Kurokuma - Of Amber And Sand

Labels: Self-Released

Formats: Vinyl/CD/Digital

Release Date: 09 Aug 2024

Tracklist:

1. I Am Forever

2. Sandglass

3. Death No More

4. Clepsydra

5. Fenjaan

6. Bell Tower

7. Neneh

8, Timekeeper

9. Crux Ansata

10. Awakening

11. Chronoclasm

Reading that a member of a heavy band considers their music to be 'too avant garde to get coverage amongst any blogs or printed magazines' left me quite sad. That sadness was short-lived though as Kurokuma's newest album Of Amber And Sand has recently garnered well-deserved coverage from both Decibel and Kerrang, alongside other platforms dedicated to good music. 

For those who might be stumbling across Kurokuma for the first time; they're a psych/sludge/stoner band from Sheffield (UK) who have released a demo, three EPs, two splits and two full-lengths since their inception in 2014, not to mention a standalone Kraftwerk cover (according to Metal Archives). 

I’m still getting used to having more time in the evenings. I don’t think I’m any more productive because of it but it’s still early days. One thing I do know is that I’m not forever, which may be an odd thing to say but Kurokuma’s music should (and will hopefully) be immortal, as album opener ‘I Am Forever’ proves. It contains probably the heaviest intro I’ve heard from the trio, let alone their most psych-laden/intense musical and vocal delivery. It’s an utterly brilliant first song, containing element of death (and even black) metal as well as an excellent Baglama solo from Babak Sharifimajd, providing a loverly and warm Middle Eastern tone.

The album is made up of six songs or “meditations’ as they’re described by Kurokuma and they’re separated by five interludes that are performed by Empyrean Silence (a mysterious entity that also resides in the Steel City). ‘Sandglass’ is the first interlude and it continues along the Middle Eastern path, leading to ‘Death No More’. By now, you may well notice a theme flowing through this album; one which definitely plays true to the avant garde description. ‘Death No More’ is off-kilter and it majors on the instrumental strengths of the band. It’s mid-paced at first before moving through many different tempos and transitions. The vocals add to the exhilaration even more so.

Following the album’s second longest song with the haunting interlude of ‘Clepsydra’ is a genius move as it briefly settles the mood in time for the groove-laden ‘Fenjaan’, which feature one of the most infectious bass/guitar riff combos I’ve ever heard from Jake and Zakk, whose dual vocals once again shine bright alongside Joe’s epic and controlled drumming. Kurokuma have really matured over recent years and it really feels like this album could truly be their coming of age.

I’m not one for multi-tasking but I am keeping one eye on the football scores this evening. Thankfully, my attention is drawn straight back to this album by atmospheric interlude ‘Bell Tower’, which flows effortlessly into ’Neneh’. It’s an uncharacteristically short song compared to the rest here but it cuts a nice groove once again, pulling you into the album’s second half in solid fashion. 

’Timekeeper’ drifts quietly into ‘Crux Ansata’, which begins oddly in almost mainstream fashion before dispelling any such falsehood thanks to sheer heaviness. It’s a side of Kurokuma that properly hits the spot, especially if you surround yourself with heaviness. Add in the bridge-riff from guest musician Bing snd you can’t really go wrong. At this point I have to mention the ace recording/mixing/mastering of Ian Boult (at Stuck On A Name, Nottingham), as it helps to elevate this record.

Final interlude and penultimate track ‘Awakening’ is brief yet startling, leading into album closer ‘Chronoclasm’, which is the album’s longest song. It harnesses everything that’s great about Kurokuma’s psychedelic sound thanks to the instrumentation and it’s quality. Nearly four minutes pass by before the vocals kick in and when they do, they add an even greater layer to the song, as does the breakdown that was written specially by Thomas Wesley Pentz.

The thing I love above all else about the music and bands I’m lucky enough to cover here is that they’re always looking to push themselves, and their boundaries. The UK music community (away from what’s considered to be mainstream) is a shining example and Kurokuma deserve to be at it’s forefront with Of Amber And Sand.

You can stream and purchase Of Amber And Sand digitally below, where it's also available on cd and vinyl formats:-

Kurokuma - https://www.facebook.com/kurokumauk

Child - Child

Labels: Self-Released/Heavy Psych Sounds

Formats: Vinyl/CD/Digital

Release Date: 19-Feb-2014/26-Apr-2024

Tracklist:

1. Trees

2. Stone By Stone

3. All Dried Up

4. Mean Square

5. Blue Overtone Storm/Yellow Planetary Sun

Earlier this year Italian purveyors of all things doom 'n' groove Heavy Psych Sounds set about reissuing   the entire back catalogue of Australian blues/stoner rock band Child, starting with their debut self-titled record from 2014, almost ten years after it's original release. This power trio are a new name to me but thanks to the HPS PR wheel that's forever turning, I have the chance to get acquainted with them. I hope you'll join me for what promises to be a wild ride.

