full-length that may follow. You can check out this EP through Kaotoxin Records on May 6th in France and the UK, and on the following day May 7th in the US. I highly recommend this to anyone who likes their black metal mixed with modern death metal then laced with orchestrations and keys. Support artist and music you love.

HAIL!!!

It's been a real delight watching this band grow and develop with such speed over the last year.

Since the release of their demo in April 2012, Bloody Mammals have not slowed down for a second, playing lots of carefully chosen gigs across the country, recording and releasing a limited edition CD How Could I Hate You... I Made You// Total Thunder, sharing bills with the likes of Castrovalva, Bovine, Eschar, Poino and Axes, to name a few, and now releasing their first full-length record Eventually Your House Will Fall Down.

A clear hunger for success and a passion for what they do is a great foundation for this unstoppable quartet, who show significant improvement with every gig and every record they release. This latest record is nothing short of a post-hardcore triumph.

Taking a second to settle you in with some feedback, the opening track 'This Neighbourhood Is Cursed' blows up in your face with an immensely catchy hook, retaining all the raw might and fury of our punk ancestors, while blasting you into the next century with brilliantly produced shifts and an excellent command of dynamic ranges. Considering no song is longer than two or three minutes (with the exception of the final track 'The Lighthouse, The Sailor, The Sea'), they manage to pack in a huge amount of changes, verses, choruses, highs, lows and a shitload of adrenaline!

The intro flows beautifully into the title track, which encapsulates all of the energy, raw vocal fury, delicate guitar work, well-placed punchy basslines and constant shifts that one is coming to expect from Bloody Mammals.

This album is the perfect punk album for the modern hardcore fan. It retains great catchy melodies without ever being clichéd or cheesy, has a huge amount of energy to spill into the room and the song-writing is imaginative enough to keep you guessing all the way through without the changes ever being abrasive.

With all the forethought and planning that is apparent in everything they do, they manage to save their most challenging song for the end. 'The Lighthouse, The Sailor, The Sea' starts off with a gentle pace that allows you to sink into the riff but still catch your breath after the rest of the album. Halfway through, the pace picks up and the song gently rises to a more fervent crescendo, always building, with hints of vocal harmonies far back in the mix, until the music suddenly stops and you are left with nothing but perfect a cappella vocals giving you a perfect sense of finality and leaving you completely satisfied.

What makes Bloody Mammals even more remarkable as a band is how totally independent they are. They are made up of promoters, ex-band managers, graphic designers and print artists (and musicians), which has enabled them to produce a range of stunning merchandise, imaginative packaging for their records and score some heavy-hitting gigs early in their career. They are a super group of creative minds who know what they want and are going to get it. On their terms.

Arguably there is no individual section of music on this latest record that is breaking its way into completely fresh ground for the genre, but when one sees the ferocious momentum that Bloody Mammals have built up in one short year of impressive milestones, the huge leaps they improve by with every new song written and every release, it is hard to imagine how they will take much time to carve out a special niche for themselves in musical history with a sound that is distinctly theirs.

When a joint Southern Lord/Deathwish tour rolls into town you would be mad to miss it. Both bands in question The Secret (Southern Lord) and Deafheaven (Deathwish Inc) are two of the most exciting bands on their respected labels. Unfortunately due to transport issues and early set times I very nearly did miss it.

I arrived just in time for a quick chat with George Clarke before Deafheaven's set. I told him I had missed The Secret and was supposed to be reviewing their set. Helpfully he said "well they were fucking awesome and didn't fuck anything up". So thanks to him for that. (George is always welcome to join the (((o))) writting team). I had caught The Secret last year supporting Converge,  and their assault of blackened hardcore floored a (mostly) expectant Converge crowd. So it was a real kick in the teeth to miss them. Although a kick in the teeth is also fitting to the audio violence they unleash.

I had to put my disappointment and embarrassment aside and got in a good postion for Deafheaven. When I last saw the Sargent House managed band supporting Russian Circles they had impressed greatly. This however was on another level, whether due to the confidence of headlining, or the introduction of new members they tore through the assembled crowd with vicious intent. One of said new members, Dan on drums, was especially impressive, attacking his kit with the speed and power I've not seen outside Converge's Ben Koller. I noticed one of Dan's cymbals literally had huge bits missing. Given the shift he put in I wasn't surprised, and at times wondered if the rest of his kit would hold up.

