Maybe I’ve just been watching too much of Noisey’s recent documentary on the NOLA music scene lately but the debut opus from MA natives Wormwood shares a lot of its DNA from the greats of down south than any of the bands the Wormwood members have been previously or currently associated with. A more straightforward Eyehategod in spots, Kylesa in others, this offshoot of an offshoot absolutely rips from start to finish. [Read more…]
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.
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.
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.
“I do like Steak. They’re the real deal. They’re mean. They’re lifers.”
If that quote from Mr. John Fucking Garcia doesn’t pique your interest in the UK’s Steak then I don’t know what will. On their first full-length following up some impressive EP’s (We reviewed the latest, Corned Beef Colossus, earlier this year), Steak deliver in spades.
From the opening fuzzed out twangs of “Coma” through to the final pings of chaotic closer “Old Timer D.W.” (A modern day Southern-fried “Mondo Generator”, if you will), Slab City is a veritable stoner rock tour-de-force. To ease old fans into the new material there’s even an updated version of “Liquid Gold” with a different mix but still just as meaningful as the day it was birthed on the Corned Beef Colossus EP.
Elsewhere, the Kyuss references are bound to pop up again when the title track really gets into the groove with a riff that would make a 19-year old Josh Homme jealous. But if you’re looking to further those comparisons then try out “Pisser” when the man himself, John Garcia, pops up and drops some lines of knowledge during a massive riff-laden breakdown.
“Quaaludes and Interludes” provides a short and sweet, ahem, interlude for SC until “Roadhead” explodes from your speakers to turn it up once again. Then “Machine” and “Hanoid” provide a one-two punch that’s pure rawk ecstasy. If Kippa’s smooth delivery or Reece’s blistering solos and riffs don’t sway you, especially on that latter track, then you might want to check your pulse.
From the desert wasteland of England: it’s Steak! I know, right? They make sounds not of their country and not of this Earth because great music transcends area codes.
Slab City is out in North America on September 9th through Napalm Records. You can order yours here.
Bostonregina’s job sometimes causes her to travel the world which is a great thing for me sometimes because it exposes our little site to even more great bands that the interwebs doesn’t necessarily provide right away. One such band is Jena, Germany’s Grandfather. Who absolutely rock.
Ever wonder what it would sound like if Neil Fallon handled all vocal duties for Mastodon? That’s “The Wolf”, the opening track off Grandfather’s latest release of the same name. Crushing grooves, bestial drums, and a singer whose got both the gravitas and the growls to front this quartet? Sign me up!
“Crisis” begins with a solemn bass line and some spacey riffs to shake up the intensity of “The Wolf” but soon builds to en epic finale complete with vocal chants. The aptly titled “Instrumental” brings to mind West Virginian vocal-less greats Karma To Burn while “Borders” combines elements of “Freedom Run” and “Supa Scoopa & Mighty Scoop”, the latter especially during the start-stop finale. Closing with “Superloader”, which ends the mini-album with a balls out rocker that shares more heritage with AC/DC than with Kyuss, Grandfather provide enough diversity on The Wolf that will surely keep new fans interested in what’s to come.
Trust me when I say that if you thought you knew what was coming after Hank & Cupcakes fabulous debut, NAKED!, then you have absolutely no idea what’s actually in store for you. On their sophomore release, CA$H 4 GOLD, the duo you love to love have not necessarily reinvented themselves insomuch as they’ve completely expanded their sound.
“Bat Your Eyelids” is a futuristic funk-filled phenomenon fused with enough fuzzy bass lines and warm feelings to instantly put a smile on your face. It’s the perfect opener for this opus and instantly indicative of what’s to come. Previous tease “Relax” follows up and enhances the vibe with a powerful electro stomp that really shows off Cupcakes massive vocal range which goes from a spoken word sing-song to a screech in a second. It’s also sure to be a huge crowd pleaser when presented in a live setting. And while we’re on the topic, you can head here for the latest tour dates for Hank & Cupcakes upcoming fall tour!
“Romeo” lets Hank’s grooves shine with Cupcakes’ sonic percussion adding more depth while “Cocaina” is a gospel-fueled Southern blues romp that’s probably about the most unpredictable and fierce song H&C have ever laid down. If NAKED! gave you impressions of Duran Duran mixed with Yeah Yeah Yeah’s (Like it did for me) then CA$H 4 GOLD is Berlin, The Vapors, and Wang Chung in a modern setting.
Hank & Cupcakes is truly one of those groups that I can’t praise enough. They do their own thing and they do it really well defying modern Pop expectations with each and every release. Whether it’s the swirling synth bounce on “I Don’t Want To See”, Cupcakes soulful croon on “Spin”, Hank’s bass bravado on the epic “Go Slow” or the lush strings on “Money Is King”, CA$H 4 GOLD has something for every music fan. And if you were already a fan of H&C prior to this release, prepare to be pleasantly blown away.
CA$H 4 GOLD will be available for mass consumption on September 5th. For the latest on Hank & Cupcakes you can head on over here or here. But more importantly, head on over to Itunes or Amazon to get your copy of CA$H 4 GOLD!
Don’t let the name throw you, Mr. Kitty is not the cute and cuddly Pop you might’ve expected when you tuned in. Far from it, Mr. Kitty is, quite simply, the saviors of dance-pop synthetic goth what have you. It’s great dance music. It’s great music if you’re a vampire or great if you’re a fan of mood films like To Live And Die In L.A. or Manhunter. Modern noir, if you will.
In regards to Time, Mr. Kitty’s fourth (!) album, let’s put it this way: Have you ever wanted an album that perfectly encapsulates a night in the club, filled with those mindless throbbing beats and mid-tempo numbers that sporadically break up the dance floor sweatiness? That’s Time.
“XIII” storms the gates of Time with subtle, droning beats building into an indescribable crescendo of screams and electronics that will move you to no end. “Rats” breaks up the intensity with some nice Pop-infused mid-tempo awesome and “Glow” continues that trend with some beats destined for the Fright Night soundtrack. Circa 1985, obviously.
Like I said, if you’re itching to dance then a Mr. Kitty track to suit your needs is never too far away as “Hollow” follows to beef up the foot stomping quotient. “Devour” delivers even more so as does “Laceration” which brings back “XIII”‘s urgency. “Pathogen” keeps the pace alive while “Shadow Dancer” is that song you heard in every moody ’80’s flick, being equal parts New Order and Depeche Mode.
Not only one of the greatest synth albums of 2014 but one of the best albums, period. Like me, you’ll be wondering how Mr. Kitty passed you by for so long (Seriously, this is the FOURTH album!!!!!). Now I just need to insure I get all of Time played at my next local goth night.
Time, the latest and greatest, from Mr. Kitty is out now. Head over to bandcamp to stream and buy.