On an evening when I’ve been given the annual reminder about noise levels within the block that I reside, a chilled out interlude is much needed. Child deliver a hefty dose of blues-rock with minimal urgency. Easy going percussion, sumptuous melodic guitar work and vocals oozing with that classy Desert Sessions-style drawl work in unison to deliver fantastic music on opener ‘Trees’.

‘Stone By Stone’ starts of with more immediacy, albeit not necessarily due to tempo. It has a more traditional song structure from the off but it later descends into a heavily-instrumental blues number, showing off just how impressive Child are musically. Where I live in the UK, there’s a bar that specialises in blues and to be honest, it has never appealed to me as a venue because it has an obvious clique; however, if it were to one day book Child (unlikely I know), I’d be there like a shot just to see them.

The screeching solo mid-section of ‘All Dried Up’ is upon me before I know it, alongside the warming Moog/organ and the whisky-drenched vocals that sound even more powerful now. Child’s momentum seems to grow with each song on this record and while this one is their shortest, it’s by no means forgettable.

From this point on Child go back down a fuzz-laden road on penultimate song ‘Mean Square’, thanks to the rumbling bass tone that kicks it off. That bass is the heaviest thing about it and the trio’s sound throughout this record, but there’s no need for anything louder to be honest. It’s not often now that I venture to this end of the slow/low musical spectrum but it’s something I should really do more often. Less dissonance, more resonance.

Ending their first record with the ten+ minute freak out ‘Blue Overtone Storm/Yellow Planetary Sun’ is (was?) a masterstroke. Kinda like if Kyuss, Oneida and Nebula formed one hell of a supergroup. I guess they would sound like Child do here. It’s an absolute joy to behold. Almost fourteen years after this blog’s conception, discovering bands that are new to me is the best thing. Child are excellent and well worth diving down the rabbit hole for.

You can stream and purchase Child directly from Child below:-

Physical vinyl and cd copies can be purchased from Heavy Psych Sounds here - https://heavypsychsoundsrecords.bandcamp.com/album/child-child

Child - https://www.facebook.com/childtheband

Heavy Psych Sounds - https://www.facebook.com/HEAVYPSYCHSOUNDS

Liquid Shit - Repulsive Bodies

Labels: Dry Cough Records

Formats: Tape/Digital

Release Date: 07 Apr 2023

Tracklist:

1. Anxious Wretch

2. Encrusted In Eschar

3. Untethered

4. Foul Occurrence

5. Mentally Dissected

6. Bound Forever To This Body

Less than twelve months after their last EP Untold Horrors in May 2022, London's Liquid Shit returned with their latest EP Repulsive Bodies. Self-released by the band in April 2023 while at the same time getting a tape pressing via Dry Cough Records, it sees Liquid Shit delving deeper into the world of noise and sludge, while also keeping their feet rooted in death metal. 

I absolutely loved Untold Horrors when it was released in 2022. I don’t know, there was just something so warming about it. So much so that I ordered a tape copy of Repulsive Bodies as soon as I could. I’m just sorry that it’s taken me a year to write about it. Today’s muggy atmosphere (coupled with the obligatory allergy flair-up) seems the like the perfect conditions to finally put my thoughts about this EP into print and as opener ‘Anxious Wretch’ lurches into life with slow/sludgy death metal, it makes me wonder if Liquid Shit will be the band that genuinely finds that elusive brown note. 

It’s not a fast song by any means but ‘Anxious Wretch’ acts as a precursor for what’s to come. What does come next is ‘Encrusted In Eschar’, which begins with a whole heap of proper doom/sludge-laden bass, leading to similarly downbeat instrumental all round. The vocals don’t give off any light either, in case you were wondering.

There’s a heavy psych influence in the riffs on ‘Untethered’, which might take you by surprise slightly but have no fear, they’re in absolutely the right place and add a huge amount to the song given how minimalist it is in places. I’m not saying that being minimalist is a bad thing (because it’s not) but I always felt like Liquid Shit had psych vibes in them when listening to Untold Horrors. 

Having said all that though, you couldn’t get a more apt song than Foul Occurrence. What you get here is another slow number that drags death metal into the deepest of places. It comes across as the bastard love child born of Cynic and Primitive Man. Picture that if you will. Slightly progressive/psychedelic death metal mixed with the nastiest sludge/doom.

