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Michael Toland: ROCKIN’ IS MA BUSINESS: Blurt’s Rock & Roll Roundup Pt. 2

HOUND GAWD! RECORDS

HOUND GAWD! RECORDS

And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series. (FYI: links to key audio and video tracks follow the main text.)

BY MICHAEL “DENIM” TOLAND

As leader of the now-legendary Lazy Cowgirls, Pat Todd created a canon of blazing roots/punk rock & roll that should serve as a textbook for anyone who reveres both Johnny Cash and the Ramones. When the Indiana-born longtime Los Angeleno shifted focus (barely) toward the Americana side of his personality with the Rankoutsiders, he stuck to the same standards – four chords, blasting guitars, a kickin’ rhythm section and more soul than a Baptist church on Sunday. Blood and Treasure (Hound Gawd!), the band’s fourth LP, is another stellar example of Todd’s vision. Jolted by the six-string team of Kevin Keller and longtime foil Nick Alexander, the ‘outsiders rip through blues and ballads, C&W and R&R, with an expertise that should be the envy of bands half their age. Todd’s songs eschew clever wordplay and ironic distance to simply channel the man’s heart from his sleeve to yours, whether he’s fighting bad love (“Tell Me Now,” “I Hear You Knockin’”) or working class despair (“This Counterfeit World,” “Just Another Broken Day”). He won’t give in, though, stating his case most effectively in never-surrender anthems “Stand Up and Sass Back” and “Don’t Be Sellin’ Emptiness.” Blood and Treasure shows Todd and the Rankoutsiders once again reinventing ragged but right by being simply unable to do wrong.

Capsula Santa Rosa

Fronting a freewheeling blend of Detroit hard rock, Nuggets garage punk, dirty Cramps-a-billy and grungy surf, all given an acid sheen, Spain’s Capsula have been blasting away for nearly 20 years to a devoted audience far smaller than it should be. But the Argentina-bred power trio have never let that – or anything, really – get them down, and that same joie de vivre infests Santa Rosa (Vicious Circle), the band’s eleventh album. (Twelfth, if you count its stint backing up Ivan Julian on Naked Flame.) Tempering its live energy a tad (note: if this band comes to a club anywhere near you, do not hesitate), Capsula polishes its songwriting to an even more potent shine, balancing full throttle burners like “Tierra Girando” and “Candle Candle” with midtempo psych poppers “Moving Mutants” and “They Are New Models.” The trio even successfully ventures into ballad territory on “Past Lives.” Proof that great bands can keep getting better. Birth of Joy comes from the same spiritual place as Capsula, but, with the bass replaced by keyboards, trucks in a more expansive sound. Get Well (Long Branch/SPV), the Dutch trio’s sixth album, picks up where its last studio LP Prisoner left off, pushing the psychedelic and jamming tendencies to the fore while not losing the band’s intense rock & roll drive. That proves BoJ equally adept at both short/sharp/shocked bangers like “You Got Me Howling” and “Blisters” and drawn-out epics “Numb” and the title track. Perhaps not the revelation Prisoner was, but a progression, for sure.

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With a name like Dr. Boogie, you’d expect a band beholden to John Lee Hooker, or at least ZZ Top and Canned Heat. In this case, though, you’d be wrong – the L.A. quartet owes its soul to the New York Dolls and the heyday of glam and protopunk on Gotta Get Back to New York City (Dead Beat). “Down This Road,” “Queen of the Streets” and the title track rock hard with that ever-so-tricky mix of Chuck Berry and aggression, while “Really Good Feeling” verges on power pop. The biggest surprise is “Together,” which adds a disco beat and “doot-doot” vocals for a dandy variation on the formula. Boasting a clever, “why didn’t anyone think of this before?” name, Indonesian Junk romps straight outta Milwaukee with an impressive self-titled debut album (Rum Bar). Throwing glam rock, protopunk, power pop and R&B-flavored garage rock into a centrifuge, the trio shakes it all down until it comes out as uncomplicated rock & roll. “Black Hole,” “Little Malibu” and “Indonesia” show off a band that rummages through the past, takes what it wants and leaves the rest to rot. Surprise bonus: a cover of Jayne County’s “Fuck Off.”

Ricky Warwick - When Patsy Cline Was Crazy (And Gu... - Artwork

Though best known for leading U.K. punk & roll band the Almighty and his current frontman position with Black Star Riders (the group that grew out the latter-day revival of Thin Lizzy), Ricky Warwick started banging guitar in imitation of Johnny Cash and Bruce Springsteen. Despite his schedule with the Riders, the Irish native found time to knock out a double album that serves both sides of his personality. When Patsy Cline Was Crazy (and Guy Mitchell Sang the Blues)/Hearts on Trees (Nuclear Blast) ranges from the hard-edged heartland rock of the first half (“Son of the Wind,” “Johnny Ringo’s Last Ride,” “The Road to Damascus Street”) to the mostly acoustic folk rock (“Said Samson to Goliath,” “Disasters,” a cover of Porter Wagoner’s immortal “Psycho”) of the second. Not out of line for a dude whose first professional job was playing second guitar on a New Model Army tour. German singer/songwriter Conny Ochs takes a similar tack on his third solo album Future Fables (Exile On Mainstream), though he prefers to mix his folk and rock rather than segregate them. Fielding melancholy introspection and cautiously optimistic progression, the record sounds like Ochs decided to blend his twin lives as acoustic troubadour and badass rocker, giving “Golden Future,” “Piece of Heaven” and “No Easy Way” a grit most singer/songwriter records rarely achieve.

