Gothic Rock band 8Snake, formerly known as The Francesco Fonte Band, recently released the dark and moody 'Another End' VIA 8Music Group, ahead of the trio's forthcoming new studio album.
Formed in 2011, the band has drawn comparisons to Pink Floyd, Nine Inch Nails, and Nick Cave. 'Another End' is the new track featuring Grace Wilson from the band Amnesiak. The track tells the story of a suicidal night on a spiral of alcohol and drug abuse.
'Another End' is a post-gothic tale of escapism with progressive rock elements. The song begins with the skyscraping sound of distorted guitars, which slowly build toward gloomy vocals and the repetition of simple strummed guitar patterns. The song comes to life in the middle eight with dual vocals by Wilson and Fonte. The aggressive guitar sounds in the outro are met by Wilson's lung-busting vocal performance to complete an interesting look into 8snake.
Words by Anselm Anderson
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French Prog trio Oaks have released their muchly anticipated debut LP, Genesis of the Abstract, via Argonauta Records.
The trio describes their sound as 'Conceptual' and that is a better way of summing up 33 minutes of a powerful and evocative instrumental album. The Paris-based band has drawn influences from Tool, Russian Circle, and Mastodon across various musical contributions.
'Genesis of the Abstract' begins with an opening monologue over angular guitar riffs and segues into the ten-minute 'The Harmonist', a track that builds slowly to a thunderous climax. The groove-laden riffs have a crisp and dense texture. The trio knows how to convey a compelling story through the language of music with these haunting tracks reflecting a world in disarray. The aggressive stomping rhythms of 'The Chasm' arrive with a dynamic of slow, cumbersome basslines against the fast tempo of the lead guitar.
The mellow blues of 'The Dawn' feels like a new chapter in the band's progressive elements before we move onto the six-minute 'The Abstract', with its menacing rhythms that build with its moody tones to another fierce climax. And finally, 'The Shape' wraps things up with an outer monologue over a dreamy soundscape.
Overall, Oaks proves instrumental metal can engage the listener without the need for lyrics to instruct us of the story. Nevertheless, 'Genesis of the Abstract' is thought-provoking, refreshing, and enjoyable for those rock fans wanting a change this new year.
Words by Anselm Anderson. Rating 4/5
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Rambling Man's Reviews presents to you another offering of British rock in the guise of female-fronted Alt metal band Novacrow from Liverpool, England. The band recently released their debut album Look at Me Now, an enjoyable rollercoaster of funk, metal, and alternative rock.
Formed in 2013, the band recorded this record during Lockdown. They have built a strong fanbase over the years with the release of two EPs, several Festival appearances, and a winner of Merseyside's Metal for the Masses competition this year.
'Look at Me Now' fuses horror influences with a dark brand of humour. The murky and tantalizing grooves of 'Shapes in the Sky' kick things firmly into gear. Lead singer Kitty Staunton seduces with her soaring vocals over crunching riffs and mesmerizing pedal effects. Next up is the six-minute 'Hollows Amour', a beautiful and haunting rock song with flamenco-infused guitar play set over clear and powerful vocals,
Novacrow makes sure each song is as diverse and unpredictable as its sound. They combine thought-provoking lyrics over strong, emotional music that engages the listener to keep listening.
The macabre 'Medusa Medusa' is a fun track that is a light-hearted take on self-image. 'Hush' is an aggressive metal track with breakdowns that will leave you with goosebumps. The track features Oceanis vocalist Joe Maryanji. I found myself enjoying this release the more I listened to it. The album grows in maturity and dynamics over thirteen unforgettable moments.
Other highlights to pick out are the self-defiant 'Not Your Mannequin' with its dark grooves and message about the media's portrayal of women after a certain age. The funky 'Frankenfiiine' is a humourous diversion from the album's heavier and deeper findings.
And finally, the ferocious 'Why Are My Dreams Always Trying to Kill Me?' sounds like a cartoonish play on Freddie Krueger wraps things up.
Overall, Novacrow produces a refreshing approach to rock and metal. The band's razor-sharp riffs, songwriting, and range of vocals are a welcome addition to a scene that can be stale at times.
Words by Anselm Anderson: Rating 8.5/10
NovaCrow are;
Kitty Staunton: Lead vocals, Guitars
Freddy Spera: Bass, Backing vocals, Production
Jonyx: Additional Vocals (lead vocals on Frankenfiiine), Guitars
Stu: Drums
Tracks:
Shapes in the Sky
Hollow Armour
Medusa Medusa
Hush (Featuring Joe Maryanji of Oceanis as additional vocals)
Play My Game
Not Your Mannequin
It’s Alive
Frankenfiiine
All I See Is Her (featuring Jack Batchelor on congas/additional percussion)
Birmingham's Rising Metalcore outfit A Titan A Deity released their latest EP, Descendant, earlier last month. Formed in 2016, the five-piece has had some momentum behind them, appearing at several festivals in the UK, as well as earning support slots to Monuments, From Sorrow to Serenity, and Dropout Kings to name a few.
They combine blistering Tech Metal with progressive elements and combining harsh and clean vocals to create a unique sound for the band.