Penultimate song ‘Mentally Dissected’ dials up the off-kilter musicianship and general noisiness even more, but manages to retain a healthy dose of what made old-school death/doom so engrossing during the song’s first half, before it descends into chaos later on. Closing with ‘Bound Forever To This Body’, unnerving samples lead to a cacophony of deep growls, screeching feedback and minimal yet crushing instrumentation.  

I really like the path that Liquid Shit have chosen to go down with their extreme sound. It would have been easy for them to just follow what others are doing but their music has a more experimental edge to it. This EP follows on from Untold Horrors perfectly and gives the slightest of glimpses into what may be coming next.

You can stream and purchase Repulsive Bodies digitally from Liquid Shit below, as well as the last few white/black long sleeve t-shirts too:-

Dry Cough tapes are sold out.

Liquid Shit - @liquidshitsludge Instagram

Dry Cough Records - https://www.facebook.com/DryCoughRecords

The Oldest House - A Worm Through Time

Labels: I, Voidhanger Records

Formats: CD/Digital

Release Date: 26 Jan 2024

Tracklist:

1. Objects Of Power

2. The Oldest House

3. A Worm Through Time

4. Interdimensional Mold

5. The Painting On The Wall

It's been a pretty sobering start to the year if I'm being honest, hence the sporadic nature of things here. The focus of this review will do nothing to brighten the mood but sometimes it's better to sink to the lowest depths, so you can rise up at the other end. Spanish sludge/doom band The Oldest House is the brainchild of A.M. of Aversio Humanitatis (Debemur Morti Productions) fame amongst others, with drums provided by J.H. You may be familiar with that band's black metal, but The Oldest House promises something altogether different. I'm excited so let's jump in.

A Worm Through Time is described as being a sludge/doom EP but I’m not sure what to expect. It has drawn some (very tangible) comparisons musically and as opener ‘Objects Of Power’ begins, it takes away every last breath you have thanks to it’s sheer wall of heaviness. An initial lumbering, bass-heavy tempo takes the lead alongside deep growls that build in ferocity as the music does. It’s not without it’s technicality though thanks to the percussive skill later on, highlighting why the band found a home on I, Voidhanger Records for it’s debut release.

A.M.’s black metal roots aren’t too far away here, as the spine-tingling vocal delivery on ‘The Oldest House’ shows. Extreme metal is extreme metal, whatever sub-genre you categorise it into, so it’s best to just enjoy it in whatever form it comes. Here, that form is unwaveringly heavy and satisfyingly groovy. Yes, there’s some psych going on here!

Talking of psych, title song ‘A Worm Through Time’ takes you on a journey thanks to it’s spellbinding bass performance and shaman-like singing/chanting that almost throws you off, before everything shifts in a grind/PV direction. I have to say that this uptempo approach to sludge and doom isn’t usually my thing (I like it slow and drawn out most of the time) but The Older House completely changes my orientation here.

‘Interdimensional Mold’ is the EP’s shortest song and it provides a bit of respite from the extremity of previous songs thanks to the addition of ambient sounds that are almost cosmic. It’s fully instrumental and leads perfectly into closer ‘The Painting On The Wall’, which provides one final opportunity to appreciate everything that The Oldest House has to offer musically. The band offers so much!

I haven’t covered a great deal of 2024 releases up to now; however, what I have heard and featured has been extremely strong so far. This EP is no different. It’s given me an appetite to dive into sludge and doom again, though that temptation is never far away!. Great stuff. Let’s hope and hold our breath for more from The Oldest House in the future.

You can stream and purchase the EP on both CD and digital formats below:-

The Oldest House - https://www.instagram.com/theoldesthouseofficial/

You can also buy CD copies from I, Voidhanger Records here - 

https://metalodyssey.8merch.com/product/the-oldest-house-a-worm-through-time-cd/

https://metalodyssey.8merch.us/product/the-oldest-house-a-worm-through-time-cd/

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

Dust Prophet - One Last Look Upon The Sky

Labels: Self-Released

Formats: CD/Digital

Release Date: 27 Jan 2023

Tracklist:

1. A Storm Of Time & Space Part 1

2. When The Axe Falls

3. Dear Mrs. Budd

4. Put To The Question

5. Song 4

6. The High Capital

7. A Storm Of Time & Space Part 2

8. Hourglass

9. Bury Me Before Noon

This is my first proper 2023 release review, it's almost the end of the working week for me and doom seems like the only way to usher in Friday. One Last Look Upon The Sky is US doom/stoner band Dust Prophet's debut album, which will officially be released on 27 January. Reading the press release that accompanied this record, it cites the likes of Kyuss, Electric Wizard and Clutch amongst the band's influences, so it should be a good listen. 