Deafheaven on record and live, balance awe-inspiring introspective melody and end of world apocalyptic rage perfectly. They opened with new track 'Dream House', which was well received as it's also the first song they put up streaming from Sunbather. What is impressive is despite the volume and power unleashed, the intricate and more subtle parts aren't lost in the wall of sound. 'Violet' followed and I honestly felt like this was something I would savour for many years. Performed live the song is even more mesmerising and stunning. Singer George Clarke performs as if channelling an army of lost souls. Starring out over the crowd with a thousand yard menace, its gripping, unnerving and brilliant. Deafheaven don't go through the motions, they dripped sweat from the unsually hot Glasgow night and every note played like their life depended on it. 'Unrequited' descended into oblivion, feeling like the world may end such was the power and unravelling ending. The title track of Sunbather demonstrated why the album is highly anticipated.  Displaying levels of maturity and even live hinting the album sonically may be huge. I've still parts embedded in my head and that's the only time I've heard it.

After a brief pause, Clarke returns to dedicate 'Cody' to Glasgow and Mogwai. It's met with a roar of approval. Kerry McCoy lost in the moment eyes closed playing his guitar while Clarke perched on the barrier pouring his all into the vocals. It's a nice touch performing their cover in Glasgow although some seemed to miss the sentiment. Deafheaven departed to a rapturous response from the dedicated but modest sized crowd. Next time they hit the UK I feel they will play to a much bigger audience and you better be sure you're one of them!

After the hugely impressive debut album Jay's Odyssey by Brighton-based producer Alphabets Heaven, he's been a busy boy, releasing his Rosewater cassettes and Boosh EP over the last two years. Imagine my excitement when he presented me with his latest EP Siamese Burn.

As usual with the psychedelic producer, his command of sumptuous sounds is stronger than ever, as he harnesses the full gamete of tones and samples available. It's hard to define exactly what kind of music he makes, as it soars between the very ambient to vibrant pulsating beats. His attention to detail is second to none, with each bleep produced individually to great effect, panning between right and left, each with its own unique quirk, yet unmistakably chained together by the steady flow created within each tune.

'Birthday' is an unusually sparse tune for Alphabets Heaven at first, yet it somehow persists in making your eyes dart around on reflex as the tune pans all over the place and each tone is individually placed forward or back in the mix. All of the sounds end up dancing around your head and you're left with the sensation of floating amidst a sea of lavish noises, individually meaningless but cobbling together some sort of melody between them.

'Fornia' contains more of the beats fans may be familiar with, as well as being a tune rich with extravagant samples, blended together perfectly.

All the tracks are stunningly produced. Having heard many unnecessary remixes over the years, I was still not at all surprised that the Julien Mier remix of title-track 'Siamese Burn' at the end is simply beautiful. Why would Alphabets Heaven pick anything but the best to round off his EP?

Here is a man who will seemingly spend every free second over months on an album before he deems it vaguely worthy to be released. Clearly a perfectionist, he manages to sail between the plains of soothing lulls and vivid curiousity, which arouses a gentle excitement. The euphoric calm triggered by Alphabets Heaven is akin only to the sensation I feel when listening to Bonobo's Days To Come. Make this EP a treasured part of your electronic music collection.

When you think dreampop, you think shimmering walls of guitars. Edinburgh’s three-piece Collar Up knock that wall down by using a piano as their main driver and the results offer up an album full of melodic charm. The band’s second release Ghosts, starts slowly, but the sound develops into something with more life than initially appears.

After a short instrumental introduction, ‘The Fear of Love’, starts up with said piano thudding along behind Stephen McClaren’s gently distorted vocal – one that emits subtle sentiment on every syllable. Thankfully, he retains his own accent – something that adds to the emotional impact of his style. It’s natural, a million miles away from the caricatured growl of Glasvegas’ James Allen.

The mood is distinctively melancholic, the piano following minor chord progressions on ‘In Love and Disgrace’, before the pace picks up. ‘Tonight’ is dark, with a disjointed jazzy feel to the piano, and it quickly passes. The album is going in the right direction, but doesn't quite reach its destination until ‘Short Term Memories’ and when it gets there it, you’ll be glad you came along with it. Drums build gradually through the first verse with the piano deeper down into mix. The track grows louder with each verse until McLaren is repeating "Short term memory" to a melody that remains with you long afterwards.

