Showing posts with label Rise Above Records. Show all posts
Showing posts with label Rise Above Records. Show all posts

Sunday, 1 December 2013

SOGGY BOB reviews Iron Man - South of the Earth (album review)

Here's something special:  A review of one of my favorite albums by one of my favorite personalities within the world of doom.  SOGGY BOB of the SOGGY BOG OF DOOM podcast reviews Iron Man's 'South of the Earth' record!!!  Only on Paranoid Hitsophrenic ... - LK Ultra

So the latest full length album by Iron Man, "South of the Earth", came out a few month ago on Rise Above and Metal Blade Records. Since then, there have been many fantastic records released. But after checking out these new releases I consistantly find myself popping on this new Iron Man crusher! This is the best signing Rise Above has made in years. There is nothing pretentious about this. What I love about Iron man is that they are what they are and what you expect them to be, fucking doom metal from Maryland done right.

The opening track "South of the Earth" starts this beat down with a pummeling barrage of riffs that render you into a senseless dribbling cabbage. Its goddamn beautiful. One day I hope to see them play this tune live just so I can see the building collapse around me when doom lord Al Morris III breaks into his lead and Screamng Mad Dee busts out his big bad ass banshee-on-crank like scream. Shit can break when he does that. 

My personal favorite tracks on this release are "Whore in Confesssion","Hail to the Haze", "IISOEO (The Day of the Beast)", "Half-Face / Thy Brother's Keeper (Dunwich Pt. 2)" and the aforementioned "South of the Earth". But honestly there's no weak track on the album. The tasty drums of Mot Waldmann and perfect sounding bass of Louis Strachan drive this album like John Riggins running through a pop warner team. There's no one left standing. 

Overall this album is great dynamic heavy album. Heavy riffs, devastating rhythm section and an elite vocalist who writes some mighty fine lyrics are a recipe for album of the year to me.

So there it is!  Thank you Soggy Bob for taking the time to do this, myself and (I'm sure) the band appreciates it immensely!!  Be sure to check the album out at the link below ... I LOVE THIS RECORD!!!! - LK Ultra


Tracklist:
1). South of the Earth (5:55)
2). Hail to the Haze (4:50)
3). A Whore in Confession (6:26)
4). The Worst and Longest Day (6:16)
5). Ariel Changed the Sky (2:11)
6). IISOEO (The Day of the Beast) (4:44)
7). Half-Face / Thy Brother's Keeper (Dunwich, Pt. 2) (7:40)
8). In The Velvet Darkness (5:02)
9). The Ballad of Ray Garraty (7:22)
Total Run Time: 50:21

From: Baltimore, Maryland

Genre: Doom Metal, Hard Rock

Release Date: October 1, 2013

Iron Man on facebook

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Tuesday, 15 October 2013

Horisont - Time Warriors (album review)

Horisont was one of the first of the Scandanavian retro rockin' bands that I discovered, right after Devil, I believe, and I was blown away.  I don't remember what song it was that I heard which set my ears on fire, but I remember trying desperately to track the CD down for something like six months and having no luck, it was either sold out or over priced.  Eventually I ordered it from Scrape on Broadway and I picked it up sometime around a year ago.  That was the last time I ventured out that way.  Fuck!  It's been almost a whole year since I went to Scrape ... so sad.  This story actually has two unhappy endings because after a half a year's build up of being excited to hear 'Second Assault', when it finally entered my earholes it shriveled up and died there on that first listen.  In other words, I was underwhelmed.

Now the band has returned and out of nowhere they have created what may be the year's best album of its kind.  Long hair and mustaches meet warm low end grooves and are piled high with '70's boogie woogie.  Balls out wailing vocals are draped in an overdose of denim.  In many ways there's nothing new here and yet in many ways, this has been a completely unexpected record because 'Time Warriors' documents a band reaching the peak of their brilliantly high potential.

After all this time, Horisont has managed to rekindle that initial excitement I had when I first heard them and they sustain it over the course of 10 strong numbers.  The Horisont style is back in full measure and in finer form.  It's my guess that experience has streamlined the band's musical vision, proggy turnarounds and quick run scales abut face melting riffs on all sides.  Not a moment is wasted.  The song structures are tight but the playing is loose giving the record that live feeling bands crave while still being well recorded.  Once more that deep, deep, warm low end makes this record perfectly suited for the turntable.