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If Kiss had succumbed to its 70s glam rock tendencies instead of its 80s hair metal fantasies, maybe it would be half as cool as Watts. The Beantown quartet kicks the requisite amount of gluteus maximus on third LP The Black Heart of Rock ‘N Roll (Rum Bar), happily rebooting riffs from the Stones, ZZ Top and the Sweet as it’s the first time anything like it has ever been heard. “She’s Electric’ and “Strut Like a Champ” brandish serious swagger, “Stage Fright” boogies like Marc Bolan if he’s been born in Texas and “Bye & Bye” reveals the bruised heart under the bravado. If the U.S.A. has ever produced a rock & roll band inhabiting the same dimension as the late, great Dogs D’amour, Watts is probably it.

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Led by singer/songwriter Victor Penalosa – younger brother to Hector of the Zeros and Flying Color, cousin to the Escovedo clan, current drummer for the Flamin Groovies – the Phantoms bop all over the map on their self-titled debut (Rum Bar), from power pop (“Baby Loves Her Rock N’ Roll”) and country rock (“One For the Road”) to snotty punk (“Chump Change”) and no-nonsense rock & roll (“Tears Me Up Inside,” “Ditch Digger”). Add the driving heartland rock of “Two Lane Black Top” and Chuck Berry boogie of “The Ballad of Overend Watts” and it’s a party. The band has a solid grasp on anything that requires a backbeat and loud guitars, while Penalosa’s memorable melodies and appealingly plain singing tie it all together. You can probably be forgiven for casting aspersions toward the Two Tens – after all it’s a co-ed duo with a male guitarist and a female drummer, and debut album Volume (Ugly Sugar) was mixed by Detroit super producer Jim Diamond. But the L.A. act is no White Stripes wannabe – the band is far more enamored of 60s garage rock than Zeppelin blues. All the better to rock sweet pop tunes “Sweet as Pie” and “Watching Me” and pounding thrashers “Life” and “Rush Out” into the dirt.

Connectioncover

Despite coming from Portsmouth, New Hampshire (or maybe because of it), the Connection has established itself as one of the best 60s-inspired power pop bands going via Little Steven-endorsed rekkids like Let It Rock and the stupendous Labor of Love. So it’s a good time to reissue the quartet’s debut New England’s Newest Hit Makers (Rum Bar). Fresh-faced and sparkling, the record gets down to business quickly and efficiently via “Stop Talking,” “My Baby Likes to Rock N Roll,” “I Think She Digs Me” and other nuggets analogous to the Beatles’ A Hard Day’s Night era. Delightful. Seattle’s Navins apply similar energy to power poppy tunes that boast melodies by the jangleful on debut LP Not Yourself Today (Green Monkey). Named after Steve Martin’s character in The Jerk, the band (which includes ex-TAD man Gary Thortensen) certainly exhibits a sense of humor, but is no joke, showing serious craft and heart on the winsome “Oceans,” the jamming “Wallet Full of Signs” and the crunchy “Never Wanted Nothing.”

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Singer/guitarist Eric Knoxx slung strings for rockin’ surf/lounge band the Vice Barons for several years, but finally uncorks his larynx on Saturday Night Shakes (Rum Bar), the debut album from his new outfit the Backseat Angels. With a nod toward the upbeat melodies of old school punk/pop like the Boys and a wink toward the swagger of bubblegum glamsters like the Sweet, Knoxx and co. bang out hard candy delights “Teenage Rock’n’ Roller,” “To Be a Better Man” and “My Baby Wants to Brainwash My Mind.”

LiquidGenerationQtZ

Hailing from Seattle, the town that kicked off the whole garage rock thing back in the 60s with the Sonics, the Wailers and – RIP Jack Ely – the Kingsmen, Liquid Generation takes direct inspiration from its forebears on Quarter to Zen (Green Monkey). Recorded in 1983 and unreleased until now, scrappy snarls like “Hang Up” (a gem from the Wailers’ catalog), “Nothing” (via the Ugly Ducklings) and “¼ to Zen” would’ve landed the band on the Get Hip label and on tour with the Chesterfield Kings had it come out when it should’ve. NYC’s Mystery Lights get even more faithful to the old school on their self-titled debut (Wick) – close your eyes and you’d think this was recorded in 1965. As such, it sounds like a bunch of kids with loud guitars, a handful of chords and a few drugs fueling their rock & roll fantasies. It would almost be too retro for its own good if not for the quality of the songs – the blistering “Melt,” the wide-ranging “Before My Own” and the surprisingly psychedelic “Flowers in My Hair, Demons in My Head” scratch the Nuggets itch as well as anything from the original era.