Beginning with the gentle intro of ‘A Storm Of Time & Space Part 1’, you kind of wonder what’s in store on Dust Prophet’s debut full-length and after a brief pause you’re greeted with the low-end heft of ‘When The Axe Falls’. The vocals immediately come to the fore in almost theatrical style, while the percussion, bass and guitars plow a furrow underneath, in a groovy yet subtly mournful way.

If you like your stoner/doom with a bit more driving grit, then ‘Dear Mrs. Budd is for you. The instrumentation hits right from the off and the mix of clean, and harsh vocals works really well here. Getting lost in the music and forgetting to move (or in my case write coherent words) is entirely possible. It sounds like there are some organ/moog-type tones on ‘Put To The Question’, which makes complete sense. They’ve been adding cosy and soothing tones to stoner/doom albums ever since Black Sabbath et al started the sub-genres, if not before. The song itself of another punchy, urgent number as well.

It leads to ‘Song 4’, which begins in completely the opposite fashion and moves in gnarly psychedelic circles, mainly due to the lead-guitar work used early on. This is the point where I wish I had more red wine! It’s an instrumental song that guides you to the album’s second half and it’s brilliant. Another good thing about Dust Prophet is their ability to make longer songs, like ‘Song 4’ and ‘The High Capital’ that follows, sound truly engrossing. The latter sees Otto Kinzel IV’s vocals reappear in bullish fashion.

‘A Storm Of Time & Space Part 2’ is another beautifully delivered instrumental that leads you into the album’s final two songs, beginning with ‘Hourglass’, which is somewhat subdued. It’s still got a lot of groove but following on from some of the album’s heavier songs, it doesn’t bite quite as much. Closer ‘Bury Me Before Noon’  is one final blistering stoner/doom hymn with a nod to the occult. It’s the heaviest song here in terms of harsh vox and it’s loud/long duration makes it the perfect reminder that Dust Prophet aren’t here to mess around. 

All round this album is really good. It’s still raw in places given that it’s Dust Prophet’s debut but there’s plenty of reasons to enjoy and immerse yourself in it. There’s nothing wrong with adding a bit of personality and theatre into your music, especially if the latter’s done in the right way. Dust Prophet have done and it works. 

As mentioned above, One Last Look Upon The Sky won't be officially released until 27 January; however, you can stream four of the album's songs below and pre-order the album/merch too:-

Dust Prophet - https://www.facebook.com/dustprophet

Arkheth - Clarity Came With A Cool Summer's Breeze

Labels: I, Voidhanger Records

Formats: Vinyl/CD/Digital

Release Date: 30 See 2022

Tracklist:

1. In The Cradle Of The Crescent Moon

2. Kundalini

3. Psychonautica

4. Neptune Beaches

5. Patience In The Garden Of Fire

6. Where The Ocean Meets The Sky

I've found myself in a rare spot, where I can pick a random release to talk about. This particular release forms part of the ever growing I, Voidhanger Records stable, which is a label that's known for it's love of progressive and avant-garde metal, with bands who constantly up the cover-art level. One such band is Australia's Arkheth. I previously wrote about their 2018 album 12 Winter Moons Comes The Witches Brew. I really enjoyed that album and knowing that they've now found a suitable home for their latest work, I'm excited to hear how they've progressed over the past four years and if that cover is anything to go by, there's gonna be psychedelia aplenty.

I’ve said before that it’s always great to revisit bands that I’ve reviewed before and Arkheth left a really good impression with their previous album. Fast-forward to now and Clarity Came With A Cool Summer’s Breeze promises to be as good, if not better. Album opener ‘In The Cradle Of The Crescent Moon’ is an instrumental that hides Arkheth’s extreme influences behind acoustic guitar, saxophone, clarinet and birdsong. It’s an auspicious start.

‘Kundalini’ follows quickly on with something that’s a little more extreme, but only because it contains guitar riffs. They’re joined by both spoken/whispered and cleanly sung vocals, keyboard tones that sound like a Moog and almost shoegaze-like textures. There’s a lot going on and the creativity levels are very high indeed. Even the electronic flourishes during the song’s mid-section don’t sound out of place. Black metal makes more of an appearance later on, along with some Shining-like black jazz.

There seems to be a growing trend (if you can even call it that!) of bands becoming less extreme, heaviness-wise and Arkheth make their point clearly on ‘Psychoanutica’ (not that they’re following any trends). Part black metal, part cheesy 80’s game show music and part bizarrely beautiful sound collage. If this band ever makes it onto Jools Holland’s Hootenanny, I’ll be bloody happy!