'Time Warriors' blows my mind with its rock and roll simplicity.  "Diamonds in Orbit", "Brother", "Eyes of the Father", "She Cried Wolf" are all hectic highlights, but then again, one would struggle to find any low lights on this disc.  Until the tenth and final track, "All Must Come To an End ..." spins in, no song eclipses the four minute mark.  There's no meandering here, no noodling and no unnecessary exploration.  All that work had been finished before the band entered the studio.  "Backstreet" and "Dödsdans" perfectly capture a Thin Lizzy vibe from harmonic guitars to lyrical subject matter (well, I can't vouch for the Svensk "Dödsdans", but "Backstreet" is pure Phil Lynott) and are bolstered by a sympathetic recording once again.

It's not that 'Second Assault' wasn't a good record.  Maybe the anticipation had built too high and my expectations were all skewed towards disappointment.  I've re-listened to it in preparation for this review and it's still not grabbing me.  All the ingredients are there, but they just don't come together in the right way.  'Time Warriors' gets it just right.  If Witchcraft's re-shuffling of the retro rocking deck on the 'Legend' album provided some veteran direction to the scores of Scandanavian bands who appear to be lost-in-time, Horisont prove that there's no need to escape from the parallel universe just yet.  There's still a lot of life left in this subgenre.  This is a short record at 33 minutes in length, but at 10 fully realized, fast-moving songs, it still makes for a satisfying listen and any more songs might have been overkill.  I get the feeling that all of the good ideas made it onto wax here anyway because this is a power packed album, concentrated for full impact.

Highlights include: "Diamonds in Orbit" and "Eyes of the Father"

Rating: 5/5


Tracklist:
1). Writing on the Wall (3:50)
2). Diamonds in Orbit (2:57)
3). Ain't No Turning Back (3:31)
4). Backstreet (3:14)
5). Vänd Tillbaka (3:11)
6). She Cried Wolf (3:24)
7). Brother (3:04)
8). Dödsdans (2:43)
9). Eyes of the Father (3:02)
10). All Must Come to an End ... (5:19)
Total Run Time: 33:09

Axel - Vocals
Charles - Guitar
Kristofer - Guitar
Magnus - Bass
Pontus - Drums

From: Gothenburg, Sweden

Genre: Retro Rock, Hard Rock

Reminds me of: Brutus, Graveyard, Kadavar

Release Date: October 1, 2013

Horisont on facebook

GET IT HERE

Sunday, 16 June 2013

Age of Taurus - Desperate Souls of Tortured Times (album review)

For me, Age of Taurus has been part of a wave of traditional doom that I've been standing on the shoreline watching with the binoculars getting bigger and bigger, until all around me start to flee in panic whereas I simply drop what I'm holding, strike a 'Jesus Christ Pose' and enjoy the ride.  For all the confused and headscratching talk on more mainstream metal sites and zines of doom metal 'making a comeback' and tepid announcements of it 'starting to become popular again' and such like it takes good music and strong new bands to even begin to generate a buzz, however low or distant it may be.  Church of Void, Rote Mare, Aniara, Procession, Evangelist (thanks Phil!), not to mention Cardinals Folly and Black Oath, both of whom I've reviewed for Sludgelord (check out the reviews appendix tab), and yes, Age of Taurus build on a solid foundation laid by Argus, Las Cruces, Pale Divine and Gates of Slumber to name a few.  Most of these bands are brand new to me and some of them are brand new period.  This is Age of Taurus' first appearance in over three years (since guitarist / vocalist Toby Wright's original 2010 demo), their first with a full-line up and their debut full-length album.

'Desperate Souls of Tortured Times' did not arrive after three long years without more than its fair share of birth pangs and tribulations.  For one thing the album was pretty much worked out and all written by early 2011 by a then newly minted lineup.  But after a couple of near misses in the terms of personnel changes in the form of guys moving around to different places, the band ultimately solidified its foundation and what promised to be some major shake-ups ended up as only some small tremors.  It was for this reason that the band had to cancel some fairly high profile gigs, much to their own horror.  It was a dark time indeed for the band.

But rays appeared on the horizon like a crown of golden thorns through the gloom, for then came the band's signing with Rise Above, the recording of this album and Age of Taurus playing their asses off in front of live audiences across Europe and yes, even hopping across the pond to play some dates in North America.  Not every band get opportunities like these.  They must be something special, no?

So what was the world waiting so long to hear?

