Raging Speedhorn - Night Wolf

Labels: Spinefarm Records

Formats: Vinyl/CD/Digital

Release Date: 06 March 2025

Tracklist:

1. Blood Red Sky

2. Buzz Killa

3. The Blood Code

4. Can't Stop

5. Every Night's Alright For Fighting

6. Night Wolf

7. DOA

8. Comin' In Hard

9. Dead Men Can't Dance

10. Dead Reckoning

UK high-octane sludge royalty Raging Speedhorn have just released their seventh full-length Night Wolf  via Spinefarm Records. The Corby sextet have kept going though line-up changes and hiatuses to reach twenty five years, having released their self-titled debut album at the turn of the Millennium. It's great to have Raging Speedhorn firing on all cylinders again and their return will be another much needed boost for UK heavy music.

After a slightly foreboding intro, ‘Blood Red Sky’ fills the speakers with groove-laden riffs, thunderous bass/percussion and RSH’s familiar dual-vocal onslaught. Musically, their impact over the years has been notable and doesn’t need re-telling. Here, their sound is both mature and revitalised at the same time. A honed take on hardcore and sludge, Night Wolf doesn’t need lengthy songs and ‘Buzz Killa’ shows why. It retains it’s heaviness while being catchy in the right way, which is something RSH have consistently delivered.

The bass that kicks off ‘The Blood Code’ is glorious and as it’s joined by the rest of the band, you’re in for them at their heaviest. There’s a simplicity to it that’s hard to ignore and that’s why it’s so enjoyable. Sounds great at full-volume too! ‘Can’t Stop’ takes the sound of NOLA sludge and RSH inject it with a heap of UK rock n roll flair. Being one of the shorter songs on Night Wolf, it’s gone by before you know it.

With a song-title that’s a play on the famous Elton John song, ‘Every Night’s Alright For Fighting’ is… perfect for just that. Riff-fulled mayhem in the catchiest of ways. At the mid-point of the album you may be thinking that Raging Speedhorn have lost some of their more dangerous/rougher edges over the years. You’d be right, but that doesn’t mean their sound can’t evolve at the same time. 

The album’s title-track drags you into it’s latter half with all the groove you’ll ever need on record. Once again, the dual-vocals provide a lot of colour (despite the harshness), while the instrumentation carries itself perfectly. I think the mixing/mastering captures a slightly more polished version of the band, which is definitely a snapshot in time.

The latter-half of Night Wolf is way more to-the-point and ‘DOA’ proves that in a succinct three-minute blast of sludgy hardcore that has all the tempos covered. Destined to be a live favourite for sure. The sound of feedback during the intro to ‘Comin’ In Hard’ is something that’s been missed so far. It subsides, giving way to yet more Southern drawl and dixie-esque influence. Everything’s definitely “comin’ in fast” here.

Penultimate rager ‘Dead Men Can’t Dance’ dials up both the heaviness and the upbeat nature of RSH’s song-writing just when you thought things might slow down. Absolutely brilliant! Ending with ‘Dead Reckoning, the reckless punk nature of early Speedhorn comes back to roost. The fact that they pack as much music into this final song as they do into all the rest is testament to their love for what they craft.

I needed this tonight but I didn’t appreciate how much until Night Wolf finished. While I’m more familiar with the Speedhorn of old, I can’t ignore what they have become now. Twenty five years into a career that’s helped shape the UK underground, they’re bound to reach new ears with this album. Long may they continue to cause chaos!

You can watch the hilarious video for 'Every Night's Alright For Fighting' via Youtube below:-

Physical copies of the album, as well as merch, can be purchased via Spinefarm Records here:-

https://spinefarm.tmstor.es/products/search

Raging Speedhorn - https://www.facebook.com/ragingspeedhorn

Spinefarm Records - https://www.facebook.com/spinefarm

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

Burial Waves - Holy Ground

Labels: Dark Operative Records

Formats: Digital

Release Date: 12 Nov 2021

Tracklist:

1. Light Heads

2. At Sea

3. The Romantic

4. Cinema Shame

5. The Guest

The cross-pollination of bands and indeed band members creates an ever expanding web of influences, and more importantly sounds. Washington D.C., US band Burial Waves are one that's been formed through the intertwining network of artists, notably through friendship here. Made up of members and ex-members of Black Clouds, Pianos Become The Teeth, Caverns and the EFFECTS, Burial Waves released their debut EP Holy Ground via Dark Operative Records late last year. In a live setting they've shared stages with Kowloon Walled City, Quicksand and Cave In (amongst many others). 