The reason I mentioned Jools Holland is because the brass section of ‘Neptune Beaches’ could easily have come from his rhythm and blues orchestra. It’s that good and underlines just how impressive this album is. I’ve honestly never heard anything like this in the twelve years I’ve been writing about music. Everything flows so well and before you know it you’re listening to the 70’s inspired penultimate song ‘Patience In The Garden Of Fire’. More like a folk, psych, Beatles-esque pop song than anything remotely close to metal, yet it works so well in the context of Arkheth’s music. 

‘Where The Ocean Meets The Sky’ epitomises the musical quality of this album best and it’s the final song of a record that’s over too quickly, It’s very atmospheric and it builds in a gentle way, making full use of every element at Arkheth’s disposal. Led by the band’s sole permanent member Tyrone Kostitch, with additional and no-less significant contributions from Glen Wholohan (alto sax, tenor sax and bass clarinet), Tarquin Halls-Corbett (bass, backing and additional lead vocals, along with added acoustic and electric guitar on track 6), Prophanant (additional lead guitar on track 3) and Hunter McDonald Gerrand Rogers (string orchestration on track 5), it’s unlikely that you’ll find a collective as inspiring as this.

All that’s left now is for you to go on your own journey of musical exploration, starting with this record. It fully justifies why Arkheth should be held in much higher regard and why I, Voidhanger Records should be revered amongst lovers of challenging, stimulating music devoid of traditional labels. Fantastic!

You can stream and purchase Clarity Came With A Cool Summer's Breeze on all formats below:-

Arkheth - https://www.facebook.com/arkheth

I, Voidhanger Records - https://www.facebook.com/i.voidhanger.records

The Grasshopper Lies Heavy/WOORMS - Various Plants And Animals Under Domestication Split

Labels: Self-Released/Forbidden Place Records

Formats: Vinyl/Tape/Digital

Release Date: 07 Jan 2022

Tracklist:

1. The Grasshopper Lies Heavy - Indifference Apocalypse

2. The Grasshopper Lies Heavy - King Of Opinion

3. The Grasshopper Lies Heavy - Daun

4. The Grasshopper Lies Heavy - Unending Mediocrity

5. WOORMS - Areola Borealis

It's finally Friday and I for one want to forget about the working week that's just been. What better way to do that than with the latest split release featuring Texan sludge trio The Grasshopper Lies Heavy and Louisiana's WOORMS. The split features four songs from TGLH and one long player from WOORMS, having been self-released digitally, as well as on physical formats via Forbidden Place Records. I seem to remember coming across TGLH via a Rock Sound Magazine cd sampler (I think) and WOORMS have released a couple of albums via UK label Sludgelord Records in the past. 

Eyes down for the Friday night headbang! TGLH kick off with ‘Indifference Apocalypse’, which is a lot more up-tempo than I was expecting at first, despite the band being rooted in sludge. It’s loud and engrossing, with a smattering of psych thrown in as well. TGLH’s instrumentation is where they really shine and this is perfect so far. ‘King Of Opinion’ seems to be somewhat darker in tone, but maybe that’s me. It’s certainly more bass-heavy and downturned as it bludgeons it’s way through nearly three-minutes of absolute heaviness. 

Instantly following ‘King Of Oblivion’ is ‘Daun’, which is a semi-instrumental song that almost seems to follow directly on from it’s predecessor. One thing’s for sure though, it’s groovy as hell with a mesmeric riff that flows right though it. TGLH end their side of the split with their most expansive song in the form of ‘Unending Mediocrity’, and boy is it a joy to listen to. Proper atmospheric post-metal at it’s best. It’s a song that you can really get lost in and when it comes to a halt after nearly eight-and-a-half minutes, it leaves a bit of a void.

A void that WOORMS fill with their mammoth track ‘Areola Borealis’, which weighs in at over twenty one minutes and is utterly bonkers right from the off, with pitch-shifting notes, samples and vocals that sit deep within the mix. Those vocals are very much hidden by instrumentation but they’re still punchy enough to have an impact early on.

It’s at the six minute mark that I realise I’m aching like a bar stool, though that may have more to do with my sitting position as opposed to the headbanging that’s going on. Needless to say, I’m still glued to my laptop’s speakers while listening to this, slightly helped my the imbibing of Friday night alcohol. After the ethereal sludge concludes around the twelve-and-a-half minute mark, WOORMS slip into an instrumental jam featuring more samples, that seems to build in layers, showcasing the Louisiana approach to musical experimentation. The closing acoustic passage is very stirring, almost Fleetwood Mac-esque in places. 