Traditional doom that is as powerful as it is melodic.  Driving rhythms which propel melodic vocals.  Vocals that build momentum by what they reign in as much as by what they unleash.  In the best traditional doom ... er, tradition, Age of Taurus' compositions are well structured affairs with muscular riffs and powerful drums.  As always with Paranoid Hitsophrenic bands, they start with a solid riff and expand on it, speeding and slowing as needed, soloing and incorporating harmonies.

I can't say that Age of Taurus are the most original band in the world, but so much of the appeal of doom and its subgenres is built around bands getting a familiar sound right, without straying too far into well-worn territory.  In that way I can't imagine trad. doom people not digging the hell out of 'Desperate Souls of Tortured Times'.  Again, and as in most trad. doom bands, the vocals stand out above the other elements, but not in a way you might expect.  These aren't the acrobatic and expressive vocals of epic metal.  There's an understatement here that just fits, an overall inoffensiveness that are neither too busy nor lazy.  They hit that perfect Josh Homme point and have a similar tone.

Mostly, Age of Taurus keep things slow and moody especially on "Embrace the Stone", but this album is full of dynamism, within that framework of slow / fast comes some unexpected moments and decisions that are quite satisfying.  This latter song in particular keeps things interesting and fresh and, though the longest cut on the album by about two minutes, holds the listener's attention throughout.  You won't find any long droney or improvised passages on this album, as I've said above this is tightly structured stuff, which should come as no surprise considering how long the band had to wait to record the damn thing.  It's because the band keeps things relatively downtempo for the most part that the songs the band chose to bookend the album with are all the more powerful, fast-paced chuggers.

'Desperate Souls of Tortured Times' is pretty special.  To be honest with you, it sounds a lot more like to confident statement of a veteran band in mid-stride than a debut album from a band finding its niche.  Perhaps that veteran feel comes from the band not setting out to break any molds, rather a strong sense of structure and good taste in influences are the aggregate of this solid foundation.  No, Age of Taurus will not change the way you think about music but they don't need to, they are another reassurance that the best stuff comes in hard and heavy doses of riffs.

Highlights include: "A Rush of Power" and "Embrace the Stone"

Rating: 4/5


Tracklist:
1). A Rush of Power (6:03)
2). Sinking City (6:04)
3). Always in the Eye (5:09)
4). Walk With Me, My Queen (6:08)
5). Desperate Souls of Tortured Times (5:18)
6). Embrace the Stone (8:02)
7). The Bull and the Bear (5:10)
Total Run Time: 41:51

Toby Wright - Vocals/Guitar
Alastair Riddell - Guitar
Richard Bruce - Bass
Darius Claydon - Drum
From: London, England

Genre: Traditional Doom

Reminds me of: Anciients, Bedemon, Candlemass, Revelation, Witchsorrow

Release Date: May 27, 2013

Better Reviews:
Ech(((o)))es and Dust
Heavy Planet
Sleeping Shaman
Ave Noctum
Last Rites

Age of Taurus on facebook

GET IT HERE

OR HERE (digital)

Sunday, 26 May 2013

Uncle Acid & The Deadbeats - Mind Control (album review)

Uncle Acid (the Jim Jones of Rock?) has returned, Deadbeats in tow.  It's two years later, the skies are a little more smog choked, the streets are a little more crowded and there are just that many more potential Acid Coven cult members.  If word about this band ever got out into the mainstream, it could be a revolution.  What's frightening is that it could very well happen with this album.

The album opens with "Mt. Abraxas" and its interpreted likeness graces the album cover.  Abraxas, of course, is a Gnostic word of various attribution, but most commonly interpreted as their word for God (as per Carl Jung).  The song tells the story of the people who climb the mountain, one after the other, while sadly "they don't know, there's nothing up there".  Meanwhile, Uncle Acid plays with our Sabbath fanaticism by directly quoting the opening riff of "After Forever" (without disrupting the flow of the song!), which as we know was Sabbath's unabashedly Christian apologia from 'Master of Reality' in which Ozzy implored that "God is the only way to love".  It's incredibly ironic that currently Black Sabbath themselves are set to release their first new album in a coon's age with a lead single called "God Is Dead?", which deals with a similar theme that is not nearly as well thought out or well handled as Uncle Acid's opening track.  The word Abraxas, again has more than one interpreted meaning, but I'm going to go with the assumption that Uncle Acid here is referring to God, or some light of spiritual knowledge, understanding or comfort.  This is a brilliant way to start the album and is Uncle Acid's way of inviting the listener into his cult, for first he who seeks a higher truth must first acknowledge none higher than ye olde Uncle Acid.  It's been a long, long time since I felt this way about any single song, or that is to say, thought so deeply about any single song.  It's a highlight of an already bright discography and the seminal moment of the album from which all ideas flow like evils from Pandora's box.