'Descendant' is a six-song collection, clocking in with just over twenty minutes, this gives an insight into the young Englishmen. 'Io' is a progressive song with some interesting time signatures and a dynamic sound. The Skyscraping ambiance sounds to accompany the soaring vocal melodies juxtaposed with aggressive howls and scintillating riffs.
Next up is the thunderous 'Revelations' with angular guitars, harsh vocals, and instrumental breakdowns. This track offers something different from the first track.
The band is aware of the sound they want to identify with going forward with some intelligent ideas with the instrumentation. The soundscapes vary between sorrow and despair with courage and hope.
'Bleak' is the more emotional track on the release with towering vocal melodies juxtaposed with conflicted harsh vocals. The EP takes a similar route to 'Heirloom', in which the riffs and vocals share some similarities with the latter. And finally, 'Oxygen' finishes with breathtaking instrumental breakdowns, fierce technical guitar plays, and emotive vocals.
Overall, A Titan A Deity aims to bring a fresh style of Progressive metal to the masses with some tight songwriting and awe-inspiring soundscapes.
Words by Anselm Anderson. Rating 3/5
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NYC Lo-Fi rock act LonnieClaire has released 'Rusty Hardware', following the release of their latest LP Livin' with a Ghost.
Formed in Washington D.C, USA, the band has created a fresh brand of Lo-Fi rock combined with grunge guitars and an Americana feel. The band has endured many line-up changes to finally find a polished sound that suits them. They have amassed over 15k followers on Twitter, as well as gained regular exposure through hundreds of Music Blogs worldwide.
'Rusty Hardware' is a song inspired by the band's upbringing. It is a Roots song that looks at a damaged generation that took a long time to repair. The song sees Lonnie Claire's distinctive jagged vocals reflect through intelligent and evocative lyrics. The band's angular guitar melodies add extra poignancy to this.
Words by Anselm Anderson
Follow the link below to read more about LonnieClaire
Emerging British Heavyweights Hedra return with a new six-track EP The Pecking Order, released early last month via Devils Cause Records.
The English five-piece has worked hard to cultivate a fervent fanbase over the past eight years since their humble beginnings in Norwich, England. The band has put together a true force of nature to deliver brutal riffs and dark vocal melodies to an unsuspecting audience. The band has drawn comparisons with Metal icons like Iron Maiden, Black Sabbath, and newer acts such as Tool and Mastodon.
'The Pecking Order' is an EP inspired by the tumultuous reign of former British Prime Minister Boris Johnson and the band expresses the frustration and despair many citizens experienced at the hands of the bumbling leader.
'Jackdaw' pulls no punches in kicking off this release with sluggish riffs and earth-shattering drumming. This is a track that shows progressive elements with angular melodies.
Next up is 'Stolen', a similar track with vocalist Jim Marten reflecting somber and pain over sonic drum fills and dual guitar leads playing off one another like two soldiers at war with one another.
Hedra has created an album unlike many metal bands these days, they have combined a muscular and heavy sound with crisp production that is sharp as the band's music. 'Suchi' is a broody and melancholic track with distorted riffs and hazy vocals that segues into 'Avis Morgi'is a more commercial track with a hook-laden chorus and some gritty guitar work.
'Storm Clouds' is a melodic rock track with a colossal sound and 'Heads Held High' completes this outing with its dark, dissonant sound.
Overall, Hedra delivers a brutal, fresh, and inventive new release with fresh ideas and serious intent to challenge the metal scene
Words by Anselm Anderson Rating: 4.5/5
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Cardiff-based three-piece Penny Rich has unleashed their latest single 'Last Meal', taken from the forthcoming debut LP, due out next year.
The song is inspired by the notion US Death Row prisoners receive a last meal before they are executed. The single hopes to build on the success of their previous two EP'S. The trio spent the majority of 2020 in the studio, writing and recording their debut album with Andrew Sanders in King's Road, Cardiff, Wales.
'Last Meal' is three minutes of distorted, guitar-driven punk. The jagged vocals scream over energetic riffs and screeching guitar lines.
Nu-Metal quartet Chaoseum released their fourth studio effort The Third Eye, earlier last month. Formed in Lausanne, Switzerland in 2018, they have had quite a remarkable rise in those small years. The Swiss men were touring with Soulfly within a year of debuting with 'First Step to Hell'. The momentum from that early success has followed with notable performances in Russia, The US, and their native country.
The band's brand of unstable vocals, brutal breakdowns, and lyrics are based on themes such as loss, self-doubt, and depression. They bring a style of the forgotten genre to a new audience. The Third Eye begins with the sinister 'I, Sexy Zombie' which contains the rage and isolation of Korn with pounding drums, pulsating beats, and harsh and clean vocals. Next up is 'Unreal' with down-tuned guitars, catchy choruses, and spine-tingling pedal effects.
In effect, Chaoseum shares great similarities to the Bakersfield outfit Korn. The band attempt to emulate the erratic vocal style of Johnathan Davis, alongside the signature down-tuned guitar sound. However, the quartet has stamped its own personality over it with more notable riffs and solos. The band themselves sound more perturbed and unpredictable than the Nu-metal icons.