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The blues is, of course, one of the bigger planks in rock & roll’s platform, and bands will never stop using it as the crux of their raison d’etre. So it is with Jane Lee Hooker. The NYC five-piece takes on everyone from Muddy Waters and Howlin’ Wolf to Ray Charles and Otis Redding on its debut album No B! (Ruf). But since these ladies have backgrounds in punk and hard rock – specifically Nashville Pussy, Bad Wizard, Helldorado and the legendary Wives – they simply can’t help rocking the hell out of the likes of Waters’ “Mannish Boy,” Albert King’s “The Hunter” and Charles’ “I Believe to My Soul.” The band’s rip through Johnny Winters’ “Mean Town Blues” hews far closer to the members’ previous day jobs than anything that came out of Memphis. Whiskey-and-cigs singer Dana “Danger” Athens’ original “In the Valley” fits right in alongside genre classics and deep cuts. Northern Ireland duo the Bonnevilles stick to an original program on Arrow Pierce My Heart (Alive Naturalsound), but also punk up the blues like Chess Records filtered through the Standells. “I’ve Come Too Far For Love to Die,” “The Electric Company” (not a U2 cover) and “The Man With the X Shaped Scar On His Cheek” rock raw and dirty, not a million miles away from what the Black Keys were doing in their early days.

Left Lane Cruiser BIB

For the last decade, Fort Wayne, Indiana’s Left Lane Cruiser has practically defined the idea of punk blues. Beck in Black (Alive Naturalsound), compiled by original drummer Brenn Beck from the albums on which he appears, collects tracks from the then-duo’s earliest days up until right before the band became a trio on last year’s barnburner Dirty Spliff Blues. The Cruiser’s rawboned bottleneck ‘spunk stomps and stammers on “Zombie Blocked,” “Circus” and the mighty “Sausage Paw,” one of six previously unreleased tracks. Shawn James is more of a blues traditionalist than Hooker, Cruiser or the Bonnevilles, but only in the sense of staying acoustic on his latest LP On the Shoulders of Giants (self-released). Wielding a pair of resonator guitars and recording at Sun Studios, the big-voiced Arkansan lays down deep blues like “Back Down” and “When It Rains, It Pours” that would crush boulders if played through a Marshall stack.

Blues Pills - Lady In Gold - Artwork

The blues is more of a feel than a form for international (counting members from the States, France and Sweden) quartet Blues Pills. Second full-length Lady in Gold (Nuclear Blast) finds the band folding in flavors of psychedelic soul into its groovy rawk stew, which suits brassy singer Elin Larsson on tunes like “Rejection,” “You Gotta Try” and “Won’t Go Back” (all hidden in the final third, oddly enough). Ultimately, though, the band is still about fairly frill-less rock & roll – check “Bad Talkers,” “Little Boy Preacher” and the especially catchy title track. Bonus: a menacing, rocking take on Tony Joe White’s “Elements and Things.” Hailing from Sudbury, Ontario, Sulfur City plays groovy blues rock with a political edge on Talking Loud (Alive Naturalsound). With an electric washboard, a powerful howl, a 60s sense of social outrage and a thing for the Devil (who appears in “Johnny” and “Sold”), leader Lori Paradis cuts a striking figure. Aided and abetted by guitarist/co-writer Jesse Lagace, she sometimes lets her band lapse into a Grateful Dead choogle that sucks the energy out of the performances. But when she and the band grit their teeth, via the swampy “One Day in June,” stomping “Tie My Hand to the Floor” and fiery “You Don’t Know Me,” they show a lot of promise.

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Remember when alt.country meant more than folk singers with tasteful bands backing them up? The Right Here does. Sounding on debut LP Stick to the Plan (Rum Bar) like the Old 97’s if they’d just come off a particularly debauched tour with Motörhead, the Minneapolis (of course) quartet takes two-stepping melodies and C&W progressions and thrashes the hell out of them while keeping the songcraft intact. From blazing cowpunkers “Til the Wheels Come Off” (which sounds like a classic set-closer) and “Judge Me When I’m Sober” to the tear-in-your-spilled-beer ballads “Drunk and Rolling Around” and “Fall Asleep, Hate Yourself, or Leave,” the Right Here rips and tears at your heartstrings as often as your ears (and your air guitar). Austin’s New Mystery Girl also fields a rootsy vibe on Crawl Through Your Hair! (Gutsy Dame), but calling them just another band of that ilk is a mistake. Singer/songwriter Chrissie Flatt and guitarist Eric Hisaw have deep roots in country and Americana music, but also a smart pop sense and a raw attack, while rhythm section Bobby Daniel and Hector Muñoz did many years with Alejandro Escovedo. Add quality songs like “Stepping On My Toes” and “I’m Not Ready to Let Go” and a rollicking rip through the New York Dolls’ “Subway Train” and you’ve got something more developed than just roots rock.

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The Kingbees were contemporaries of the Stray Cats, but never hit the same heights. That’s partly because the trio simply wasn’t as stylized as Brian Setzer’s crew, and partly because the group’s neorockabilly wasn’t as flashy about its retro stylings. That’s especially evident on second LP The Big Rock (Omnivore), originally released in 1981. Singer/guitarist Jamie James and co. worry less about 50s trappings than in simply continuing the tradition, making streamlined confections of the title track, “She Can’t ‘Make-up’ Her Mind” and covers of Charlie Rich, Buddy Holly and Carl Perkins.