There's a palpable Beatles influence here.  I should say, more of a palpable Beatles influence on this album, expanding on the hints of the mustachioed quartet's influence on Uncle Acid & the Deadbeats previous album, 'Blood Lust'.  Specifically, this Beatlesque feeling comes across most clearly in the form of "Death Valley Blues" and "Valley of the Dolls", which play on the Liverpudlians Indian excursion, during which they famously lived for a month with The Beach Boys, Donovan and Prudence Farrow among others in a Transcendental Meditation camp in the remote foothills of Rishikesh, India.  Another brilliant touch, playing on the fabs' foray into 'religious awakening', which may or may not have been a conscious decision when composing the album.  It may have been a stray mood, thought or feeling floating around when thinking about the themes on this album.  If nothing else 'Mind Control' is a bucket of cold water in the face of 'seekers', the theme being that the titular subject of the album being the end result of religious belief, practice and the following of religious leaders.

But if you think it's all an intellectual exercise without any of the visceral punch that catapulted the band's earlier efforts, then fear not.  'Mind Control' has hooks on chains, beginning with "Mt. Abraxas" and following through with "Poison Apple" the lead off single and goes from there.  When I think about what makes a great and memorable chorus, I think about, when I read the song title does the chorus come washing in to my mind?  "13 Candles" from 'Blood Lust' does this in a big way, as does "Death's Door" and "I'll Cut You Down".  "Mind Crawler", "Follow the Leader" and "Valley of the Dolls" have this in spades as well.  5 out of 9 songs with this hookiness factor is phenomenal.

I was expecting to be let down with this album.  I really was.  I'm a cynic when it comes to music, I'll admit it.  We've all been let down so many times in the past with favored artists not reaching the pedestal our ears have put them on.  It's nobody's fault but our own ... okay, okay, no more tarnishing you with my same dirty brush, it's nobody's fault but mine.  I certainly won't be one to blame the artist, it's human nature to be left behind by the ever-changing wiles of the artist or for the artist to choke under pressure.  After all, this is their label debut (on Rise Above Records no less).  When nobody's watching it's relatively easy to stay loose and do one's best, but once the attention turns one's way, it's understandable to fold under pressure.  'Blood Lust' is such a fantastic record, one of my favorites, that there was no way Uncle Acid would be able to reach those same heights, were they?  That's just not the way things work, right?

Well it is now.  The truth is, in a lot of ways that count, 'Mind Control' is a better overall record than 'Blood Lust'.  Not only is it strong musically, but it's well thought out and executed.  In fact, I'm not sure I've heard a record that was more well planned and executed.  Not for a long time anyway.  While many concept albums play out like great films or novels, 'Mind Control' is like a master's thesis.  And don't get too uptight if your nerdy younger sister starts talking about Uncle Acid at the dinner table, it's his time now, he won't be your prized little secret for too much longer.

Highlights include: "Mt. Abraxas" and "Poison Apple"

Rating: 4.5/5


Tracklist:
1). Mt. Abraxas (7:09)
2). Mind Crawler (4:22)
3). Poison Apple (4:14)
4). Desert Ceremony (5:10)
5). Evil Love (4:08)
6). Death Valley Blues (4:59)
7). Follow the Leader (6:29)
8). Valley of the Dolls (7:11)
9). Devil's Work (6:56)
Total Run Time: 50:30

K.R. Starrs (Guitar, Vocals)
Dean Millar (Bass)
Thomas Mowforth (Drums)
Yotam Rubinger (Guitar, Backing Vocals)

From: Cambridge, England

Genre: Psychedelic, Doom, Rock

Reminds me of: The Beatles

Release Date: May 14, 2013

Better Reviews:
The Obelisk
Sludgelord
Dr. Doom's Lair
Stonerobixxx

Cvlt Nation interview

Uncle Acid & The Deadbeats facebook
Uncle Acid & The Deadbeats on Encyclopedia Metallum

GET IT HERE
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