Photo Credit: S.Harnisch
Nevertheless, the band show versatility on this release with tracks like the electric dance beats on 'Dance on My Grave', the instrumental title track 'The Third Eye' and the sonic blasts of 'My Wonderland' with its razor-sharp intro, pain-staked lyrics, and haunting melodies.
'The Third Eye' is an interesting emotional rollercoaster that takes the listener through the narrator's own personal pains and struggles with strong songwriting. And finally, 'What If' is all that rage bottled up and released, the sorrow and loss come out with dark vocals over menacing, chugging guitar lines and melancholic melodies.
Overall, Chaoseum opens up its Third Eye on this release with cutting-edge music and blistering metal that shows they aren't here to emulate any Nu-Metal icons of the past, but rather here to make a name for themselves.
Good morning, how are you? Could you introduce yourself to the readers?
Hey! I am Justin Alan Payne! I am a singer/songwriter/guitarist from Ohio, that has been based in East Nashville for 1 1/2 years. I have been making and self-releasing my own music since 2014 under the Justin Payne & Co. moniker.
Could you describe your musical journey up to this point?
It has been a long, wild, and crazy ride! I started out professionally as a solo, acoustic, singer-songwriter writing mostly in the folk-rock/Americana wheelhouse. My initial solo EP "Interstellar Vagabond" was self-released in 2014 and led to a great relationship with a high-tier booking agency, which then led to three regional solo tours, as well as two huge national routes around most of the continental US. Eventually, though, I wanted to expand and create different sounds, and play different types of crowds. My next EP, "High Water" from 2016, was my first self-released project with a band under the name Justin Payne & Co. This recording led to a regional co-tour with my buddy and fellow songwriter Zach Wilson (check him out, he's a real one). Shortly thereafter, I assembled my first electric band under the same moniker, played around our area of NW Ohio, and developed a following that led to our playing the headlining stage at the 2019 Black Swamp Arts Festival, in Bowling Green, OH. This led to a big-city tour around the Eastern and Southeastern US, as well as studio time to record the LP "Season of Loss", fresh and hot off of the road. This LP was self-released in 2021, after a long period of inactively coinciding with the onset of the Covid-19 pandemic and subsequent venue closures. We moved camp to Nashville in the Summer of 2021, after years of coming here for gigs and opportunities. This year in Nashville has been the most insane of the entire experience!
Since the beginning of the year, I have written, recorded, and have been releasing singles from, our newest forthcoming LP, "underrated/overstimulated". Lots of great shows and connections have been following these efforts, including awesome music videos for two of the singles, "you're so subversive" and "together as one", with a third music video currently in the works for an LP-only song, "bad vibes".
How would you describe your sound to new listeners?
I bridge the gap between older styles of rock roll, punk rock music, and classic singer-songwriters. Our sound is a little bit Killers, a little bit Guided by Voices, with some Clash, Replacements, and Sonic Youth sprinkled in for good measure. Loud, raucous, garage rock, with a bit of a 90s/grunge vibe, but still capable of making you cry with a tender and intimate ballad.
Who are your biggest musical influences?
Patti Smith, Neil Young, Robert Pollard, Townes Van Zandt, to name a few.
You have recently released ‘Together as One', What can you tell me about the track and the meaning behind the song?
"Together as one" is a song about my undying devotion and love for my fiancée, Miranda. At the root, it's a love ballad, but it is more realistic than most love songs, as it definitely doesn't shy away from portraying real love as a series of struggles and compromises. No rose-colored glasses on this tune, but I think that makes it all the more relatable.
I understand there have been several incarnations of Justin Payne and Co, what can you tell me about the current line-up?
There have been quite a few! The current lineup consists of two of my favorite players from my Ohio days, Eli Simon on the drums and David Cerelli on the bass. They make an absolutely crushing rhythm section, and I am grateful for the opportunities I have had to create and work with them. On the second guitar is Marshall Fassino, check him out because he is a stellar Nashville-based songwriter in his own right. All of them are top-tier players, three of us are conservatory-trained musicians after all, but most importantly, the hang is top-notch. Great friends, insights, and musical minds all rolled up into three folks I am proud to call my friends.
This is the band I like to bring into the studio. For live dates, I also have the pleasure of working with Lauren Scheff and Joseph Jones, as an alternate Nashville-based rhythm section, and as I get to know them, they keep blowing my mind with how good they are at what they do. It has truly been a privilege to have these folks in my corner this past year, and I am excited about what the future holds for all of our collective endeavors.
What type of input do the other musicians in the band have on the overall music?
As the principal songwriter, I usually come to them with some vague ideas about arrangements for the band, and I am often surprised at how they understand even better than I do what the song needs to shine in a band setting. This collaboration has led to some sonically amazing results!
Your first release came out in 2014 called ‘Interstellar Vagabond’, do you see much difference between the music, you wrote for that album in contrast to your latest single?