MuffBlonder

On the way to recording their second LP, the Muffs lost rhythm guitarist Melanie Vammen and traded drummer Criss Crass for ex-Redd Kross basher Roy McDonald. The changes did the band good, however, as evidenced by Blonder and Blonder (Omnivore). Originally released in 1995, the record reflected no radical departures from the self-titled debut. Instead the band refined its melodic punk & roll, with sharper hooks, wittier lyrics and a more aggressive attack. (Credit McDonald, whose spirit animal is clearly Keith Moon, at least in part for the latter.) “Ethyl My Love,” “Oh Nina” and “Laying On a Bed of Roses” rock recklessly without ever losing their grip on the hooks, while “Sad Tomorrow” and the waltz-time “Funny Face” demonstrate growing lyrical sophistication. The Doug Sahmish “Red Eyed Troll” and mostly acoustic “Just a Game” show a group growing beyond its self-imposed boundaries. Blonder and Blonder represents the Muff growing from strength to strength. As with last year’s reissue of The Muffs, this edition adds a gaggle of bonus tracks (including the album-worthy “Become Undone” and “Born Today”), informative liner notes from bassist Ronnie Barnett and Shattucks’ song-by-song commentary.

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Careening out of control like a bus driven by a tweaker, Sleeping Beauties reclaim punk rock bash ‘n’ crash for a younger generation with their self-titled debut (In the Red). Slavering meat-eaters “Meth,” “Hands” and “Bobby & Suzie” filter garage rock through the prism of ADHD-addled high school dropouts; “Slumber Party” adds a shit-kicking (if barely recognizable) C&W beat. “Merchants of Glue” and “Addicted to Drugs” pass for ballads, with pretty melodies rolled in the dirt and left to dry in the sun – “South Eugene” even goes full on acoustic. The Pacific Northwestern quintet lays claim to real songwriting chops, which means even the most crazed numbers hold up beyond the initial energy rush. Like the long-gone Squirrel Bait drowning in the Johnny Thunders side of its personality, Sleeping Beauties buries a sensitive soul under a nightmare of squalling guitars, blaring vocals and chemically-assisted insanity, and may very well be what rock & roll is all about.

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Michael Toland also writes about metal for BLURT. Go HERE to read the latest installment of his blog, “Throwing Horns,” in which he covers himself in goat’s blood and genuflects before the likes of Cobalt, Melvins, Death Angel, Candlemass, Dust Moth, Lord Mantis, and more.

 

————-AUDIO/VIDEO———————

 

The Backseat Angels – Saturday Night Shakes bandcamp:

https://rumbarrecords.bandcamp.com/album/saturday-night-shakes

 

Birth of Joy – “You Got Me Howling”:

https://www.youtube.com/watch?v=6F2WG5bos8c

 

Blues Pills – “Lady in Gold”:

https://www.youtube.com/watch?v=W-1hn87q9_8

 

The Bonnevilles – “I’ve Come Too Far For Love to Die”:

https://www.youtube.com/watch?v=rBFEQnIG79Q

 

Capsula – “Dali’s Face”:

https://www.youtube.com/watch?v=rOS_X7rIjmc

 

The Connection – New England’s Newest Hitmakers bandcamp:

https://rumbarrecords.bandcamp.com/album/new-englands-newest-hit-makers-rum-bar-edition

 

Dr. Boogie – “Get Back to New York City”:

https://www.youtube.com/watch?v=vEZbidRpyLc

 

Indonesian Junk – s/t bandcamp:

https://rumbarrecords.bandcamp.com/album/indonesian-junk

 

Shawn James – “Hellhound”:

https://www.youtube.com/watch?v=T1KzScW87ZE

 

Jane Lee Hooker – “Mannish Boy”:

https://www.youtube.com/watch?v=LnRiiJMN3B0

 

The Kingbees – The Big Rock trailer:

https://www.youtube.com/watch?v=UYDXwTWPYDc

 

Liquid Generation – Quarter to Zen bandcamp:

http://greenmonkeyrecords.bandcamp.com/album/quarter-to-zen

 

The Muffs – Sad Tomorrow”:

https://www.youtube.com/watch?v=vsxyaZhdW1s

 

The Mystery Lights – s/t bandcamp:

https://themysterylights.bandcamp.com/

 

The Navins – Not Yourself Today bandcamp:

https://greenmonkeyrecords.bandcamp.com/album/not-yourself-today

 

New Mystery Girl – Crawl Through Your Hair stream:

http://newmysterygirl.com/?page_id=20

 

Conny Ochs – “Killer”:

https://www.youtube.com/watch?v=NMQbWFYY21o

 

The Phantoms – s/t bandcamp:

https://rumbarrecords.bandcamp.com/album/the-phantoms

 

The Right Here – Stick to the Plan bandcamp:

https://rumbarrecords.bandcamp.com/album/stick-to-the-plan

 

Sleeping Beauties – “Meth” (live):

https://www.youtube.com/watch?v=XNKHvBMljFo

 

Sulfur City – “Ride With Me”:

https://www.youtube.com/watch?v=Gk9jZYKXNW0

 

Pat Todd & the Rankoutsiders – “Just Another Broken Day”:

https://www.youtube.com/watch?v=KfM6N5v2f_I

 

The Two Tens – Volume bandcamp:

https://thetwotens.bandcamp.com/album/volume

 

Ricky Warwick – “The Road to Damascus Street”:

https://www.youtube.com/watch?v=npqBrRDEKEs

 

Watts – The Black Heart of Rock-N-Roll bandcamp:

https://rumbarrecords.bandcamp.com/album/the-black-heart-of-rock-n-roll-2

 

 

 

Michael Toland: Throwing Horns Pt. 666.9

Cobalt

Hard rock! Stoner metal! Crustcore! Psychedelia! Grunge! Thrash! Skronk! Black metal! Trash punk! Bad boy boogie! (huh?) Smell the glove and make the sign of the umlaut, kids, it’s the seventh installment in our latest genre study, with Cobalt (above), Melvins, Death Angel, Candlemass, Dust Moth, Lord Mantis, and more. Go here to read the first episode, Pt. 666.1, here for Pt. 666.2, here for Pt. 666.3, here for Pt. 666.4, here for Pt. 666.5, here for 666.6, here for 666.7 and here for 666.8—if you dare. Incidentally, following the text are links to audio and video of the bands discussed, so check ’em out.

