Tyrant’s long-awaited fourth album, Hereafter (ShadowKingdom Records), has come out under some rather interesting circumstances. In addition to serving as the Pasadena veterans’ first full-length since 1996’s King of Kings, Hereafter sees journeyman vocalist Robert Lowe at the helm in place of Glen May. The prospects of this collaboration are certainly intriguing, especially as a fan of Lowe’s work with Solitude Aeturnus and Candlemass. I wouldn’t go so far as to think of it as Tyrant gone doom, but it approaches their established sound from a noticeably different angle.
Cutting her professional teeth among serious pedigree as a member of Psych-Rock collective The Eden House Orchestra, the ethereal vocals of Belfast’s Louise Patricia Crane have dripped honey with such luminaries as Monica Richards and Julianne Regan. Debut solo album Deep Blue (Peculiar Doll Records) sees a host of Rock legends lend a hand to create a work of strange, wistful charm, paying due deference to a number of influences in the process. Continue reading
Denver Stoner/Sludge outfit In The Company Of Serpents has spent most of its eight years as a fluctuating two-piece, with only vocalist and guitarist Grant Netzorg as the constant. The arrival of Vermin Womb‘s JP Damron to the drumseat has seen an expansion to a trio with the addition of ex-Black Sheep of Kali stringman Ben Pitts and, maybe as a result, fourth album Lux (Self-Release) adds elements of invention and atmosphere to the core sound, demonstrating welcome growth. Continue reading
Croatian trio Them Moose Rush, for those who’ve never had the pleasure, are pleasantly bonkers. It’s kind of like putting Jane’s Addiction and Captain Beefheart in a blender, and seeing what crazy shit results. The chaotic twists and turns within third album Dancing Maze (Dostava Zvuka) are all named after random people’s belongings or actions and allow accessibility despite the complexity of the music. Continue reading
Everything in Canada is supposed to be nice, right? That Trudeau bloke’s boyish grin; the clean, crisp air; the way the natives go ‘Eh’ at the end of a sentence in a wonderfully endearing way. Tell that to Resent. The 2018 demo from the Victoria, British Columbia based quartet was one of the most frightening exercises in putrid Sludge I’d ever encountered, and new album Crosshairs (Dry Cough Records / Nerve Altar / Rope Or Guillotine) promises only to extend the suffering…
Yeah, I know a little bit about Binary Code. My first brush with this New Jersey act traces back to 2010 when I was a mere college student and just starting my internship at 91.5 FM WUML Lowell. It was there that as a metal padawan I delved deeper into more progressive and heavier music and Binary Code’s debut LP Suspension of Disbelief (Metal Sucks Records) certainly fit those parameters. And on their third full length, Memento Mori (Memory Facility), they’ve still got it. Continue reading
Despite an apparent reluctance to classify herself as a white witch Gwyn Strang, vocalist for Cleveland Doom / Post quintet Frayle, identifies as a spiritual being in touch with strong forces, and debut album 1692 (Aqualamb Records/Lay Bare Recordings) comes with a rather plush book explaining ancient magick among other things. It’s a daring opening gambit, complete with album title surely referring to the Salem witch trials, but does the accompanying music live up to this?
When LA trio High Priestess‘s eponymous debut High Priestess (Ripple Music) landed in 2018, it took my breath away with its mesmeric, Doomy hypnosis and occasional brutality. Waxing lyrical about it then, I was already eager and anxious to see if they could follow it. I needn’t have worried: sophomore set Casting the Circle (Ripple Music) maintains the impossibly high standards of that first album while enhancing the entrancing elements of their sound. Continue reading
The first time I saw Between the Buried and Me live was at The Gramercy Theatre in New York City, during a tour for their then-newly released Colors (Victory Records) album; it was a pivotal period for the group who had, at that time, seen a series of lineup changes in short order. Five drummers, four guitarists, and three bassists later, the band was shaping their sound to dull the edges from the ever-aggressive Silent Circus (Victory Records) and Alaska (Victory Records) albums to an arguably more technically complex, albeit at times mellower, Jazzy era that would set the tone for the rest of their musical trajectory as we know it today. Continue reading
Following the monumental impact of their 2017 self-titled, Asking Alexandria’s sixth album Like a House On Fire (Sumerian Records) had a lot to live up to. Thankfully, if anyone’s truly mastered the ability to evolve without betraying themselves or their fans, it’s AA. They’ve stood as a pillar in metalcore and metal for over a decade now, and they’ve made it damn clear they aren’t looking to give up their throne anytime soon.