Cool name with an even cooler sound, France’s Lizzard deliver tenfold on “The Roots Within” off their upcoming full-length entitled Majestic. With a super dense sound that begins like Opiate/Undertow-era Tool but soon transforms into an epic Alice In Chains-style croon fest thanks to vocalist Mathieu Ricou, Lizzard is a band that’s destined to rise above the dregs. [Read more…]
Move over Gogol Bordello because there’s a new “kolektiv” in town ready to topple your reign as the international crossover “Wanderlust King”. Their name is Dubioza kolektiv and their sound, quite simply, is infectious. Combining sounds from their native land of Bosnia with some amped up grooves and guitars melding ska and funk with metal, Dubioza kolektiv create a unique dichotomy that will have new listeners instantly hooked.
There’s a link in the Youtube clip below for “No Escape (from Balkan) to get their newest (FREE!) EP, Happy Machine, but in the meantime you can check out Wild Wild East here before their upcoming album hits in 2015 through Bill Gould’s KoolArrow Records.
Things are starting to heat up in Hank & Cupcakes land! Their latest album, CA$H 4 GOLD, has just been released and they’re about to embark upon a massive North American tour. As a proper send off (And to remind you why you need to check them out on tour), Hank & Cupcakes have released their self-made video for C4G opener “Bat Your Eyelids” and like most everything the duo do, it rocks. Propelled by Cupcakes raw charisma and the seemingly simple yet fascinating imagery, “Bat Your Eyelids” captures the eye-catching synth-fueled world of H&C in a glorious three minutes.
But enough talking from me. I’ll let the music (and video) speak for itself.
The return of grimy, sleazy, good old fashioned industrial electronic noise rawk is upon us, my friends. Cocksure started it with their debut in August (You can read all about TVMALSV here) and now Prude is here to continue to give it to ya good. Featuring members of Chemlab, Caustic, and Plastic Heroes, Prude’s unique brand of noise is anything but what their name implies. On the dark age of consent these industrial electronics pros delve deep to create some tunes destined to penetrate your psyche and unleash your id.
“PLUSism” is not so much an opener as it is a statement of intent curated by Prude ringmaster Jason Louche who delivers a downright sinister spoken word welcome to the dark age of consent. But don’t expect this trend to continue throughout because “great eraser (in the sky)” which follows is almost a Pop song. Think T-Rex meets The Stooges with these huge guitar riffs made for a stadium and propulsive drum beats. “darkroom.”, however, gets back to the nitty gritty of industrial noise with synths flowing but still featuring those epic guitar lines adding a little Andy Taylor Duran Duran flair to the mix.
Meanwhile, “airlock.” turns the album in a completely different direction with a slow, dark, ominous drone and Louche’s sneer propelling the album to Portrait of an American Family/Nothing Records territory. “brief history of fire.” injects a little PWEI dance flavor into the mix while “scatterbrain.” ramps up the big riffs.
In a nutshell, Prude’s stunning debut might best be summed up by the timeless words of Metropolis Records label mate Kap’n K: “In the age of super-boredom, hype and mediocrity. Celebrate relentlessness, menace to society.” Menace away, Prude. We’re ready for it.
the dark age of consent is out on September 23rd. Get yours from the indomitable Metropolis Records here.
Are you ready for some wholly uplifting Pop to start out your day? Then you’ve come to the right place if you press “play” on the stream of “The Balance” from Royal Tongues below. Hailing from New York, Royal Tongues deliver the perfect blend of electro and Pop on their debut single. Taking cues from Duran Duran and contemporaries like Black Taxi at times, “The Balance” shines with huge sing-a-long choruses, lush synths and some driving guitar riffs making sure new fans will be sticking around for the long haul.
For the latest and greatest info on Royal Tongues, head on over to their official Facebook page. But for now, be sure to play “The Balance” repeatedly at ludicrous volumes from the rooftops.