BY METAL MIKE TOLAND

As cult as cult can be, Colorado’s Cobalt records infrequently and tours even less, so the metal community can be forgiven for forgetting the duo still exists. But records like Eater of Birds and Gin are prized by fans like slivers of the true cross (and are about as rare at this point), so any new release comes with the kind of reverential anticipation usually reserved for a Tom Waits album. Slow Forever (Profound Lore), the band’s fourth LP, comes with its own black cloud – singer and founding member Phil McSorley was fired after using racist slurs in an interview, then replaced with Charlie Fell, whose own lyrics with his previous band Lord Mantis have been accused of racial insensitivity. (If you want to know the full tit-for-tat story, Google is your friend.) Regardless of one’s feelings for its creators’ past actions, the album is an exceptional piece of work. Multi-instrumentalist Erik Wunder paints an ugly picture, but not one without appeal. Thanks to a tight grasp on arrangements and just enough melody to focus the violence, he spreads the band’s doom-ridden progressive black metal over two disks with no listener fatigue. Fell brings his bloodthirsty A-game to the mic, slashing his larynx with ferocity and slotting into songs intended for McSorley as if the latter had never been present. Psychedelic, dynamic and brutal, “Hunt the Buffalo,” “Slow Forever” and the massive “King Rust” and “Final Will” smash and burn with the best extreme metal of the past decade. Expect Slow Forever to top a lot of 2016 best-of lists.

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Speaking of Lord Mantis, the band’s latest EP Nice Teeth Whore (New Density) is also the debut of its latest iteration, with Indian’s Dylan O’Toole and Will Lindsay joining Mantis’ Andrew Markuszewski and Bill Baumgardner. (The drama surrounding this particular mind-meld, which also tangentially involves Abigail Williams and the disgraced Nachtmystium, is worthy of a soap opera, but we’ll skip it – Google that shit if you gotta know.) Given that both outfits indulged in some of the most angry, hateful and nihilistic death metal ever made by anyone anywhere, it’s not a shock that the four songs here are the same, but moreso. The grinding closer “Final Division” isn’t just the key track on the EP, but practically a primer on this poisonous strain of Chi-town extreme metal.

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Undoubtedly one of the best metal acts going, Tombs follows up 2014’s masterful Savage Gold with the all-too-brief EP All Empires Fall (Relapse). The Brooklyn quintet ostensibly plays black metal, but happily incorporates wild-eyed acid doom, spooky gothic drama and Neurosis-like poundcrunch into its violent aesthetic, always layering in just enough melody to keep from being mere cacophony. Synthesist Fade Kainer adds a new touch to the band’s usual deathcrush, but it’s still visionary Mike Hill’s show via the brilliant, eccentric “Last Days of Sunlight” and “V.” Former Emperor leader Ihsahn has long used black metal merely as a jumping off point – his last album found him hitting a new peak in that regard, and his latest Arktis (Candlelight/Spinefarm) keeps that momentum going. Few artists incorporate prog and psych into extreme metal as well as this Norwegian genius – he effortlessly makes “Pressure,” “My Heart is in the North” and “Mass Darkness” sweeping, jagged, melodic, dissonant and beautiful all at once. Though it has no toes in the extreme metal pool, Canadian duo Sierra also ranges all over the map on its new EP 72 (self-released). The difference is that singer/guitarist Jason Taylor and multi-instrumentalist Robbie Carvalho (plus drummer Sam Hill) hop from 70s metal to prog to psych to folk and back within a single beautifully written, arranged and performed 22-minute song.

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The Cavern, the last album from Inter Arma, was also a single( 45-minute) song.The Richmond quintet doesn’t revisit that idea on its new record Paradise Gallows (Relapse), but it throws all its others into this 70-minute epic. IA carefully and considerately combines black metal dissonance, death metal brutality, doom metal dynamics and psychedelic sonic fuckery into lumbering constructions of artful agony and dark power. The band knows when to leaven the mood, via the ethereal arpeggios of “Nomini,” the gothic drama of “Primordial Wound,”the acoustic shimmer of “When the Earth Meets the Sky,” the prog rock majesty of “Potomac.” But that just makes the noise noisier and the loathing more potent – the eclectic journeys of the title track, “Transfiguration” and “The Summer Drones” blaze loudly with horror at humanity’s inhumanity to, well, everything. That the band hits the low points and does it in an artful way puts Inter Arma on its way to rewrite the rules of extreme metal someday. Seattle’s Dust Moth gets just as eclectic, if not as heavy on its first full-length album Scale (The Mylene Sheath). The band’s tricky blend of shimmering gauze pop, melancholy post-prog and psychedelic doom reaches full, expressive flower on the darkly flowing “Up Into Blackness,” the powerful “Corrections” and the enigmatically unwinding “Lift.”