Burial Waves play the kind of post-hardcore/rock that is so underrated. Holy Ground opener ‘Light Heads’ contains a mixture of the aforementioned sub-genres, as well catchy melodies and cinematic appeal. The vocals are clean but with a volume to match the instrumentation, which is powerful to say the least. The music so far would easily sit next to the likes of Time In Malta (I’ve dropped that name so many times here), tour mates Cave In and even, dare I say it, self-titled album era 30 Seconds To Mars (loosely).

The opener flows nicely into ‘At Sea’ and it’s here that you can tell the heavier past of Burial Waves. More dissonant riffs and harder percussive elements hold up against the brighter lead-work and an indie/post-punk vocal approach. It’s delivery is more of a mid-paced drift but that tempo suits it so well. ‘The Romantic’ is a hypnotic, repetition-laden rock song that seems to take the best of what’s come before. Off-kilter rhythms remind you of the skill and song-writing prowess of Burial Waves, as they craft something that’s filled with heady and breathless audible highs. The subtle electronic ambience lends itself well to the scene that’s set here too. 

One thing that doesn’t always strike you when listening is that there is sometimes an odd danceability to it, as demonstrated on ‘Cinema Shame’. It’s cleverly brought to the fore in a strangely dystopian way but it never fails to lift the mood at the same time. Burial Waves are truly engrossing throughout Holy Ground and this song proves why. They round things out with ‘The Guest’, all six-plus minutes of it. Flowing with an ever growing sense of progressive/art-rock design, it provides another really emotive glimpse into the form and function of the band. So enjoyable, it’s both easy to listen too and gritty in the right ways.

Days spent listening to harsher, heavier music are erased by cleansing, familiar tones. The music that Burial Waves play takes me back to the music that shaped listening habits during my late-teens. Music that I’ve grown to love so much and always go back to. Call it post-hardcore, rock or whatever you want. This release is inspiring. 

You can stream and purchase Holy Ground digitally below:-

As of writing, I'm unaware of there being a physical version available. Please feel free to correct me if there is.

Burial Waves - https://www.facebook.com/profile

Dark Operative Records - https://www.facebook.com/darkoperativemusic

Deathnoisefrequency - Horrid Dirge + Omitted Horrid Chapters

Labels: Wall Of Sound Records

Formats: Digital

Release Date: 17 July 2020

Tracklist:

1.  Chapter III: The Mortician's Lamenting Dirge

2. Chapter IIII: Horrid Choirs

As I cling desperately onto the remaining hours of my annual leave before returning to my day job, I thought I'd fit in a couple of short reviews. Both are of releases from the same band; Deathnoisefrequency, who hail from Saudi Arabia. Horrid Dirge was their first release, dating back to July 2020. Along with the second review, this feature is a precursor to another feature that I'm planning, which addresses the plight of bands that exist in countries with strict regimes, but more on that later. For this release, the duo of Ghassan Al Fudail (guitars) and Ahmed Mahmoud (vocals) are joined by session musicians Diya Azzony (keys, bass, effects) and Sarah Belle Reid (additional keys, trumpet and effects).

Deathnoisefrequency promise to make things uncomfortable for you as a listener and on ‘Chapter III: The Mortician’s Lamenting Dirge’, they waste no time in producing a harsh soundscape complete with almost industrial, programmed drums (I’m guessing! Please correct me if I’m wrong). It’s great to here how they interpret extreme music like this. It can’t be easy to exist as such an extreme musical entity in the Arabian Peninsula but Deathnoisefrequency clearly care about their art and it’s very enjoyable to listen to so far; especially with the production work of Diya Azzony.