The sobering ‘Every Man For Themselves’ is a ballad to childhood: “I met myself today as an eight year old, I wondered if he’d accept me, I never asked him if the truth be told”, sings McClaren. They even have a game of football – not something that is often made to sound particularly heartbreaking, but it is, thanks in part to the humour employed. For all its whimsy and self-reflection, it’s not as serious as it appears on the surface. There is a permanent glow radiating, no matter how murky things may seem.

The album’s highlight is ‘A Jam Jar Full of Wasps’, the device of repeating of the title of the track over and over employed again, successfully. The drums are again uncomplicated, the piano driving momentum, McClaren with freedom to dominate the track, his accent more apparent here than anywhere else.

There are echoes of Beach House and inevitably some will draw comparisons with the Ben Folds Five. There aren't many bands who put pianos before guitars, even less so on the dreampop scene, so for that reason alone Collar Up are worth investigating.

Piercing through the walls of structured sound on their fourth full-length album entitled Meadows of Nostalgia are German based band, Imperium Dekadenz. The two-piece atmospheric metal ensemble buckles and obliterates their musical instruments to create a distinctive brew of horror and melancholy.

The horror on Meadows of Nostalgia comes from the juddering vocals of Horaz that can be best likened to the bellowing fires of Hell. Unlike most black metal musicians, Horaz prefers to keep his lyrics clean and stutter away from religion and its counterpart politics. The melancholies on Meadows of Nostalgia originate with the heavy distortion on bass, bashing on drums and an eerie shiver of the synths played by Vespasian. Imperium Dekadenz’ influences are wringed from the second wave of Norwegian black metal which can be pre-eminently described as a crossover of Blut Aus Nord and Drudkh. This crossover has resulted in nine beastly tracks that have prodigious production and mastering values with the help of Iguana studios. A standout track to best illustrate such praise is 'Brigobannis'. Its depth of callousness is strong whilst the atmosphere the track spins is one of icy forests and shards of despair. Throughout the album, there is a bite of neck biting riffs and a sense of the band coming through. However, the tracks do tend to stretch out for too long. Some of the tracks are fair length but 'Aue Der Nostalgie' grates for ten minutes.

Just like the tracks tell a story of its own so does the album artwork. The 2013 album artwork is a simple depiction of a man contemplating life with the picturesque fog ridden Black Forest Mountains behind him. That portraiture sets the scene of what to expect from Imperium Dekadenz, a frost bitten horror story that ends in endless melancholy. Meadows of Nostalgia is a dramatic album that is worthy of enigmatic praise. Grab a copy of this Season of Mist release – you won’t be disappointed.

Baba Yaga’s Hut have been putting on some absolutely stonking gigs in Corsica Studios over the last 6 months. I attended the Zeni Geva and the Acid Mother Temple events late last year and they were both ridiculous. This time Portland psychedelic rockers Eternal Tapestry were doing their thing armed with London noise rockers Hey Colossus in support, it promised to be a top night of family entertainment.

Hey Colossus launched themselves at us with ‘Oktave Dokkter’ from the monstrous new album Cuckoo Live Life Like Cuckoo, heads were bobbing immediately. They really have become a class act over the last few years and you do feel like this is their prime. All of a sudden we had ‘The Drang’ swirling round our brains which sounded absolutely amazing, helped by the top notch sound system that Corsica Studios has to offer.

At this point in the proceedings they sound like an earth shattering doom band, there’s shit loads of guys in the band who are all bobbing their top halves to the crunching riff whilst the vocalist either snarls intensely or turns around and plays with one of the many gadgets on display. Most of the set was from the new album and of course the absolute belter ‘Hot Grave’ was thrown into the mix which made the audience scream with brutal, brutal joy. Great set from a great band.

Things got a little more chilled for the Eternal Tapestry set but what they lack in heaviness, they certainly make up for in trippyness. They have an interesting setup, including a saxophone player and maybe even more gizmos and gadgets than Hey Colossus.

 I’m going to be honest, I could not name you one song they played but it was unbelievable. I have a feeling this band can just turn up and play whatever the hell they like and it comes out sounding like it was conjured by a psychedelic God. This was a completely unrecognisable set compared to their set supporting White Hills a few years back.