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The Melvins don’t fit comfortably in any bag (King Buzzo’s distinctive hairstyle would stick out, for one thing) under normal circumstances, and on Basses Loaded (Ipecac) it ain’t normal circumstances. With six different bass players (including Krist Novoselic, JD Pinkus of Honky and the Butthole Surfers and Redd Kross’ Steven McDonald, who’s filling the slot on tour) aiding and abetting the bottom-challenged trio, the band traverses all over its personal heavy rock territory, from spacey doom (“Captain Come Down”) and roiling acid metal (“Phyllis Dillard”) to thick grunge (“War Pussy”) and near-pop (“Choco Plumbing”). New Zealand’s Beastwars spins its own metallic web on third LP The Death of All Things (Destroy), plunging neck-deep into a thick ooze blended from doom, sludge, psych, thrash and biker metal. Guitars and rhythms mind-meld in pursuit of massive riffs; Matt Hyde’s carnivorous vocals rain visions of worldwide apocalypse down from the thunderclouds. “Witches,” “The Devil Took Her” and the mighty “Call of the Mountain” reveal meticulous craft under the nearly overwhelming power.

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The future of doom titan Candlemass has looked uncertain for a few years, with singer Robert Lowe’s dismissal and rumors the band had no plans to record again. Clearly, though, any lingering issues have been sorted, as evidenced by EP Death Thy Lover (Napalm), the Swedish quintet’s first record in four years and first with veteran metal singer Mats Levén. Just in time for its 30th anniversary, the band proves it hasn’t lost a jot of its touch on lumbering blasters “Sleeping Giant” and the title track. Japan’s Church of Misery also could’ve thrown in the towel after losing every member but mastermind Tatsu Mikami following 2013’s Thy Kingdom Scum. The surprising choice to replace his countrymen with Americans (metal vets all) seems to have given the serial killer-obsessed outfit new, uh, life – And Then There Were None… (Rise Above) expertly balances melody and groove with brutality and heaviness for one of the long-running quartet’s most accessible LPs.

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Miss Lava pushes its doomcrunch far out into the space/time continuum on Sonic Debris (Small Stone). The Lisbon trio swirls cosmic trippiness into ribcage-crushing doom, going from cruising speed (“Another Beast is Born”) to warp speed (“The Silent Ghost of Doom”) in a heartbeat, pausing to orbit both groovy (“Symptomatic”) and acoustically (“In a Sonic We Shall Burn”) along the way. Brontosaurus licks meet heavenly melodies, and it’s all shaken down until it burns. Dallas’ Wo Fat continues its blues-inflected, acid-soaked odyssey through the doom metal cosmos with Midnight Cometh (Ripple). The threesome’s seventh LP gets groovy (“Le Dilemme De Detenu”), rockin’ (the appropriately-titled “Riffborn”) and, most of all, smoky (“Nightcomer,” “Of Smoke and Fog”) if you know what we mean. Fresno trio Beastmaker brings together two countries’ worth of doom on its debut album Lusus Naturæ (Rise Above), drawing as much from Stateside pioneer Pentagram as from originator Black Sabbath. “Mask of Satan,” “Eyes Are Watching” and the title track do 70s heavy as well as anybody.

LaChinga

Speaking of that oft-maligned decade, airbrush that Ford Econoline and strap your mane down with a headband, because La Chinga hits town with second record Freewheelin’ (Small Stone). The Vancouver trio giddily grooves up its Me Decade riff rock – while nothing here goes full-on disco (it’s not that 70s), it’s not hard to imagine booties getting shaken during “War Cry” and “Gone Gypsy.” Guitarist Ben Yardley sparks fire with tough but melodic riffs and economic solos, while bassist Carl Spackler keeps the party rolling with beer-and-reefer vocal performances. Song titles “Mother of All Snakeheads” and “White Witchy Black Magic” (that’s the chorus!) nod to a certain self-aware sense of humor, but you’ll be too busy rawking out to acknowledge it.

Death Angel - The Evil Divide - Artwork

Death Angel rose during the original wave of Bay Area thrash in the early 80s, but tends to be overlooked, possibly because the quintet didn’t release an album until 1987. If The Evil Divide (Nuclear Blast) is any indication, it’s also because the band doesn’t much care for the word “compromise.” Death Angel’s eighth album rarely bothers with anthemic hooks, catchy choruses or any of the commercial concessions peers like Metallica and Megadeth eventually traded in. With the exception of the incongruous lighter waver “Lost,” stalwarts Mark Osgueda (vox) and Rob Cavestany (guit) and their current cohorts thrash their fornicating brains out, spraying more squealing solos, savage singing and chuggachug guitar over the landscape than their pals have in twenty years. “The Electric Cell,” “Cause For Alarm” and “Hell to Pay” deftly mix precision strikes and blunt force trauma for old-school thrash that doesn’t sound nostalgic.