Second song ‘Chapter IIII: Horrid Choirs’ is filled with ambiance and additional effects, as the opener was. It’s drone-like dirge sits perfectly alongside the trumpeting of Sarah Belle Reid, giving it an ever more menacing feel. At times there’s a harshness akin to Rammstein, but that’s a very tenuous comparison. This is way more avant-garde. One thing’s for sure though, overlooking this is a grave mistake if you like music on the more experimental end of the spectrum. 

You can stream Horrid Dirge and purchase it digitally below:-

Labels: Wall Of Sound Records

Formats: Digital

Release Date: 31 Oct 2021

Tracklist:

1. The Beast's Lamenting Dirge

2. The Children's Lamenting Dirge

Coming more than twelve months after Horrid Dirge, Deathnoisefrequency released Omitted Horrid Chapters in October 2021. Again featuring two tracks, but this time both of the same length, it remains their latest release to date. It also once again features the guest musicianship and expertise of Diya Azzony and Sarah Belle Reid. 

Omitted Horrid Chapters is billed as a re-working of ‘The Mortician’s Lamenting Dirge’ and on listening to opener ‘The Beast’s Lamenting Dirge’, I can hear where Deathnoisefrequency are coming from. There seems to be more black metal influences coming through in the vocals here, as well as the ambience/effects that were heard on their first EP. 

Second song ‘The Children’s Lamenting Dirge’ almost feels like it could follow straight on from the EP’s opener without the pause, and indeed it probably should but that’s just my opinion. In it’s own right, it’s a lovely layered song that follows on perfectly in a musical sense. There’s a part of me that was expecting Deathnoisefrequency to be a lot noisier, even venturing into harsh noise, but that was the wrong assumption to make. There’s much more to them musically and that’s a reason to take notice.

Omitted Horrid Chapters can be streamed and purchased digitally below:-

To summarise both of these EPs and Deathnoisefrequency, I wouldn't hesitate to say that the music contained herein isn’t just enjoyable, but is also a unique interpretation from a band doing things their own way. I sincerely hope that there is more to come from them. If not, then may they be an influence and a beacon for those who wish to follow them.

Deathnoisefrequency - https://www.facebook.com/Deathnoisefrequency

Wall Of Sound Records - https://www.wallofsoundsa.com

Steaksauce Mustache - All Juice, No Noise

Labels: Silent Pendulum Records

Formats: Vinyl/Digital

Release Date: 13 May 2022

Tracklist:

1. Bad Boy Donkey Island

2. Floppy Disc Function

3. No Earth Theory

4. Truck Nut Allergy

5. Stepdad Energy

6. Nocturnal Daymare

7. Gossip Banshee

8. Warp Speed With Aliens

9. Robot Computer Stuff

10. Workout Jeans

11. All Juice No Noise

The latest album from US partycore quartet Steaksauce Mustache was released a couple of months ago (to the day almost) and not by design, I'm just getting round to giving it a proper spin. All Juice, No Noise was released on vinyl and digitally by NYC label Silent Pendulum Records in May. It looks like all physical copies have long since sold out but that doesn't stop us from celebrating it all the same. Oh and to support the album's release they toured the US with the Ned Flanders-inspired Okilly Dokilly.

I hope my neighbours like mathcore because I’m sweltering this evening. A very warm laptop on top of a heatwave isn’t the way to go! Steaksauce Mustache first crossed my radar thanks to Mathcore Index and their Mathcast, but I think this is the first material I’ve listened to in full by them. ‘Bad Boy Donkey Island’ is an all-over-the-place opener with harsh vocals that remind me of Iron Gag-era A Life Once Lost (maybe?), clean singing, panic chords and off-kilter instrumentation that would make Every Time I Die proud. I’m probably way off with my early assessment but there’s still ten songs to go.

Tempos and musical sensibilities are mixed up on ‘Floppy Disc Function’, as mathcore meets deathcore and pop. I love how unexpectedly accessible All Juice, No Noise is so far. I also wish they’d brought that Okilly Dokilly tour to the UK too! There’s plenty of rock n roll going on during ‘No Earth Theory’, which reminds me of fellow US metalcore/80s rock inspired band Blessed By A Broken Heart (as opposed to glam rock parody band Steel Panther, whom I dislike with a passion). Sorry.