Absolutely. Not only have I grown as a writer and musician between then and now, but my songwriting has become more focused and concise. I have become more open to experimentation with my songs and arrangements, shifting from acoustic folky sounds to driving garage rock. However, the same socially conscious narrative can be traced through all of my work, from beginning to present, as I attempt to cast different points of view upon the values that matter most to me. A lot of the tunes boil down to themes of love and empathy for other folks who could use some help they aren't getting, as well as anger at the corrupt institutions that have turned our society into a fascist oligarchy that couldn't care less about anyone who isn't rich or white.
I see amongst your many successes you featured in American Songwriter Magazine and secured a regional major city band tour? They sound like huge achievements. How much of an impact do you feel it had on you as a songwriter and musician breaking into the industry?
These developments only really served to show me the things that are working and the things that aren't, in a gatekeeping industry that isn't really about musicians and their art anymore. If anything, aside from the honor and privilege of being able to do these things at all, they turned my focus toward live shows, and how I believe they are one of the last remaining vestiges of real, authentic, experiences that can actually connect people. In my opinion and experience, so much of this gig has become about appearances and fakery.
Give me something real! And the tour especially radicalized me and helped me see more clearly what aspects of the gig matter to me as an artist. Social media, music press, promo, and marketing are all tools that are important to utilize in that process, but never forget they are only that. The real-world connections at the shows are the engine that drives every other part of a career in music. It is the bottom line, and there are so many artists that seem to have that twisted, being more concerned with their socials and how they appear to the world than what they are actually offering up as part of the cultural conversation. We function best as artists as a community, not a million independent and self-centered mercenaries.
Do you have any tips for budding songwriters out there?
It is important to remember that you need to be listening and discovering as much, if not more than you are writing. Expect struggle and empty shows. This is a difficult job, with far more intangible things to maintain than a regular 9-5 job. A lot of the time you will not notice your growth and success, but that's okay. That's not our job. Our job is to make the stuff, put it out, and if we're lucky, people will connect with it. Also, don't be afraid to go your own way and do your own thing the way you want to. The industry does not serve us. You are not beholden to trends, chasing virality, or appeasing expectations of an indifferent industry more concerned with profits and TikTok numbers than the art itself. Be authentic in everything you make, and that is enough to shine through all of the fakeries in this job. Be stubborn about your values, and don't bend for money, bend for something that aligns with your values. And, don't judge and compare your journey to other artists. Comparison is the heart of misery.
Justin Payne and Co. have a new album ‘underrated/overstimulated’ in the works, what can you tell me about it, and what listeners can expect?
I don't want to give too much away, but this record is 30ish minutes of in-your-face rock n roll. No frills, no guitar solos, no studio tricks, and barely any time to come up for air. Just badass rock n roll recorded straight to analog tape. In my opinion, it's our best work yet, and concisely says the things I want to say with my unique perspective and voice.
The band has done a few tours around the States, do you plan on going on tour again? And do you have any particular venue you would love to play at?
I have no plans on touring anytime soon. Although I have had great experiences in the past that tangibly helped my career and development, the landscape has drastically changed the more our society collapses into late-stage Capitalist decay. Established, and signed to a record label, artists are coming back from routes in debt these days. Another sign that the times and the industry do not serve us or our intentions. If conditions were ideal, though, I would love the opportunity to play Space in Evanston IL, on the Sunset Strip in LA, and the Blue Room at Third Man Records, in Nashville.
And finally, what are the future aspirations for Justin Payne and Co?
My partner and I need a vacation. We have both been working extra hard on our goals throughout 2022, and it's been years since we got away. Planning on writing a new record on the beach while I am in Puerto Rico with Miranda. Outside of that, I just want to grow, meet and collaborate with more like-minded artists, and continue to strengthen and build our badass musical community here in East Nashville.
British Alt Rock trio Prince Bishop released their debut album All Is Due last week. Hailing from Durham, North-East England, the trio successfully attempted to create a unique sound that reflects a journey of self-discovery.
Prince Bishop originally recorded as a vocal and acoustic guitar performance before Covid reared its ugly head. Instead, they decided to create a 'Live band in a room 'experience. They did this with enhanced layers of studio work. The 44-minute LP features luscious vocal melodies, sweet acoustics, and powerful alternative rock.
'The Good of Good Will' is a haunting passage of Hammond organ amongst a crescendo of reverb and solemn harmonies to welcome the album to a new audience.
Next up is 'Come Alive' a more upbeat Indie track with vocal melodies over simply strummed guitar rhythms. The album continues in this tone with radio-friendly songs like 'Return' and the latest single 'Soul of a Man' The band feature some introspective ballads in the nature of 'Why' and 'Way of Things'
The songwriter has chosen tracks wisely to convey to the audience their journey from everyday struggles to inner peace. Other highlights to listen out for on 'All is Due' are the dreamy soundscapes on 'Roman Roads' and the lullaby 'All is Due' on the final track.
Overall, Prince Bishop will feel they have paid their dues with a solid debut full of wistful lyrics, tantalizing music, and an uplifting voyage of discovery.
‘All Is Due’ tracklisting: 01 The Ghost of Good Will; 02 Come Alive; 03 Return; 04 Soul of A Man; 05 Why; 06 Way of Things; 07 Truth Lies In Between; 08 You Can Count on Me; 09 Roman Roads; 10 All Is Due.