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Though it doesn’t have the history that Death Angel does, the Australia-borne/Europe-based Destroyer 666 is no spring chicken, having released its first album in 1997. Wildfire (Season of Mist), the fearsome foursome’s fifth LP and first in seven years, blends fist-pumping melody, charred vokills and whipcrack thrash into a most impressive wall of glaargh on “Live and Burn” and “Hymn to Dionysus.” Philadelphia’s Vektor is even younger, but no less accomplished. Indeed, Terminal Redux (Earache), the quartet’s third record, shows off an impressive level of sheer musicianship without compromising tonnage. Leader Daniel DiSanto’s black metal screech conveys a science fiction story of some sort, but his and Erik Nelson’s python coils-tight six-string work remains the primary attraction.

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A key influence on the early thrash bands, particularly Metallica, England’s Diamond Head has let long periods of inactivity shape its legend, so when it makes yet another comeback, it’s an event. Only the band’s seventh album since its 1979 recorded debut (the “Shoot Out the Lights” single), the quintet’s self-titled LP (Dissonance Productions) keeps the faith with its primary virtues: strong riffs, clear vocals (by Danish-born newcomer Rasmus Bom Anderson) and melodies for miles. Leader Brian Tatler still has the fleetest of fingers and a bottomless bag of licks, but it’s his dedication to hummable tunes that has made the band stand out all these years – of their peers, only Iron Maiden boasts the same devotion. “See You Rise,” “Diamonds” and “Shout at the Devil” boast catchy hooks as well as epic power,while the chugging “Our Time is Now” and “Wizard Sleeve” crank the headbanging energy while still keeping tunesmithery alive. Some might consider Diamond Head old-fashioned, but we prefer the word timeless.

Grand Magus - Sword Songs - Artwork

Grand Magus waves a familiar flag on Sword Songs (Nuclear Blast), the Swedish trio’s eighth album. “We are warriors,” roars singer/guitarist JB on “Varangian,” “defenders of steel!” The band continues the quest exemplified by its last LP Triumph and Power, raising its blades high and conquering all who cross its path. The macho battlelust would be ridiculous if not for Magus’ burly riffology and relentless energy – “Last One to Fall” and “Forged in Iron – Crowned in Steel” would rampage even if the lyrics were about kittens and angels. “Every Day There’s a Battle to Fight” even works up a nice lighter-waving head of steam.

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NYC legend Prong keeps blasting away from its own unique corner of the metal universe with X: No Absolutes (Steamhammer/SPV). For the most part it follows the usual Prong pattern of headbanging up 80s New Yawk hardcore – “Ultimate Authority,” “Worth Pursuing” and “Belief System” hit as hard and deadly as ever. But attempts to make the trio’s bashcore singalong friendly on songs like “No Absolutes” lead it to resemble Helmet, while “Do Nothing” and “With Dignity” sound like attempts to slot in late 90s radio alongside Breaking Benjamin and Shinedown. Artistic development should always be encouraged, but maybe Prong should just sound like Prong. Further down the East Coast, Miami’s Wrong has more than a little Prong (and Helmet) in ‘em, thanks to hardcore-influenced breakdowns and steely chunkachunk. But on its self-titled debut (Relapse), the quartet – made up of former members of Kylesa, Torche and Capsule – also wallows in drillbit noise metal in the Unsane tradition. The combo of teeth-gritting riffcrack and grinding screeblast reaches maximum potency on the pounding “Boil” and “Stasis” and the blazing “Entourage” and “Turn In.”

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None more black: Savannah powerhouse Black Tusk had a major obstacle to overcome on the way to releasing Pillars of Ash (Relapse) – the death of bassist/vocalist/co-founder Jonathan Athon. Fortunately for band and fans its fifth album was finished before Athon’s untimely motorcycle accident, and it’s a ripper. The trio’s distinctive blend of steely thrash and shoutalong punk – sort of a Southern re-imagining of what Prong does – sets fire to the landscape via blazers “ Beyond the Divide,” “Still Not Well” and “God’s On Vacation.” Out on the other coast, Black Cobra kicks up a sludge-covered ruckus on Imperium Simulacra (Season of Mist) that wouldn’t sound out of place in Tusk’s hometown. The San Fran duo of guitarist/vocalist Jason Landeman and drummer Rafael Martinez digs deep into rifftastic rumblers “Challenger Deep” and “Dark Shine.” Rolling out of Vancouver,

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Black Wizard goes straight for the doom jugular with New Waste (Listenable), leaving no power chord unstroked nor bong unsmoked on “Eliminator,” “Harsh Time” and “The Priest.” Though it didn’t get the chromatic memo, Red Wizard might be Black Wizard’s California cousins, and not just for being similarly inclined toward sorcery. The San Diego quintet’s debut Cosmosis (Ripple) sinks even deeper into the sticky grass of Sabbath worship – check the mighty “Temple of Tennitus” and the monstrous title tune.