The other thing that jumps out at me with Steaksauce Mustache is their seemingly random song titles. ‘Truck Nut Allergy’ is a prime example but with that being said, It’s a killer song with more snarling/sassy rock vibes overpowering the band’s heavier leanings. They do go full-on mathcore for portions of All Juice, No Noise though and alongside some great punk riffs, ‘Stepdad Energy’ is a great example of that. In a sub-genre of music where originality is becoming key, Steaksauce Mustache are leading the way.

As you hit the mid-point in the album, it’s pointless trying to describe the music in any kind of genre terms anymore. ’Nocturnal Daymare’ is just a damn good song and probably the catchiest one of them all, In my opinion anyway. That’s the main takeaway for me, just how catchy this record is. ‘Gossip Banshee’ contains the best lyrics and even though there’s no hint of hip-hop influence musically, vocally things get close to it here during the verses (at least when the metal/core isn’t taking centre stage that is!).

My head’s been addled pretty much all day thanks to my day job and listening to ‘Warp Speed With Aliens’ does nothing to change that, but I don’t care. Heavy music can and should be fun sometimes, and it certainly is here thanks to the battle metal inspired gang chants sitting in the background. That solo towards the end is pretty damn sweet as well. Things return to somewhat normality on ’Robot Computer Stuff’ but what is normal now really? I use the term only to emphasise the moments where Steaksauce Mustache are more mathy. 

Penultimate song ‘Workout Jeans’ is as mad as the title suggests. I mean, have you ever tried to workout in jeans?!. It’s not mad in terms of time-signatures or grind-appeal, but because of the amusing images both it’s title and textures create. Semi-clean vocals lead the way and it’s definitely feel-good. They close with the title track ‘All Juice No Noise’ , which is also the album’s longest and moodiest song. Minimalist in approach at times, it might sound like a certain big American masked band in parts but it bursts into life mid-way through, unleashing a familiar uneven and heavy tone alongside some utterly brilliant vocals.

I hadn’t anticipated that this review would end up as long as it has but there’s a lot to take in here. Steaksauce Mustache are a modern day marvel when it comes to experimental and cathartic heaviness. Aside from that, they also know how to craft really catchy songs that transcend that heaviness. Quite brilliant. 

For Fans Of: Black Matter Device, Pupil Slicer, Under The Pier, Every Time I Die & Blessed By A Broken Heart.

You can stream and purchase the album digitally here:-

Steaksauce Mustache - https://www.facebook.com/steaksaucemustache

Silent Pendulum Records - https://www.facebook.com/SilentPendulumRecords

Frayle - 1692 (by Mikey Ortega)

Labels: Aqualamb Records (US)/Lay Bare Recordings (Europe)

Formats: Vinyl/CD/Digital

Release Date: 14 Feb  2020

Tracklist:-

1. Introduction (Arise)

2. 1692

3. God of No Faith

4. Monsters

5. Darker Than Black

6. Dead Inside

7. Burn

8. Godless

9. If You Stay

20. Stab

                                                  

For any historians – 1692 was a dark year in the US. In the town of Salem, Massachusetts, 19 women were executed, as they were accused of being witches. It’s a past that will forever haunt the United States and it’s history – just like The Trail of Tears, slavery, and The Black Wall Street Massacre. Knowing about Gwyn Strang’s Roman Catholic upbringing, you can understand why Frayle recorded 1692.

 

For those who aren’t aware of Frayle – they are a band from Cleveland, Ohio, who have a unique take on Doom Metal, which Frayle calls “Witch Doom”. It’s an awesome blend of today’s Doom Metal with 90’s alternative music. My introduction to them is when I heard their Portishead cover of “Wandering Star” (off of The White Witch ep) on Riff Haven (which you can hear every Tuesday night at 9pm Mountain Time on radioboise.org). Their sound is what really caught me and I knew they were a band to keep on my radar. After their EP, Frayle put out a couple of singles – Witches (2018) and Dead Inside (2019 – which gave us a taste of what to expect later. On February of last year, Frayle have finally released their first full-length album, 1692, and it has exceeded everyone’s expectations.