Prince Bishop is Ben Trenerry (vocals, guitar), Mark Bell (bass), and Bob Douglass (drums).
London-based Indie Rock outfit Plastic Barricades introduce the world to a taste of what's to come on their upcoming new studio album We Stayed Indoors. 'Lucid in the Fall' is accompanied by the B-side single 'Tallest Trees'. Both tracks reflect the never-ending lockdowns of the dreaded Global Pandemic era.
Recorded in collaboration with Sheffield-based drummer Chris Barber and German singer/songwriter Aellie Koto, the band's third studio effort focuses on tricky subjects such as Mental health, poverty courage, etc. The brainchild of London-based singer/songwriter Dan Kert, Plastic Barricades also worked with British singer/songwriters John Sibley and Luke Joyce in getting this album finished.Tom Hill mixed the album at Brookhouse studios with longtime collaborator Andy Baldwin mastering at Metropolis Studios
'Lucid in the Fall' is a melodic tale of gluttony and shopping sprees during Lockdown. Beautiful and enchanting vocals harmonize over simply strummed electric acoustic guitars to reflect the pressures of the time. Words by Anselm Anderson
Modern Rock duo Jordan Red recently self-released their debut LP Hands That Built the World too much anticipation, following their inception during the dreaded Global Pandemic era. Recorded at Long Wave Studio and produced, mixed, and mastered by renowned record producer Romesh Dodangoda. The band soon set to work to produce something that reflected their own personal struggles. 'Hands That Built the World' focuses on the concept of overcoming challenges in life.
The band's brand of 21st-century rock and Alternative metal mixed with a punk attitude will certainly appeal to a new fanbase, eager to listen to an influx of types currently gracing the airwaves. Jordan Red was first formed by Guitarist Dan Baker and New Device vocalist Daniel Leigh. They combined the names of Clinical Psychologist Jordan B Peterson and the red pill concept from The Matrix film franchise to "seek out the truth by viewing reality through a red pill lens".
This 12-track release hopes to seek those answers by starting with the anthemic 'Awake',a melodic rock track with fist-pumping riffs and pop vocals over loud guitars and whirling effects. It certainly is a good song to introduce listeners to Jordan Red
Photo courtesy of Marianne Harris
Next up is the dark 'Spilling My Blood', taking the band through a different route. The latest single features razor-sharp riffs and a singalong chorus. The eerie pedal effects add uneasiness and a sense of lost hope to the songs on this album.
The LP takes a commercial direction through 'Beautiful Monsters' and the title track 'Hands That Built the World', which runs the risk of coming across as sounding too similar. Thankfully, the crunchy metal of 'Way Down' and 'Freak Show' helps steer the album to a more suitable sound for the vocalist and the other musicians. The warmth and connectivity of Leigh's vocals come across better on the heavier tracks in part with the help of Baker and bassist Connor O' Keefe and drummer Dave Fee.
Overall, Jordan Red is helping to build a new world of modern rock for a 21st-century suffering the side effects of war and disease. The band helps to achieve this through their positive vibes and songs for fans of Melodic Hard Rock.
Words by Anselm Anderson: Rating 7/10🤘🤘🤘🤘🤘🤘🤘
Jordan Red is:
Daniel Leigh - Vocals Dan Baker - Guitar
Studio/Live Musicians: Conor O'Keefe - Bass Dave Fee - Drums
Stoner Rock four-piece HWDU (Pronounced Hoodoo) returns with another blend of heavy rock from Swansea, Wales, United Kingdom. The six-track EP Better You Than Me is a follow-up to last year's debut EP Love Crime, A release this blog gave glowing reviews for.
The self-proclaimed 'Twp Rockers' have been growing their fanbase since last year with support slots at local gigs in support of Ohmms, Boss Keloid, and Tuskar, and with upcoming support slots to Revival Black and Nick Olivieri in November,
The four-piece comprises lead vocalist and guitarist Matt Williams, Johnny Randall (Guitars and Vocals), drummer and vocalist Owen Foote, and bassist Gavin Smith.
The EP evolves from 'Love Crime' with more riffs and heavier songs to sink your teeth into. The lead single 'Machine' opens up with its alternative rock feeling. The singalong chorus and hook-laden riffs make this an infectious track to kick things off. Next up is the pop-punk of the title track 'Better You Than Me'. The distorted guitars and accessible vocals remind me of bands like Foo Fighters. As I have mentioned, this EP ventures through different styles and genres to really explore the band's sound.
'President' is a reminder that HWDU still likes to bust out the odd stoner grooves in the guise of acts like Clutch. The sliding guitar salvos on 'Squat' could be the closest the band gets to an Americana track from the sunny Climates of Southwest Wales. 'White Horse' is an aggressive stoner track with pounding drums. heavily-distorted guitars and melodic breakdowns that sound like the band have enjoyed making this release. And finally, the trippy 'Lotus Eater' combines extensive guitar interplay that incorporates blues and jazz with emotive vocals to complete this outing for HWDU.