At times they sounded like a straight kraut band like Neu! teleported in from the 70s, there was wonderful soft little electric noises flying all over the room whilst the crowd caught them and smiled like there was no tomorrow. Another top night put on by Baba Yaga’s Hut, they really are putting on some mind melting gigs so my advice would be to get down to Elephant and Castle at the next opportunity and fill your brain with trippy wonder. 

Everyone loves a doom band who write about Paganism and awesome stuff like that. Pombagira fit that bill and they are a two piece husband and wife combo which has made them all the more interesting. Their last album Iconoclast Dream was a single track of 42 minutes in length, it proved to be an exhilarating trip and a total triumph. They have now returned with Maleficia Lamiah, where they have cut the songs down to a mere 20 odd minutes each which has seen them take a more relaxed and experimental direction.

The opening and title track kicks off with a warm hum of massively over distorted guitar, which feels unsettling and exciting. Sadly this is where the over distorted guitar ends, never really to return for the rest of the album. The vocals have gone softer compared to the last album too, not that this is totally a bad thing. They sound tortured and unique but it’s not long before you realise the song is a bit off a mess. Nothing quite sits right and the experience feels a little flat. By the sixth minute the song breaks down again and speeds up and it’s clear that 'Maleficia Lamiah' was never meant to be an easy listen. Rather than repetitive and crushing riffs we’re used to with traditional doom bands, this is a somewhat more subtle affair and an attempt to push boundaries. Obviously boundary pushing is what we all look for in a new album but there still needs to be some fire in the belly which is sadly lacking. It feels like a challenge has been laid down for the listener to take them on a hard fought psychedelic journey but sadly it never takes off. There are some nice grooves at times but overall it feels a little muddled and unfocussed.

The second track ‘Grave Cardinal’ has a similar vibe, the vocals not quite sitting well with the guitars and we never get that killer blow to make your head bob the way it should. There is another one of the many breakdowns which feels like an age of random fiddling of strings and more like tuning up than anything that will get the pulse racing. There’s a little organ work half way through which adds a welcome new level and brings some entertainment but not enough to rescue it.

I think this album is a bold move by Pombagira, a clear attempt to escape the label of a ‘doom band’ and create something that has never been heard before. This attitude has to be admired but sadly I don’t think there is quite enough substance in Maleficia Lamiah to live long in the memory. Whilst there are some nice ideas, they sadly have not quite pulled it off. Let’s put it down to it being a transitional album and there are hopefully exciting new sounds ahead.

You may have heard of Mikal Cronin from certain recordings by one of his peers, Ty Segall. Part of the new California psych scene which is delivering such fantastic music at the moment, this is Mika';s chance to step away from the shadows of his friend and have his own say.

Where-as Segall is a lot more visceral, Cronin's psych is more ethereal, being based around an acoustic guitar. This, is second solo release is a selection of songs which betray their influences but also wear them proud. Picture the Beach Boys making out with Teenage Fanclub and you have what is a great summer album. One with a bit of darkness too...you need that balance.

So what of the songs? 'Weight' kick things off with its driving guitars taking us deep into Fanclub territory, The melodies soar and the chorus is irresistible and you do wonder if it may fall on the wrong side of happy...too close to Silversun. No mistakes there though as we slow things down with 'Shout It Out'.

For a bunch of songs written on acoustic guitar, there is a lot going on. From the happy clapping that occurs during 'Shout It Out' to the wonky piano that is all over the album, shades of Brian Wilson peek through the distortion and bring us sunshine. This is psychedelica steeped in California sunshine and there is certainly nothing wrong with that.

To move into first person for a minute...I love this album...it has grown on me like a wonderful wart and in moments of desperation when I don't know what to listen to, this is one I turn to. I can truly say that not many albums do that to me in my jaded hour. This is different because it's so much fun.....and back to third person.

The pop of I'm done 'Running With You' could have been a hit single at any other time in the history of rock music and it's a shame that it may stay a very much underground concern. The hipsters will no doubt love it then cast it aside when something new comes along but for the ones who stick with it, this is a wonderful little album which has allowed Mikal to have a voice and give his side of the bargain.

So Nocturne is a one man black metal band from Chicago. Sir Dan Klein plays all the instruments and sings vocals. And the boy from the Midwest does a damn fine job of putting it all together. Maybe it’s because I myself am from the same region, but I can really feel what this album has to say. It even feels like the frigid winters we have for 6 months out of the year. (No lie, we got 9 inches of snow on May 1st).