 

1692 opens up with some dark soundscapes and Gwyn’s haunting, yet, hypnotising vocals, which is then followed by Sean Bilovecky’s heavy riffs ‘Introduction(Arise)’. But it would be the title track ‘1692’ that would be getting things rolling. It really brings you in and takes you on a journey. “God Of No Faith” would be a track that really hit me hard. As someone who also grew up Roman Catholic, it just really connected. It also helped that the vocals and riffs were amazing. But if I were to pick my favorite riff off of ‘1692’, it would have to be “Darker Than Black”. To me, when I think Frayle, that’s the sound I expect from them. Now if I were to think their heaviest track, it would be “Godless”. Sean’s tone just sounds so low and gut punching, it’s like standing in front of the abyss.

 

It's a shame that we never got to hear these songs live last year, due to the pandemic but when things start to look okay, I’ll be sure to buy a ticket when they head over here in LA. 1692 would be an album that will define heavy music in this decade. It definitely gives Doom Metal a breath of fresh air and it’s safe to say there hasn’t been an album like 1692.  Any hype surrounding this album – you best believe it. 10 years from now, I can see this album having an impact on the new generation who want to get into heavy music and I wouldn’t mind listening to a band that were influenced by Frayle’s 1692. They just repressed the vinyl if that’s your format. Also available on CD and digital from Aqualamb Records and Lay Bare Recordings. There's also a bundle which comes with a book about the Salem Witch Trials of 1692 and be sure to check out the "making of" video on YouTube.

You can stream and purchase 1692 on all formats below:-

Frayle - https://www.facebook.com/frayleband

Physical copies are also available from the labels below:-

Aqualamb Records - https://aqualamb.bandcamp.com/merch

Lay Bare Recordings - https://laybarerecordings.com/releases

Aqualamb Records - https://www.facebook.com/aqualambrecords

Lay Bare Records - https://www.facebook.com/laybarerecordings

Twin God - Deaths

Labels: Nefarious Industries

Formats: Digital

Release Date: 25 Sep 2020

Tracklist:

1. Animate (Death Of The Creature)

2. You And I (Death Of The Twin)

I'm grouchy because I have no TV signal. Thankfully, no TV means no distractions and writing about/listening to some noisy music will help with my irritable mood. Or maybe it's because the weekend's nearly over and I have to go back to work tomorrow. I don't know. Anyway, this release is something I came across when going through some unread e-mails yesterday. Deaths is a digital release by New Jersey, USA noise rock trio Twin God, which was released via Nefarious Industries in September. I can get down with any music where the vocals were recorded in a Honda CRV!

You know when you listen to something and you go “why haven’t I heard this band before?” That’s exactly what popped into my head when the progressive metallic riffs of EP opener ‘Animate (Death Of The Creature’ started rolling out of the speakers. Twin God plays a brand of noisy, heavy rock that rests in various camps musically, from heavy progressive metal, to sludge/psych, maybe some grunge and whatever it is that makes Couch Slut so endearing. Needless to say it’s awesome. The riffs set the tone, the percussive time-signatures groove steady for the most part before turning all stop/start, while the vocals are shouted yet the lyrics are audible.

Second song ‘You And I (Death Of The Twin)’ is quite harrowing. It’s tempo is slower and there’s a real sense of loss hidden in the depths amongst Twin God’s musical stew. As with the first song, it’s played with great precision and skill, which may be a strange thing to say about a noise rock band but it’s true. It gets lighter as well during the mid-section, when things go in an instrumental direction with some great prog guitar work and solos. Overall it twists and turns, going from dark to light and back to dark again. 

Recording-wise, it’s warm and alive. I can see why Nefarious Industries have helped to bring it to a wider audience. Hopefully, there will be a physical version on Deaths released at some point in the future. Twin God deserves it.