Overall, HWDU continues to grow as a band with some decent riffs, infectious vocals, and songs to kick back and rock to.
The album is now available via Bandcamp.
Words by Anselm Anderson: Rating 8/10 👏👏👏👏👏👏👏👏
If you enjoyed this review of HWDU, please click on the link below to read about their debut EP 'Love Crime'.
Southern Rock acts The Comancheros return with their latest single 'Blue Yodelling', ahead of their new album Memphis to Mexico, released on November 25th.
Formed in 2015, the trio has been touring non-stop throughout the states, supporting Blackberry Smoke, Cadilac Three, Whiskey Myers, etc. The band is better known for their 2022 cover of 'Mississippi Kid' by Lynyrd Skynyrd.
Produced by Kentucky Headhunters' Richard Young. 'Blue in Yodel G' is a straight-up southern rock 'N' roll track that describes the everyday stresses of life.
The opening slide guitar intro builds to an infectious refrain and pounding drums. The track is a typical southern rock track full of attitude and having a good time.
Words by Anselm Anderson
You can read the interview with The Comancheros below;
Singer/Songwriter Katie Drives has returned with a brand-new single 'Ghosts', featuring Poet and musician Dear Me via Initiative Musik. Produced by Ole Kuhlmann, 'Ghosts' tells the story of a person that has been ghosted from the perspective of the person that broke contact.
The track is the first since her debut EP 'Fake Smiles' was released last year. The Berlin-based singer mixes Pop and Rock to create a punk attitude, not experienced since artists like Alanis Morrisette and Avril Lavigne some twenty years ago.
'Ghosts' sees Drives' warm and infectious vocals sing from a personal perspective. Her rich vocals sing over distorted guitars and pop-infused melodies to create an extra addition to the evolution of Katie Drives as a songwriter.
Words by Anselm Anderson
Click the link below to read more about Katie Drives.
Hello, could you introduce
yourself to the listeners?
Hello! This is Michael. I am
the drummer, manager, and one of the songwriters for The Comancheros.
What can you tell me about
your musical journey to this point?
I started by playing in a punk
band with my brother, we did a few death metal bands in our teens, and I
started playing country when I was in college. Tanner and I met when I was in
graduate school for Greek and Latin. It wasn’t long before I dropped out of
grad school to focus on The Comancheros. It’s been full steam ahead ever
since!
How would you describe your
sound?
HEAVY & WESTERN. We wanted
to know what it would sound like if Van Halen did a Waylon Jennings cover
album. Van Waylon, if you will.
What inspired you to get
into music?
Personally, I was home-schooled. My parents did not play music, so my brother and I started private
music lessons around age 12 and it quickly took over our lives. We were never
big into sports and it was the first thing we were really good at.
The Comancheros recently
released the tongue-in-cheek ‘Happy Birthday to Me’. What can you tell me about
the track and the meaning behind it?
Jon wrote that song in about 15
minutes on his birthday during quarantine. Tanner and Jon are roommates, so
they were stuck together. Tanner walked by Jon’s room at about 8:30am (Natty lite
in hand) and said “happy birthday, you should write a song about a guy who is
alone on his birthday. Anyway, I gotta go take a shit.” By the time Tanner was
done with his shit, Jon had written: “Happy Birthday to Me.”
The band has toured with
some notable luminaries such as Whiskey Myers. Blackberry Smoke, The Cadillac
Three etc. What can you tell me about that experience?
That has been a blast!
Blackberry Smoke has been really generous and always fun dudes. It was great to
meet the guys in The Cadillac Three because Kelby played on our album “Too Old
to Die Young Now” and Jaren has supported the “Heavy & Western” brand quite
a bit. One dude in Whiskey Myers has a sweet Star Wars tattoo.
What is a typical The
Comancheros show like?
Sheer beer fuelled Dionysian
revelry. The Greek festivals would see a week of dancing, drinking, and
partying. People were known to be torn limb from limb. They set the bar for
partying and that’s what we strive to hit.
The band has released two
albums, and recorded a cover of the Lynryd Skynryd classic ‘Mississippi
Kid’. What can you tell me about the albums, and the decision to cover
this particular track?
Our bass player worked on the
idea for “Mississippi Kid” with a previous band that broke up when we scalped
him for The Comancheros. He was jamming it one day at practice and we just had
to try it! We worked it over quite a bit, but it was his idea to make that a
full band, heavy song.
I read the band has had a
sauce named after them. That is a pretty cool claim to fame. How did that come
about?
We used to jam with a guy named
Vann. He is known for disappearing every few months and doing god knows what.
He’s a veteran, he has worked pipelines, and who knows what else! He randomly
moved to Texas and started a hot sauce company. He offered us to do a special
blend and we were totally down! We’ve been really happy with it, and everybody
seems to love the flavour.
Does the band have plans for
a new album?
Memphis to Mexico releases on November 25th this year! We are so excited for
this album. Richard Young from the Kentucky Headhunters produced it, and it was
a fantastic experience.
And finally, what is next
for The Comancheros?
We’ve got a lot in the
pipeline. So much is still uncertain, but 2023 is gonna rule!