Were you blown away by that lone vocal performance on Pelican’s 2009 masterpiece, What We All Come To Need? Wonder who that “voice” was and where you could gobble up more of his singing? If you didn’t take the time to check out the liner notes (Or if you got the album under less than ideal circumstances), then Allen Epley is the man you’re looking for. Coincidentally enough his day job, The Life And Times, just released a new record entitled Lost Bees and if you liked the subtle intensity he brought to that one Pelican song then you’re in for a treat!
“Again” begins Lost Bees and could easily be the next Failure classic if, y’know, that band hadn’t decided to start making new music again. The song, and the band, stand on their own legs though with these almost chaotic bursts of sound that eventually come to a head, peak, and then come crashing down in the most glorious way. Next up, “Ice Cream Eyes” is propelled by Chris Metcalf’s driving beats while “Eyes And Teeth” gets a little prog and injects some space-Pop into the album.
If for some reason you need a break from Epley’s unassuming yet haunting vocals that stick with you well after the songs end then “Maserati” is definitely your jam as The Life And Times “Pelican” it up with this rocking instrumental. Metcalf thunders along during “Bored To Death” and perfectly synchs up with Eric Abert’s bass while Epley wails on guitar channeling Ken Andrews and Troy Van Leeuwen. Epley takes the high vocal road on the anthemic “Passion Pit” while further on, “Palatine” brings to mind Sap-era Alice In Chains.
In the vein of Failure at times with modern touches that Aeges do so well, The Life And Times is helping to usher in the next great era of post-grunge and space rock with Lost Bees. Lost Bees is out now through Slimstyle Records. You can get yours digitally here and here or through The Life And Times directly here.
The name of the album is Shit City and the first song on the album is “Shit City”. If that doesn’t prove that Norway’s Lonely Kamel has some balls then I don’t know what will. Oh wait, maybe the music! Speaking of the music, the title track which opens this magnificent opus comes off as a less abrasive Motorhead jam. It’s a sprawling 6-minute rawk-fest that serves as the dirty welcome mat for what’s inside so wipe yer shoes, sit down on the couch and enjoy the tunes!
“White Lines” channels Sub Pop-era Chris Cornell with Pepper Keenan tendencies (Thanks to vocalist/guitarist Thomas Brenna) and has a nice little boogie groove thang going on with some nice guitar wails thanks to Brenna and Lukas Paulsen. “Is It Over” gets bluesy with a ’70’s vibe and could easily fit (Along with “White Lines” and “BFD”) on the soundtrack for Dazed & Confused while “I Feel Sick” just goes for broke with some good old fashioned rawk and/or roll (Oh my gahd, the guitars here!!!)
Other highlights include the jam-fest “Seal The Perimiter” with glistening guitar lines and some tumbling percussive blasts thanks to Espen Nesset while Stian Helle’s galloping bass leads the epic “Falling Down” which bleeds into riff rocker “Nightjar” to close out the album.
Is Lonely Kamel reinventing the wheel with Shit City? Not at all. Are they adding a few spokes to make the proverbial wheel even stronger? Hells yes! And at the end of the day, if checking out a new band like Lonely Kamel causes listeners to track down bands like Kyuss, ’70’s-era Ted Nugent (Please gahd, NOT 2014 Nugent!), Motorhead, and countless others then I say more power to them!
Shit City is out now through Napalm Records. You can get yours here.
“I got a heartbeat/I got some sense of self/I’ve got a closet/Skeletons on the shelf”
Thus begins “Skeletons”, the first track from Where The Nightmare Gets In-Theta: Chapter One by Sweden’s Nervous Nellie. It’s the lead track off the first in a series of mini-albums/EP’s that will eventually be released together as their fourth full-length in December.
But how does it sound?
Amidst a driving low end, layered synths and vocals reminiscent of Scissor Sisters’ Jake Shears and New Radicals’ Gregg Alexander, Nervous Nellie explodes onto the scene with a sound that can be best described as indie post-punk Pop. Got it? Good.
And the video?