You can stream and download Deaths via Twin God's Bandcamp page below:-

Twin God - https://www.facebook.com/twingodmusic/

It's also available from Nefarious Industries here - https://shop.nefariousindustries.com/

Nefarious Industries - https://www.facebook.com/NefariousIndustries/

Temple - Pond Of Remembrance

Labels: Koenich Sound/Time As A Color Records

Formats: Tape

Release Date: 09 Jun 2020

Tracklist: 

1. Silver

2. Silence Is...

3. Rivet

4. The Fall Of Hames

5. Coastlines

6. Continuance

7. Tease

8. Director's Cut

9. Candlelight Revolution

10. Underground City Of The Dead

11. Raw Speech Scatter (Featuring JK)

I couple of weeks ago I featured a tape release by German solo indie/emo band Koenich. The tape was sent to me by Franz Kindermann of Koenich Sound. Franz also sent me this tape, which features eleven compositions built around rock and it's various forms, as well as acoustic music. It was recorded/produced and released by Koenich Sound in June of this year, and has been distributed with the help of Time As A Color Records.

Temple is essentially a solo project and with that in mind, you’re gonna be treated to different styles and moods throughout. The intro song ‘Silver’ is a good old classic rock solo over the top of a steady rhythm section. It’s short and leads to ’Silence Is…’, which is both dramatic and tragic in it’s delivery. Choral and melodic, with layered clean vocals that bring to mind Queen. It’s not a rock opera but it does have that feel, though it’s not over the top.

As with other releases that Franz had produced, Pond Of Remembrance is very clean and clear and ‘Rivet’ embodies that with slick rock in the first half before giving way to something a little funkier in the second. What follows is the folk-inspired/grunge rock song The Fall Of Hames, which features traditional woodwind as well as crunching guitars.

The grunge continues on Coastlines’ and a familiar voice provides vocals, as Marc Sesto adds his tones to the album (as he did on ‘Silence Is…’ and ‘The Fall Of Hames’ previously). His vocals are really soothing even with their slightly grittier tones, alongside Franz’s lighter singing. The music is still light and not overpowering.

Marc once again lends his pipes to ‘Continuance’, which is very much a modern take on grunge with the added darkness created by The Cure back in the day. It’s quite a proggy song too, with different movements and off-kilter sections, which will please many. The acoustic guitar that was so prevalent of Koenich’s tape, makes an appearance on ‘Tease’ alongside what sounds like accordion accompaniment. It’s a nice clash of styles and it works really well. 

From the sublime to the ridiculous with the bizarre rock n roll song ‘Director’s Cut’, which is at odds with the songs that it follows. That said, it’s well played and is maybe somewhat of a breather between Temple’s more serious songs. ‘Candlelight Revolution’ is filled with funk and a healthy groove, while still capturing the rock influence that the project has. That influence still undeniable here.

Penultimate song ‘Underground City Of The Dead’ is the longest song on Pond Of Remembrance and as such, it’s also the one with the most experimentation. It goes from gentle folk rock to something akin to industrial/punk within a couple of minutes. It’s entirely instrumental and would sound great amongst the soundtrack to an action movie or video game for sure. From that to probably the heaviest song on the album and the hardcore-punk of ‘Raw Speech Scatter’, featuring JK (if anyone can tell me who JK is, that would be great). This song was well worth waiting for if you wanted something heavier.

Overall this album has everything and is a bit all over the place because of it. That said, it’s excellently played and delivered with a really varied palette of musicianship. This should appeal to a lot people who read this blog, so take a punt if you want something out of the ordinary.

You can stream and purchase Pond Of Remembrance via Temple's bandcamp below:-

Temple - https://www.facebook.com/Temple-Music

Dawnwalker - Crestfallen EP

Labels: Self-Released

Formats: Digital

Release Date: 10 Apr 2020

Tracklist:

1. Crestfallen

2. Pollen Cloud

3. Towpath

4. The Way Home

5. Lost Wisdom (Mount Eerie Cover

6. Pagan Plains (Acoustic)

I'm loving the colours of the trees at the moment as Autumn truly takes hold. I mention Autumn because because this EP by UK experimental rock band Dawnwalker was released back in Spring, when new green shoots were growing all around. 'Crestfallen' was recorded and released digitally, having been created by a number of musicians alongside the band's main songwriter/performer Mark Norgate, during lockdown. I feel that reviewing it now might give people a slightly different perspective on this year's events but also provide a sense of optimism too. At least, that's what I'm hoping for anyway.