With lyrics of sorrow, pain, anger and the like, Ave Noctem isn't an album whose linear notes you’d want to sit and read on a lonely night. Keep the razorblades hidden please. But musically there is a vast span of genres. Lead off track ‘Pursuance of the Righteous Elucidation’ is a swirling mixture of black metal and death metal that at times feel like it might come unhinged but manages to stay intact. The desperate sound that covers this whole album is really good. I found myself just letting the album repeat a few times because it grew on me. Tracks like ‘Pain of Purity’ and ‘Anxiopath’ have a bit of a classic metal feel to them at parts. There’s a progression in the music that you wouldn't normally hear from this type of music. I also hear bits of Maiden-esque rhythms and guitar tones at times. It may sound like a confusing mix, but it’s pulled off well. And you can tell that Mr. Klein has put his time and effort into this record; never too clean but always covered in a nice layer of dirt and grit.

I’ll be honest: On first listen I only liked one song. But I let it go again. I heard some promise. The second time around I started tapping my feet to the beats and moving my head a bit. Third time around I loved it. This album is a grower; it will take a listen or two. But you’ll eventually hear the melding of black and death metal laced with despair and angst, and you’ll be banging your head too. By my fourth listen I wanted to go outside, start a fire and slam beers with my crew. Maybe not the reaction you’ll get, but to each his own.

You can get Ave Noctem through Do Or Die Records right now as you are reading this. Well maybe once you stop. Either way, check this shit out, you won’t regret it.

After more than 20 years on the circuit, Yorkshire legends My Dying Bride have returned yet again with four new tracks of their unmistakable brand of poetically-charged doom metal. Hot on the heels of their last studio album, A Map of All Our Failures, The Manuscript continues the direction of that release but breaks their sound apart to form four very different songs.

It is apparent from the outset of The Manuscript’s 27 minutes that this is going to be vintage My Dying Bride; the title track is drenched with the kind of melancholy we have come to expect from the group, with Aaron Stainthorpe’s familiar vocals over the top of repetitive guitar-work. Gothic elements permeate the song, with the use of the violin being particularly effective.

'Var Gud Over Er' stays true to its Swedish title by abruptly bringing to an end the acoustic conclusion of the previous track with death growls and an epic, Viking-sounding atmosphere. Clean vocals are used sparingly but add to the diversity of the song. This is undoubtedly the highlight of the EP and proves that My Dying Bride can still kick it up a notch when they want to.

The final couple of songs work well in combination but sound as though they could have been put together to create one longer piece. 'A Pale Shroud of Longing' starts off with a slow and heavy riff that will be sure to satisfy any doom fan, before moving on to a memorable violin melody that exudes all of the longing and desperation My Dying Bride wish for you to feel. A fine track already, it is made even better by the closer 'Only Tears to Replace Her With', which features some spoken-word vocals from Stainthorpe over a mournful guitar. While the song may be simple, it ends the release on a positive (or should that be negative?) note, with the line “I hate everything around me but I want to carry you back to heaven”, closing out the EP.

All in all, this is a solid piece of work from the UK doom titans and will undoubtedly please the fans in the same way their previous recordings have. While the band doesn't necessarily cover any new ground here, this is a satisfying release with its biggest strength being how it shows off all the various components of the My Dying Bride sound.   

Formed seven years ago, Boudain are a four piece out of Monroe, Louisiana and this debut 30 minutes EP (released 20th April 2013) consists of six tracks which skilfully blend dirty southern NOLA sludge, doom and stoner metal together to great effect. The fact that the band has taken such a long time to issue their first release shows that guys really took the time to work out a sound which while all their own also pays homage to the bands which have clearly influenced them such as Kyuss, Crowbar, Down and Eyehategod. What Boudain have managed to do is take apart the main elements of these inspirational groups, strain and then purify the fragmented remains. They then smash out gigantic, hulking, fuzzy guitar riffs and spaced out stupor inducing solos. However, don’t expect much in the way of sweet-sounding vocals or crisp and clean production. It’s all so overmastered that you may need to purchase a new set of speakers after the EP is over.

All of this is great stuff, of course.

The EP opens with ‘Slaveman’ a tune which is chock full of down-tuned appetising heavy stoner riffage which firmly focuses on acclimatising the listener to what this band is all about: deafening retro, sludgy metal. This song sets the scene for the rest of the EP, so if you don’t like this first track, or it scares you, then switch off Boudain and go and listen to Coldplay or some other such rubbish. In this first track the perceptive listener will also detect some undercurrents of the mighty Candlemass; soupy, swampy doom which shakes your bones, crushes your soul, then laughs at whatever remains.