This split is fantastic. From the faster and more intense sludge of The Grasshopper Lies Heavy to the trippier, more psych filled sludge of WOORMS, there’s plenty for the heavy music connoisseur. I well and truly dig both of these bands and I can assure you that you won’t leave disappointed either. 

For fans of: Old Man Gloom, Shy, Low, Heron, Postvorta & Weedian

You can stream and purchase the split digitally via TGLH and WOORMS respectively on bandcamp below:-

The Grasshopper Lies Heavy - https://www.facebook.com/grasshopperliesheavy

WOORMS - https://www.facebook.com/WOORMSband

You can purchase the split physically on all formats or as merch bundles via Forbidden Place Records below:-

https://forbiddenplacerecords.bandcamp.com/album/woorms-the-grasshopper-lies-heavy-various-plants-and-animals-under-domestication

Forbidden Place Records - https://www.facebook.com/forbiddenplacerecords

Space Coke - Lunacy

Labels: Forbidden Place Records

Formats: CD/Digital

Release Date: 14 Jan 2022

Tracklist:

1. Bride Of Satan

2. Alice Lilitu

3. Frozen World

4. Lightmare

5. Twist Of Cain (Danzig Cover)

Coming at you with an actual 2022 release tonight! Granted, it was released in January but it's progress all the same. Lunacy is the latest full-length for US stoner/doom band Space Coke, which fellow US label Forbidden Place Records helped spread as far as possible on CD and digitally, with the rumour of a vinyl pressing coming at some point in the future too. Space Coke started life way back in 2008, though it wasn't until 2017 when they put out their first EP Neil deGrasse High E.P., with not one but two full-lengths coming just a year later in the form of South Cackapulco Gold and L'appel du Vide (if Metal Archives is correct).

Here we go then! I’ve got a glass of red wine in hand and the volume turned up. Album opener ‘Bride Of Satan’ is much easier on the ear than I was expecting (though I should learn to go into these things without such preconceptions buy now!). Definitely psychedelic and 70s inspired with the effect-filled vocals, and organ/keys in the background. The guitar/bass work is very doomy and the drums punchy. 

Space Coke don’t mind venturing from their stoner/doom/psych blueprint. ‘Alice Lilitu’ starts with a suitably weird spoken-word/sampled intro, before leading into an equally weird yet catchy as hell song. Hell, the song is over twelve-and-a-half minutes long so there’s no need the be too serious is there! It actually reminds me of Muse, but if they were on hallucinatory drugs and Nick Oliveri was their bassist. Definitely groovier than Glastonbury for sure!

There’s a desert/surf-rock vibe hidden within ‘Frozen World’ that seems to be underpinned by vocoder-style vocals, which are pretty cool and match the music. That’s something I never thought I’d say! In terms of Space Coke’s songs though, it goes by all too quickly. It’s really memorable though.

‘Lightmare’ starts with a stark and heart-wrenching sampled passage. It’s words are haunting and oh so real. Even the addition or organ in the background does little to lighten the mood. It’s probably the heaviest song  on Lunacy when it gets going, especially in the riffs, percussion and deeper vocals. 

I’m nearing the bottom of my glass of wine as album closer and Danzig cover ‘Twist Of Cain’ comes into view, and it’s a glorious way to end the album. Subtly thrashy in parts (mainly due to it’s tempo) but also utterly infectious and once again, catchy. I think there’s nothing wrong with that if it’s done in the right way, as opposed to being straight up cheesy. Space Coke get it right and it shows.

This is a fantastic album from a band that deserve much more exposure than I can give them. Space Coke smash it and during these balmy early summer nights, provide the carefree party vibes we all need.

For fans of: Muse, Mondo Generator, Red Fang, Green Lung & Ritual King

You can stream and purchase Lunacy digitally from Space Coke below:-

CD copies can be purchased from Forbidden Place Records here:-

https://forbiddenplacerecords.bandcamp.com/album/space-coke-lunacy

Space Coke - https://www.facebook.com/SpaceCokeSC

Forbidden Place Records - https://www.facebook.com/forbiddenplacerecords

Cosmic Reaper - Cosmic Reaper

Labels: Heavy Psych Sounds

Formats: Vinyl/CD/Digital

Release Date: 19 Mar 2021

Tracklist:

1. Hellion

2. Heaven's Gate

3. Stellar Death

4. Wasteland I

5. Wasteland II

6. Planet Eater

7. Infrasonic

I feel like doom and psych have very much been missing from these "pages" recently. After trying to line up some 2021 release premieres with Heavy Psych Sounds earlier in the year, I gave up bouncing from person to person (in the hope of getting somewhere) and settled for what I had, which is still pretty good to be fair. That led me to North Carolinan (US) quartet The Cosmic Reaper and their 2021 self-titled LP. What sweetened the deal was finding out that the band includes a member/ex-member of mathcore favourites The Great Redneck Hope, amongst others. I mean, that's not the only thing but I've had a stressful afternoon and that's all I can think of!