This EP was entirely home recorded by all members of Dawnwalker (plus collaborators) and it embodies the true spirit of togetherness that was felt during the lockdown. The EP’s title track ‘Crestfallen’ contains progressive time signatures, strong instrumental melodies and crashing dissonance at times. Musically and vocally it’s not meant to batter your brain, but to envelope you gently and bury itself in your head. 

Aside from the progressive rock element of Dawnwalker’s sound, folk is also used to provide a balance and ‘Pollen Cloud’ very much feels like a modern-take on the genre with calming clean vocals and layers of instrumentation that grow with each bar. It’s repetitive nature brings to mind Enya for large parts and it’s only until the final sixty-seconds that Dawnwalker’s modern rock makes an appearance again.

‘Towpath’ follows immediately and with it, an about turn in atmosphere and musical terms. Black metal-like vocals are joined by much heavier tones in a song that’s startlingly good and still retains the calmness of the band’s post-rock influences, especially the latter sections. It’s a sign of just how versatile this group of musicians are.

With ‘The Way Home’ comes a nod to Fleetwood Mac, in a subtle way. The soaring dual clean vocals sit alongside shoegaze-like guitars and sensitive percussion to provide something different again. Dawnwalker is not rooted in any one genre, which in turn means that they can enjoy the process of creating and releasing music, and that is passed onto the listener here.

There’s a cover of Lost Wisdom (by US experimental/indie band Mount Eerie, who on a side note were also covered/remixed by Wolves In Throne Room back in 2018). I’m not going to profess to know much about Mount Eerie, but this song is very obviously Dawnwalker’s own interpretation and as such it covers a lot of what makes their individual sound so unique. Combining all of their lighter and heavier elements.

They round out Crestfallen with an acoustic version of their song Pagan Plains (originally released on their 2018 full-length Human Ruins). It’s a lovely way to end an EP that’s given so much to savour. It’s a slightly melancholic song but it doesn’t become depressive or downbeat at all. It’s absolutely perfect listening for a clear and quiet morning.

At it’s end, Crestfallen leaves you bathing in calm reflection and as eluded to in my opening paragraph, does provide a sense of optimism. It has no set agenda or formula, which should come a no surprise given it’s lengthy list of collaborators, including Dane Cross (Sacred Son), Matteo Bianciotto (Turbomaniacs), Chris Allan (Chris Allan Drums), Sian Alex (Gold Baby), Hugo Terva (Metasoma) and Robin Melinda Koob (Run Remedy). The mixing of Wayne Adams also helped to bring it all to life and sounds great here. Links for all of the above can be found via Dawnwalker’s bandcamp page.  

You can stream and buy Crestfallen digitally below:-

Dawnwalker - https://www.facebook.com/dawnwalkeruk/

Manes - Young Skeleton 7"

Labels: Aftermath Music

Formats: Vinyl/Digital

Release Date: 18 Apr 2020

Tracklist:

1. Young Skeleton

2. Mouth Of The Volcano

It's fascinating being able to track the trajectory and the evolution of bands, especially when they've existed for nearly three decades, as is the case with Norwegian band Manes. From their black metal beginnings in 1993 to their experimental/electronic/rock that exists in the year 2020, their body of work is not to be sniffed at. Returning earlier this month with the 7" EP called Young Skeleton, Manes are pushing themselves further as artists.

Ambience and atmosphere have long since been associated with black metal, but when musicians jump from the genre and into another musical world, they take those textures with them (with varying degrees of success). Manes have done it with ease on ‘Young Skeleton’, which is a melodic and stirring ballad that is firmly rooted in rock. The vocals of Tom Engelsøy or soothing and gentle.

‘Mouth Of The Volcano’ is very different with spoken word samples and orchestral instrumentation competing with operatic vocals and harsh screams, courtesy of Manes and guests Asgeir Hatlen, Anna Murphy and Ana Carolina Skaret. It’s haunting and bizarre, yet it all sounds so cohesive and well put together. As the song ends with the sobering line ‘Don’t come here, there’s no escape’, it’s apparent that Young Skeleton is a very well-timed release.