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Tucson, Arizona may be best known for eccentric root rock & roll, but a darker power lurks underneath the surface. Or so it seems with North, who slowly and painfully unleash Light the Way (Prosthetic). The trio’s follow-up to its “Through Raven’s Eyes” single imagines the epic progressive doom of Neurosis as post rock, roaring hoarsely over waves of riff that are almost symphonic in their grandeur. Tunes like “Weight of All Thoughts,” “Primal Bloom” and the powerhouse “From This Soil” come off kind of like Isis as interpreted by Explosions in the Sky, all furrowed-brow power and ugly beauty. Speaking of Isis, former leader of that band Aaron Turner returns swiftly with What One Becomes (Thrill Jockey) from his new outfit Sumac. The sequel to last year’s debut The Deal, the hour-long monsterpiece pushes Turner, bassist Brian Cook (also of Russian Circles) and drummer Nick Yacyshyn (Baptists) into uglier, meaner territory – the leader in particular sounds nearly livid with rage and loathing. But the trio does it without losing the experimental edge and melodic undercurrent that Turner carries with him to all his projects. “Rigid Man” and the 18-minute, nearly overwhelming “Blackout” prove that art, atmosphere and blackened doom can mix.

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Funny how some bands find favor mainly with metal audiences, despite a relationship with the genre that’s tangential at best. Thus it is with Great Britain’s Purson. The quintet released its head-turning debut on Cathedral/With the Dead singer Lee Dorrian’s Rise Above label, which seems to have cemented its standing with headbanger audiences. Desire’s Magic Theatre (Spinefarm), the long-awaited follow-up, deftly swirls the same distinctive blend of psych rock, prog, electric folk and boogie as its prior platter, but with an even keener edge. Leader Rosalie Cunningham has clearly been honing her songcraft, and it shows on eccentric delights “Dead Dodo Down,” The Window Cleaner” and the striking single “Electric Landlady.” Toronto’s Blood Ceremony connects a bit more firmly to the metal tradition via harder rocking performances and an obsessive interest in the occult. But fourth LP Lord of Misrule (Rise Above) still portrays a band not easily categorized, with progressive rock elements (including frequent use of singer/keyboardist Alia O’Brien’s flute) and a 70s classic rock vibe that puts the heaviness on the lyrics. Regardless, “Flower Phantoms,” “Half Moon Street” and “The Devil’s Widow” rule.

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Columnist Michael Toland lives and works in Austin, TX, where he acts “somewhat suspiciously at times,” according to his Lone Star State accomplices, which include media heavy hitters The Austin Chronicle and KLRU-TV. Coincidentally or not, the BLURT editor once lived in Tucson, which is a kind of sister city to Austin, where similarly strange happenings have taken place over the years. Note that a Tucson metal band is profiled in Toland’s latest column. Perhaps the work of the Illuminati? You be the judge…. Toland can be reached at michael.toland@gmail.com.


Audio/Video:

Beastmaker – “Mask of Satan”:

https://www.youtube.com/watch?v=fPGzqslFVm4

 

Beastwars – The Death of All Things bandcamp:

https://beastwars.bandcamp.com/

 

Black Cobra – Imperium Simulacra bandcamp:

https://blackcobra.bandcamp.com/album/imperium-simulacra

 

Black Tusk – Pillars of Ash bandcamp:

https://blacktusk.bandcamp.com/album/pillars-of-ash

 

Black Wizard – New Waste bandcamp:

http://blackwizard.bandcamp.com/album/new-waste

 

Candlemass – “Death Thy Lover”:

https://www.youtube.com/watch?v=XKXP0RIDf6g

 

Cobalt – Slow Forever bandcamp:

https://profoundlorerecords.bandcamp.com/album/slow-forever

 

Death Angel – “Cause For Alarm”:

https://www.youtube.com/watch?v=-N0UcnswlUQ

 

Destroyer 666 Wildfire bandcamp:

https://destroyer666.bandcamp.com/album/wildfire

 

Diamond Head preview:

https://www.youtube.com/watch?v=rFmFG9b0Jjs

 

Dust Moth – Scale bandcamp:

http://dustmoth.bandcamp.com/album/scale

 

Grand Magus – “Varangian”:

https://www.youtube.com/watch?v=A_9jrowMBz0

 

Ihsahn – “Pressure”:

https://www.youtube.com/watch?v=zHx2ryUzDx4

 

Inter Arma – Paradise Gallows bandcamp:

https://interarma.bandcamp.com/album/paradise-gallows-2

 

La Chinga – Freewheelin’ bandcamp:

https://smallstone.bandcamp.com/album/freewheelin

 

Lord Mantis – Nice Teeth Whore preview:

https://lordmantis.bandcamp.com/

 

The Melvins – “Hideous Woman”:

https://www.youtube.com/watch?v=4w7yVR27RHA

 

Miss Lava – Sonic Debris bandcamp:

https://smallstone.bandcamp.com/album/sonic-debris

 

North – Light the Way bandcamp:

https://north-official.bandcamp.com/album/light-the-way

 

Prong – X: No Absolutes teaser:

https://www.youtube.com/watch?v=_HboZDhXdek

 

Purson – “Electric Landlady”:

https://www.youtube.com/watch?v=boscR_9EE5Q

 

Red Wizard – Cosmosis bandcamp:

http://ripplemusic.bandcamp.com/album/cosmosis

 

Sierra – 72 bandcamp:

https://sierrariff.bandcamp.com/album/72

 

Sumac – “Rigid Man”:

https://www.youtube.com/watch?v=LIBZi7G-sSU

 

Tombs – All Empires Fall bandcamp:

https://tombsbklyn.bandcamp.com/album/all-empires-fall

 

Vektor – “Charging the Void”:

https://www.youtube.com/watch?v=-4e5Jw9T5Zk

 

Wrong – “Boil”:

https://soundcloud.com/relapserecords/wrong-boil