I like Electric Wizard but they haven’t been able to hold my attention for long enough, which is strange because I love sludge and doom. Cosmic Reaper have been compared to that enigmatic UK band yet they differ more than you’d think. On opener ‘Hellion’, there’s a lot of groove as you would expect, but good old classic heavy metal guitar work and hypnotic, mainly clean vocals set them apart. When they do heavy, Cosmic Reaper does heavy really well and the ironically titled ‘Heaven’s Gate’ is a prime example in full flight, instrumentally at least. Once again, the almost druidic vocals ring out as rumbling and low bass/guitar riffs drive the tempo, and the atmosphere of the album down a darker path.

I’m in absolutely no doubt that this is the right record to be listening to on a Friday night, even if I don’t partake in the Mary Jane. I do have a glass of red wine though and savouring it while ‘Stellar Death’ plays is an utter joy. It also reminds me that I need more records like this in my personal collection. Will have to rectify that soon, if only for that grooving closing section. ‘Wasteland I’ is a slight departure in the sense that it’s somewhat shorter than the rest of the songs on the album; however, that’s no hardship at all because the musicianship on it is so strong. That’s what I like about bands like Cosmic Reaper. The fact that they’ve seemingly come from nowhere (at least to me anyway) and are still able to blow my expectations. They’ll blow yours too if you give them as much as a second of your time.

That previous song was entirely instrumental, but with ‘Wasteland II’ the band delivers a huge desert/stoner rock song with all of their bells and whistles added in for good measure. Everything about this album feels and sounds so assured, it’s insane to think that this is their debut full-length (though given their collective experience, it shouldn’t be!). Penultimate number ‘Planet Eater’ hints at something more cosmic and in some ways you do get that felling thanks to Cosmic Reaper’s psych influences, yet the heaviness is still there in spades. It’s the longest song on Cosmic Reaper and tempo wise it’s very much the slowest, which is no bad thing at all. Once again it’s heavily instrumental though the vocals within it settle back into the soothing tones of the album’s earlier songs.

‘Infrasonic’ is the final track here and much like the red wine, it’s gone straight to my head as the impulse to headbang is just too much. As I sit back and rejoice in the glorious tones I’m hearing, it’s hard not to feel the true energy of genuine, enjoyable music again, which is something I’ve probably been lacking over the last couple of months (purely due to my own state of mind and nothing else) . Cosmic Reaper have done a solid here. Hats off to Thad, Dillon, Garrett and Jeremy for being wholesome and awesome on this record.

You can purchase Cosmic Reaper on digital, cd and (multiple) vinyl pressings below:-

Cosmic Reaper - https://www.facebook.com/cosmicreapernc

Heavy Psych Sounds - https://www.facebook.com/HEAVYPSYCHSOUNDS

Lords Of The Drift - The Arecibo Message

Labels: Stay Gold Records

Formats: Digital

Release Date: 20 Nov 2020

Tracklist:

1. The Arecibo Message:

Act 1. Earthmakers (0.00 - 11:30)

Act 2. Geomancy (11:30 - 16:45)

Act 3. The Golden Ratio (16:45 - 29.02)

If anybody tells that housework/manual labour is good for you, it's all lies. I got up especially early this morning to do some and now my lower back is killing me. I'm now resting and this strange one-track release from US drone metal band Lords Of The Drift. The quartet that make up Lords Of The Drift are guitarist Tomo Milicevic, guitarist Tim Showalter (Strand Of Oaks), guitarist/keyboardist Arjan Miranda (Black Mountain, S.T.R.E.E.T.S) and bassist David Bason (Barfbag, War Oprhan). The Arecibo Message is made up of three movements and has been released to pay tribute to the interstellar radio message that was sent to star cluster M13, carrying basic information about humanity and earth. Apparently, the message wasn't an attempt to communicate with extraterrestrial life but was merely to show off our technological advancements at the time. Seems quite fitting.

The first act is titled ‘Earthmakers’ and if drone is what you’re looking for, then you’ve come to right place. Given what this song pays tribute to, you can imagine the feedback-laden guitar being the white noise that the communication travels through. The communication being represented by the treble and melody (at least that’s how I interpret it anyway). There are no drums present here, so all of the music is performed solely by guitars and a keyboard, with no vocals tainting the atmosphere. The ambient noise also sounds very real here, making the hairs stand up on the back of your neck. You feel like you’re there listening to the message in real time. 