It may be brief but this EP shows that the creativity and relevance of Manes is still bright for all to see. Some people say that 2020 will be the year the world implodes. If it is, this contains the final two songs that’ll be playing when the last of our kind watches the final remnants of earth burn up.

You can watch the video for 'Young Skeleton' below:-

Physical copies can be purchased from Aftermath Music here - https://aftermathmusic.selz.com.

Manes - https://www.facebook.com/manes.no/

Aftermath Music - https://www.facebook.com/AftermathMusicNorway/

Final Coil - The World We Left Behind For Others

Label: WormHoleDeath

Formats: CD/Digital

Release Date: 12 April 2019

Tracklist:

1. Ash's

2. The Last Battle

3. Scattered Dust

4. Take Me For A Walk

5. Empty Handed

6. Keeping Going

7. Convicted Of The Right

8. Ashes Ashes

9. One More Drink...

10. ...And I'll Leave

11. Imaginary Trip

12. The World We Left Behind For Others

Looking forwards, the next few weeks should be better content wise for me. The last couple of weeks have been a bit hit and miss but that's going to end starting now. East Midlands progressive/post-rock trio Final Coil wrote to me a little while ago about their latest album that's been released with the help of WormHoleDeath. Final Coil's favourite artists range from the likes of Deftones and OHHMS to Pink Floyd and Tool, so let's see (and hear) how "The World We Left Behind For Others" holds up.

Opener Ash’s is an ambient and laid-back instrumental intro that hints at what’s to come. The drums sound programmed during Ash’s but once The Last Battle rolls around, they’re definitely not. What you’re greeted with here is melodic but gritty rock with a hard edge, One that’s definitely in the vain of Tool and bands like Adema and Spineshank initially. I apologies for the nu-metal comparisons here, but those are more relatable thanks to their own progressive elements as opposed to the genre they were lumped into. This a great song nonetheless with plenty of quality guitar and percussion work, as well as the vocals, which are delivered in many different layers and harmonies. 

Musically Final Coil is pretty top notch. The moody opening bars of Scattered Dust are testament to how they can weave different elements into their music without sounding disjointed. They have heavier moments too but their sound is one that is better when it’s subtle. After those two previous longer-players, Final Coil slips into Take Me For A Walk, which is a breathtaking piece of post-rock that lasts little over three minutes and is just filed with so many life-affirming layers of instrumentation. So much so that you’d wish they just went on forever. 

Things get a whole lot more rock on Empty Handed, though don’t worry your little head, it’s not turning “glam” on you. Final Coil are much classier than that. Just listen to those dual guitars! Following that things go in a grungier direction on Keeping Going. I guess it was always threatened given the band’s appreciation for Alice In Chain and to give them credit, it sounds really good. For those of you who only think of Nirvana when grunge is mentioned, you need to expand your minds and check this out. 

The strings create a haunting atmosphere on Convicted Of The Right. The song itself is a more laid back number, with a lot of acoustic elements during the verses especially. Another semi-interlude/short song in the form of Ashes Ashes breaks up proceedings a little. It’s rude to of me to call it an interlude though, I guess I’m just used to longer songs now. There’s a lot to like about it though so don’t worry. Electronics and subtle noise make themselves heard on One More Drink…., which is an instrumental interlude. It leads you into the final trio that get longer and longer in length and therefore more immersive.

The companion song to One More Drink… is …And I’ll Leave and it’s another gritty piece of metal-tinged rock that’s a bit of a throwback. It’s really well written, as are all of their songs and its got a great maturity. As a penultimate song, Imaginary Trip feels so melancholic. Its actually pretty emotional. They leave the big one till last in the form of the title-track. Ten+ minutes of progressive majesty. The instrumental build-up is huge and suggests it’s more than just a build-up. The vocals kick in towards the four-minute mark and their audible and clean delivery is without question throughout.

I’m extremely proud that bands like this exist in the UK, because Final Coil proves the sheer diversity that we have on our tiny island. This album is great and even if you don’t like the more extreme edges of metal and rock, this is a record that you should dedicate your time to. Great work!

You can stream the full record and buy it on CD and also digitally below:-

Final Coil - https://www.facebook.com/finalcoil/

WormHoleDeath - https://www.facebook.com/WormHoleDeath/