Hello Tom, Congratulations on Sodom turning 40. How do you feel about that?
Of course, we are very happy with it. It's just a retrospective of the past four decades. Who would have thought that after such a long time we would still be on the scene. Of course, I'm very proud of it, but I'd also like to thank all the ex-musicians and everyone involved. It was a long and hard ride, but we made it,
Sodom will be celebrating turning 40 with a new CD called ‘40 years at War-The Greatest Hell is Sodom’ on October 28th via SPV/Steamhammer records. What can you tell me about the album?
We started recording last year. Before that we had to familiarize ourselves with all the old stuff again. It was like time travel, but awesome. So many memories came back to me. But all the effort was worth it and we are currently considering incorporating one or the other song from the album into the live setlist, which will definitely be very exciting. What was behind the reasons to re-record all tracks?
Originally, we had planned a live album for our anniversary. But it was not possible to do suitable shows due to Corona. So, we came up with the idea of choosing a title from each album and then re-recording it. Our record company also liked this idea very much and so we went back to the old material. We recorded all the songs in our rehearsal room. We set up a small studio there in recent years. Our drummer Toni is very familiar with the technology and recorded everything. Toni also produced our last studio album.
And what was behind the decision to go for rarities and tracks that you rarely play live?
It was important to us not only to make the popular titles but also songs that are supposedly less well-known or underrated. However, we tried to retain the rawness and brutality of the originals. But of course, recorded more precisely. I think the spirit of the old days is still there.
There is a new single, entitled ‘1982’ that's available on the additional 4-track EP, which accompanies the album. What can you tell me about the song, and why did you put it on the EP instead of the album?
The song is reminiscent of the old days. The text is about our beginnings. It was a revolution. We wanted to be hated. We were against our teachers, trainers and uncomprehending parents. At the time, we wanted to show that we were different and not system-compatible. The music itself is written in a typical 80's style and embodies the spirit of the good old days. The album consists only of songs that we had already written, so to speak as an overview of what we have done in the last 40 years. The new song came later.
The album comes in a box set with a differently-coloured LP and a hardcover book in which you have written the introduction. What can you tell me about this and what fans can expect from the special additions?
I think the whole package in the box is something very special for our fans. We have also enclosed a book in which, among other things, all the original works of art are shown with all the important information. But most important are the statements from our fans, who of course also had to have their say. They write about their experiences with the band, sharing memories and special moments. That was very important to us. In the box we also find a great poster and an original signed autograph card from the band. Of course, we hope that our fans like it. We are very curious whether we were right What inspired you to create Sodom in 1982?
We were surrounded by smoking chimneys, coalmines and factories. The streets were dirty and blackened with soot. I think that shaped us a lot and had a big influence on our music. The work underground was arduous and life was full of deprivation and suffering. We wanted to escape and found solace and joy among like-minded people. Basically, these are the factors that made us decide to start our own band. The text for 1982 is also about this. We were desperados, we wanted to be hated. It was a constant struggle between us and our parents, teachers and trainers. The more we and our music were despised, the better
Did you think the band would last as long as it has?
Probably not. But as long as we stay healthy and creative, we will continue. But I'm aware that at some point the party will be over. I don't want to die on stage like Lemmy. I'd rather be in bed then. But I'm not thinking about it yet, we still have so many projects in the next few years. It's important to keep adding your own trademarks. Our records all sound different because new musicians kept coming into the band. My inimitable singing and my bass sound always count for us. Our songs have gotten better and better over the years, but you'll immediately recognize that this is about Sodom. We still write our songs together in the rehearsal room. This is the only way every musician can contribute his ideas. This is very important. Do you have any highlights during the time period with the band?
There were so many highlights in the 40 years. For me personally, the most important moment was when I was able to give up my job as a coalminer to devote myself fully to music. A dream then became a reality. From then on, my life changed. That was in 1989 when Agent Orange was released. It was very successful and I was able to make a living from the music.
Do you see any difference in the music world you entered back then in contrast to today?
Sure, of course. Unfortunately, a lot has changed. Metal has gone commercial. Many of the so-called metal bands are in the grip of the music industry and are being forced to do whatever it takes to become more successful. That was and is different with us. We don't let ourselves be dictated to. We love this music and we only do it for our fans and for ourselves. A lot of people just forget what metal means. in the 80s it was a revolution. Today metal bands can be heard and seen on TV shows and on commercial radio stations. Sodom is probably the last true metal band on the planet... Sodom is set to celebrate its anniversary with a string of dates in the fall. What can you tell me about the tour, and what fans can expect?
We're touring again in Germany at the end of the year and are already planning for next year. Nothing special for the 40th anniversary is planned. For me, it's just a number, nothing more. We look ahead
And finally, a question I like to ask every musician is, what is next for you?
We are currently writing new songs for the next album, which will probably be out next year. A few more shows are planned for this year.
Post-Grunge Veterans Alter Bridge released their seventh studio effort Pawns and Kings last Friday via Napalm Records.