I don’t usually reach for drone of this kind very often but it’s actually oddly relaxing as second act ‘Geomancy’ takes over. There’s no obvious gap between acts so as to create a seamless piece of music, but there is a definite change in sound here, with more melody and less feedback. It’s more airy and calmer, maybe representing the original message as it flies through space on its way to it’s final destination. Compared to ‘Earthmakers’, this second act only lasts around five-minutes but there’s no attempt by Lords Of The Drift to merely use it as filler. 

Final act ‘The Golden Ratio’ is darker and more menacing at times. It highlights the quartet’s experimental approach and continues the journey with swathes of drawn-out riffs, repeated feedback and general ambient noise that’s all layered together to create a real feeling of warmth. I know there are fans and writers out there who can describe this better than I, but it’s not an exact science, like the creation and interpretation of the music itself. The Arecibo Message will invoke different images for different listeners. 

Even without the use of mind altering substances (I don’t do drugs), this release is easy to get lost in. It’s really well thought-out and is thought-provoking as well. I know several people who will enjoy this greatly, as I did and if you’re new to this genre of music the it’s a great place to start.

Act 2: Geomancy is streaming via Youtube below:-

You can order The Arecibo Message via Apple Music here - https://music.apple.com/us/album/the-arecibo-message/. Lords Of The Drift do have a profile on Bandcamp, but it has nothing streaming on it. There are no social media pages for the band.

Polymoon - Caterpillars Of Creation

Labels: Svart Records

Formats: Vinyl/CD/Digital

Release Date: 04 Sep 2020

Tracklist:

1. Silver Mountain

2. Lazaward

3. Malamalama

4. Helicaling

5. Neitherworld

6. Metempsychosis

Life has a funny way of throwing you off, of testing your resolve and of playing with your mind.  It does force you start making some decisions (often ones that need to be made). I continue to be as positive as possible though, as nothing comes from being a miserable twat. A part of staying positive for me is being able to immerse myself in interesting, challenging and often heavy music. It's definitely a form of escapism, and as I (seriously) consider taking up meditation, I'm drawn to Finnish psych/prog/space rock band Polymoon and their debut album Caterpillars Of Creation, which was released visa Svart Record earlier this month. As I love Finnish bands in general, this excites me.

I know that this is very much on the lighter side of what I feature on here, but dissonance and breakdowns can only hold my attention for so long. Polymoon is a heavy band, but only when they want to be and I’d consider them more thought-provoking. Album opener ‘Silver Mountain’ is a mix of earthy melodic guitar, careful drums and calming vocals, interspersed by post-rock riffs. Imagine if Cult Of Luna discovered world music and collaborated with Thee Silver Mt. Zion Memorial Orchestra. Actually, that would be pretty rad!

The space-rock influence is way more prevalent during ‘Lazaward’ than before and the retro sound/feel of the song really grabs you and transports you back to Woodstock’s gone by. It’s an incredible piece of music that goes through different movements and emotions, while still being one cohesive whole and that heavier crescendo towards the end is great. 

There’s a prime opportunity to appreciate Polymoon’s instrumentation on ‘Malamalama’, where it truly takes centre stage. It’s a great rock song with vocals that reside deep in it’s core and don’t overpower it. There’s something really uplifting about this release and as extra layers are added by swathes of keyboards and mellotrons (possibly?), psychedelia appears in front of you in the form of colours and shapes. It’s that transformative!

‘Helicaling’ is a lot more sinister, with a really pulsating percussive attack and a lot more feedback and vocal reverb. It’s mid-section is introspective but no less immersive, with the constant threat of that noisy edge returning. It’s quite a challenging listen given the relative calm and thoughtful restraint of the album so far.

You’re treated to a mix of both sides of Polymoon on ‘Neitherworld’, which offers a true glimpse into the instrumental wizardry that this band possesses. It was never without question anyway but here it’s at it’s progressive best and while the vocals really complement and add to the album, escaping into the layers of this song is a really joyous feeling. Towards the conclusion, it crashes head on into an abrupt wall of noise that shocks the senses, before silence and mysterious ambience delivers you to the album’s finale.

‘Metempsychosis’ is the perfect way to end with a much more subtle and relaxing tone. Excellent lead work sits up top here and again, Polymoon’s earthiness and cinematic vibes take hold, rounding out an album that will bring hope to those who think the year is lost, in various ways. A fantastic record, from a really incredible band. Hats off to Svart Records for this discovery. More please!

You can stream and purchase Caterpillars Of Creation below:-

You can buy physical copies from Svart Records here - https://svartrecords.com/product/polymoon-caterpillars-of-creation-album/

Svart Records - https://www.facebook.com/svartrecords/