Next up is ‘Moonshinin’ which is slow and doomy, pure and simple. Vocals are hoarse and husky which seamlessly flatters the rolling, swelling guitars. Then we have ‘King of Cosmos’ which to me sounds like Kyuss' Welcome to Sky Valley. This track is a stand out tune as the dense sounds vary enough to sustain the interest. The latter part of the track then psychedelically sends your mind to another planet.

‘Trailerpark’ follows, which is an extravaganza of doom interspersed with enough groovy beats to interrupt the flow of heaviness, again capturing the attention and curiosity of even the most demanding of metal-heads. ‘Kalifornia’ treats us to some straightforward southern stoner rock which makes you feel that it’s sunny outside and all is well in the world. And finally ‘Just Got Paid’ maintains this enjoyable vibe, mixing stoner riffs with a chilled out feeling of “metal of days gone by” atmosphere.

Of course, Boudain isn’t going to blow your mind with innovative originality. But as the band matures and develops their sound further I prophesise a lot more of original ideas making it into their next record. Download the EP at their Bandcamp and pay them a visit on Facebook. Go listen!

Hi folks, there's something incredibly beautiful to listen to and it comes directly  from Texas, where Sam Beam, aka Iron & Wine, composed his last album Ghost on Ghost following 2011's LP Kiss Each Other. Ghost on Ghost was released last April 16th in the U.S. and April 15th in Europe, Japan, Australia and New Zealand. Today, April 28^th, I found also the album on vinyl...just to mention important dates!

All of you who already have had the chance to enjoy Sam Beam's music know the beard and the warmth of his angelic voice but this fifth album sees him taking it further, to a superior level, in a kitchen where traditional american folk, rock and jazz are perfectly mixed. The outcome is an album with a wide variety of instrumentation, a culmination of Beam’s ballads/beats songwriting styles.

‘Caught in the Briars’, the first one of the twelve tracks, is an example of that mix: in just over three minutes the SC native artist put together some free jazz motifs, some country riffs and a beating percussion with the tease of a lonely guitar. It's joyful and it's just the appetizer.

The second tack 'The Desert Babbler' starts softly and brings us to California of 60's with lovely female backing vocals. 'Joy' arrives with the third song, so simple and so beautiful, like a pause in an album filled with a lot of sound and players.

I fell in love with ‘Low Light Buddy of Mine’ at first listening. The arrangement is ambitious, the rhythm is sublime and the soft and echoing voice of Beam remains centre stage throughout. It's the same for 'Grass Windows' where his voice guides an elegant folk and an enchanting saxophone.

'Winter Prayers' is emotional and captivating: I will never thank enough who introduced me to Iron & Wine's music world! This song opens your hearth and can be both joyful or melancholic. It can be what you want since it fits perfectly with any mood.

The first time I listened to 'New Mexico's No Breeze' my mind came to the border zone between Mexico and Texas that I crossed some years ago. I've always been attracted by border areas, they're a no-man’s land, where cultures and habits meet. If you like this kind of experience, take a car and cross a border, than do it again and feel the emotion! This song seems to be the soundtrack to this kind of experience. The only other song that inspired me the same feeling was 'Algiers' from Calexico, a nice trip from California to Mexico.

'Lovers Revolution' is maybe the most experimental song of the album characterized with some jazz and a crescendo of drums. With 'Low Light Buddy of Mine’ and 'New Mexico's No Breeze' is maybe my favorite of the album. I'm not capable of electing one song only as my favorite!

The final trio of 'New Mexico's No Breeze', 'Lover's Revolution' and Baby center Stage' is full of soft rock and jazz, is melodic and rhythmical, flows with comfort and it's the best way to ease out an album that lead listeners throughout several music styles. And the variety of the music styles used in Ghost On Ghost represents the big difference with the last Beam's album.  The Shepard’s Dog is a great album but with this one Sam Beam reached a new maturity; it's another step forward in Iron & Wine's career.

There's no happiness if you do not share it and music must be shared. It's up to you if this music is good or not but I hardly believe you won't like this album. Keep listening, though: Ghost on Ghost will bring you riding among new areas of rock, jazz and funk at times.