It’s cool! If you like fire, a sense of tribalism, and dig the song already then this is the perfect visual accompaniment.
Where The Nightmare Gets In will be released in December. I , for one, am excited to hear what’s to come. To find out more about Nervous Nellie, head on over to their Facebook page here.
If Torche and Roadsaw had a baby, the resulting bouncing baby boy would be Ohio’s Lo-Pan. Take those sludgy riffs and clean vox that bring to mind Roadsaw’s Craig Riggs and you have the recipe for something great. On Colossus, their fourth, Lo-Pan continually defy expectations to craft a monumentally monolithic masterpiece from start to finish.
“Regulus” instantly sets the tone for an album that’s filled with melody undercut by bone crushingly heavy riffs making for an interesting dichotomy throughout. “Black Top Revelation” shares some DNA with Small Stone labelmates Gozu while “Marathon Man” is a riffercise and a half.
The title track sounds exactly as you’d expect: either like the 96-foot tall statue for which the album was named or for a certain X-Man covered in organic steel. Yep, it’s that heavy. Meanwhile, “Vox” is a sonic eargasm and features Colossus cover artist Jason Alexander Byers (He, of Disengage and Black Black Black also) pitching in on the mic.
“Eastern Seas”shows off drummer J. Bartz as he crashes and churns like the waves of a mighty ocean while Jeff Martin’s vocals soar above swooping in to save listeners from the murky depths. Colossus finishes up with the rollicking “Relo” and “The Duke” which gives listeners a few more chances to appreciate the majesty of Skot Thompson’s bass and Brian Fristoe’s guitar wizardry.
Is this an album you need to own in 2014? Definitely! Colossus is out on October 7th through Small Stone Records. Yours can be pre-ordered right here. You can also catch Lo-Pan on tour now with Black Cobra. For dates and more, head on over here.
Jena rawk strikes again as another Bostonregina find makes their way to the RNRF office stereo. This time we’re checking out Jimmy Gltschy der einarmige Karussellbremser (Or just “Jimmy Glitschy” for short). If you’re a fan of Josh Homme’s Desert Sessions, Eagles Of Death Metal or the fuzzed out sounds that come from the fabled “generator parties” in Palm Springs then you might want to pay attention.
Great music is the kind that moves you somehow. Whether it’s physically or emotionally, great music needs to make the hairs on the back of your neck stand up, pull on your heartstrings or compel you to jump, bang your head, dance….whatever. It’s just gotta move you, okay! The beauty of Jimmy Glitschy’s selftitled is that it does all that and more.
From the opening laid back riffage of “Motorpsycho”, it’s apparent that Jimmy Glitschy isn’t your typical desert/stoner rock band. That’s even more apparent when “Dance! Or! Die!” kicks into high gear next and causes your booty to move involuntarily. Later on, “Long Gone Dead” injects some country-fied twang into the musical repertoire while “Ma Baby” is, quite simply, a guitar party.
The songs that really stand out on selftitled are also the ones that’ll be stuck with you for days/weeks/years so buyer/downloader beware: if you don’t want the overwhelming power of Jimmy Glitschy to take hold of your body and soul, turn back now! I’m of course talking about “Fuzzmatazz” which leads the charge of the final wave of Glitschy greats on selftitled. If ever a song was deserving to stand in the upper echelon of desert rock anthems for the 21st Century, it’s “Fuzzmatazz” with a monolithic wall of guitars, some gruff vox, and a drum beat that’ll keep your head bobbing until the end. “We need more disko (do we?)” keeps the dancing alive and ups the riff factor, complete with an outro vocal refrain that’s sure to get you in trouble if you blast it in the office. Elsewhere, the lords of Kyuss shine down on “Killswitch” while bluesy closer “Slowrider” ends the album like the morning after a raucous night out on the town.
I’m not one to tell you what to do, I’m just here to provide an opinion with which you can make your own decisions. However, if you like any of the above mentioned bands, are a fan of desert rock, and have a pulse, then you should probably pick this one up.