The legendary quartet have continued to grow and evolve as a unit over the past 18 years. They return with ten more tracks based on being the underdog in an unforgiving world. Produced by Longtime collaborator Michael 'Elvis' Baskette, 'Pawns and Kings' sees the band mature beyond their years with a heavier, darker and aggressive new sound.
'This is War' opens the album with Myles Kennedy stretching his vocal range to the limit over thick muscular riffs and harmonic string arrangements. 'Dead Among the Living' sees Kennedy's vocal timbre incorporate towering and an emotive range to tender melodic vocals. Kennedy sings over rolling basslines and dark grooves that is a serious statement of intent from the band.
'Silver Tongue' comes with punishing riffs and an earworm chorus that may be their most infectious to date. The moody 'Sin after Sin' continues before the album takes a more personal and mellow take. 'Stay' gives guitarist Mark Tremonti vocal duties, but I personally feel this is the weakest on the album. It doesn't feel like it fits in with the rest of what it is about.
The second half of 'Pawns and Kings' takes the band down traditional Alter Bridge territory with their usual anthemic metal on tracks like 'Holiday' 'Last Man Standing' and 'Season of Promise'.
'Fable Of the Son' is the most intimate on the album. The eight-minute song sees Kennedy in an outpouring of candidness and self-reflection. The progressive elements play to the vocalist's strengths as a singer. And finally, the title track 'Pawns and Kings' is a six-minute track with odd time signatures and haunting melodies that sums up what could be one of Alter Bridge's better albums.
Overall, Alter Bridge return with a new edge that shows they may have found their calling with excellent production values, more riffs, and stronger songwriting.
Essex-Based four-piece Palps have released their debut album, entitled Black Heart. The LP follows the 2020 debut EP 'Letters to You (That I Will Never Send)'. Black Heart is an eight-track concept story that highlights a person's struggles with Mental Health.
The album is accompanied by eight music videos that relay this story to listeners. The story is centred around the main protagonist, Matt plus Rose, Charlotte and the nefarious Plague Doctor, a metaphor for suicidal thoughts.
Jack Twiner helped mix, master and produce this release at Pyramid Studios in Reading, England. The band convey the seriousness of Matt through emotive pop-rock, huge choruses and meaningful lyrics.
The anthemic 'AVA' begins this chapter through striking vocal melodies and distorted guitar riffs. The heart-wrenching 'Love, Always' soon follows, before the first of two duets with vocalist Kirstie McEwan with 'Consequences'.
Each song tells the tale of a troubled and conflicted individual growing darker throughout. The band add some instrumental passages and intricate songwriting that grabs at the softest spots. The LP is story-centred, rather than relying on any flashy musical techniques. That is the important thing to remember when listening to the album. For this reason, the album can at times sound too similar in tone and dynamic, which can come across as especially dark.
'Messages' seeks to sound positive with simple guitar play and joint choral cries and dazzling keys. The melodic 'Imprint' is the second to feature Kirstie McEwan joining in on the chorus. 'In My Head' is the heaviest track on the album with machine-gun drumming as a means to set the alarm something is up. And finally, 'Dead' is an eight-minute finale with progressive elements, aggressive guitars and sombre breakdowns.
Overall, Palps release an interesting way to get a serious subject through to the masses with sweet melodies and dark pop.
Grammy-nominated Metal titans Lamb of God return with their ninth studio effort Omens, released last Friday, October 7th via Epic Records.
Produced by longtime collaborator Josh Wilbur at Hensen Recording Studios in Los Angeles, the location of such classic albums from Pink Floyd and The Ramones. The band have recorded a documentary of the making of these sessions you can find here.
The ten-track LP is a follow-up to 2020's self-titled #1 hard rock album. The self-christened "Very pissed off record" is a reaction to the social injustices in the world, featuring the typical brash, unapologetic vocal howls of lead singer Randy Blythe, turbo-charged twin guitar attacks and pummeling rhythmic patterns.
The LP begins with the abrasive 'Nevermore', a relentless assault on the ears with double-blast beats, incendiary grooves and Blythe's call to arms. This track is a statement of intent from the start.
Next up is the dark and aggressive 'Vanishing' and the high tempo 'To the Grave' add fire to an inferno, already burning from the band's raw rage and unadulterated sonic power. Randy Blythe, in particular, is a one-man wrecking machine with no remorse for whoever gets in his way. There is plenty of blistering note playing and intricate guitar play from Adler and Morton, but it can run the risk of sounding the same.
Photo courtesy of Travis Shinn
Nonetheless, Lamb of God has plenty in its arsenal to make up for this with headbanging classics such as 'Omens' Greyscale' and 'Ditch'. The band's penchant for a muscular, hard-hitting sound is enough for an avid fan to get their teeth (and fists) into. Other highlights include the finger-splitting solo on 'III Designs', the punishing and moody 'Gomorrah', and the melancholic 'September Song'.
Overall, 'Omens' still carries the same swaggering attitude of a typical Lamb of God release.
Words by Anselm Anderson Rating: 8/10⚡⚡⚡⚡⚡⚡⚡⚡
LAMB OF GOD is: D. Randall Blythe – Vocals Mark Morton – Guitar Willie Adler – Guitar John Campbell – Bass Art Cruz – Drums
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