Lucifer – Lucifer I


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Gaz Jennings fancies his Occult Doom at present. Last year’s largely well-received Death Penalty project is followed by another female-fronted band of sinistras, this time headed by former vocalist of The Oath, Johanna Sadonis. Initially Lucifer I (Rise Above) sounds as if Black Sabbath have gone more up-tempo, and recruited Agnetha Faltskog to the mic, though with eerie harmonies flying through the dancing, patchouli-scented riffs of opener ‘Abracadabra’, the feel of ‘Goat Doom’ is still here if not quite the density.

There’s a curious tone to Sadonis’ voice, often laconically delivered yet soaring then swooping with a powerful, aching beauty. The brief harmonising in ‘Purple Pyramid’ is delicious, the odd sparse area lit up by The Wizards’ (Jennings’ pseudonym here) growling riffs and those siren-like pipes. Lighter moments may divide opinion, tripping close to a Folk-rock feel not unlike some of Cathedral’s stuff, yet they display welcome variation; the oft-faster than expected pace lifting the mood despite the plaintive voice and subject matter.

‘Sabbath’ finally, and rather aptly, shows us some serious weight, the thus-far barrelling journey slowed, that voice piercing the leaden, eastern-tinged riffs with a pleading agony. Whilst it’s easy to point out Sadonis as the star of the show, Jennings’ mastery of his instrument is supreme yet so subtle it’s almost unnoticed, taking each track to different characters of a story. This is reined in and directed superbly by Andrew Prestridge’s stunning drums: the bare minimum of flourish, just perfect inclusion and timing. All the ingredients fit together perfectly with the effortless switches and dual leads of the drugged-out pain in ‘Morning Star’: whilst the wonderful ‘Total Eclipse’ and ‘A Grave for Each One of Us’ flick from dreamy seduction to a rampant, roaring pummel and back in an instant, Dino Gollnick’s squirming bass underpinning Sadonis’ honeyed notes and coating some feverish riffs.

Full of more beauty, urgency and omen than Death Penalty could muster in one track, with a perfect blend of depth and air, this is a great first listen and improves with each successive experience. Wicked, in the original meaning of the term.

 

8.0/10

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PAUL QUINN

 

 


‘Find The Real’: Johanna Sadonis of LUCIFER


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Johanna Sadonis of LUCIFER, by Burning Moon

While preparing to launch her second band and release her second debut album in as many years, Johanna Sadonis, formerly of The Oath and now of Lucifer, spoke to Ghost Cult about the authentic sound of Lucifer I and why the music of yesteryear is at the core of her bands’ identity.

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Lucifer I (Rise Above) has a very authentic, organic, warm 70’s sound to it. Was it difficult, in this age of Pro-tools and plug-ins to find place that would allow you to record in an older style way, and someone skilled enough to do it?

“I didn’t look in the places you would normally look for a band that plays rock and metal. I was working at a record store and there was a guy who plays session bass for a lot of different bands and he said he had to go to the studio to record something with guitar player from The Swans for a side project. He came back with 4 or 5 songs and he played them over the big system in the record shop. And I said “It sounds amazing. It sounds like a 1960’s Serge Gainsbourg record!”, so I asked how on earth did he do this in one day, and he said the guy they recorded with (Ingo Krauss) was a true wizard!”

“He actually used to run Conny Plank’s studio, the old hero of the Krautrock scene, and he told me it was full of vintage equipment, so I asked for the contact. It was good to take it out of the context of going to one of the normal metal studios.”

“It was a good thing to do. He did an amazing job and we were able to record live. You don’t have clicks so you have an organic flow to the music, and it can be a magic trick to have that. So, we went to an old studio with all this vintage equipment, and it sounds so much more organic, and you’re able to record live and you hear the little flaws. It’s not over-produced because that would take the life out of it.”

 

Occult rock is a very “in” scene to be involved in. Why do you think this is, and do you associate with the other bands coming from a similar vibe?

“I’m sure it’s popular for similar reasons. People realise where the real gems are lying. It’s hard in rock and metal to reinvent the wheel and (when people try to) there have been such abominations of style and sub-genres that have been looming over the last couple of decades that have been quite horrible, you know? Also the horrible productions…”

“You look, and you have to return to the roots. But a lot of bands do that, bands that have been around for a long time, maybe during the 90’s they had a horrible phase trying out other stuff that was in fashion then, but now they return to their raw roots, because they realise where it’s at.”

Ha! I always think of Paradise Lost when you talk about bands doing things like that. I loved the earlier stuff, then they took some musical decisions I didn’t like, and I lost touch, though I’m pleased to hear they’re supposed to be heading back to their earlier sound…

“I guess you have to do that if you play music for a long time because you don’t want to repeat yourself. But, hopefully after you make a horrible album you return to what’s right! But everyone does it – even Sabbath with the last album tried to re-invent the old feeling. Whether it worked or not is another question… Or Danzig, the last album is much more back to the roots and to a raw production.”

“I don’t compare Lucifer to other contemporary bands, even those in the same genre although I am friends with many of those bands. I respect their stuff, and we look back to the old influences. I’d rather have a band looking up to those old classics than trying to copy the copy of a copy.”

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What is the attraction of a musical style and aesthetic that is older than you are?

“It’s part of a long journey. Being a metalhead for more than 20 years, and going through various different phrases I started with classic metal, of course, but then I went really into death and black and doom. But then when you get older and you start to open your mind a little more, you start to dig more into the historical paths of music.”

“When you’re a music nerd, you start digging, and I came to realize all the bands were based on these classic bands that have been there for 50 years, and you examine why have these bands been here for all this time. Why are Black Sabbath, Deep Purple, Uriah Heep classic bands and so good? If you’re a music lover or musician you hear all that and it’s all genuine.”

“So, here I am, at this stage in my life and I have the taste of a 56 year-old man, you know!”

It’s weird, isn’t it, when you come round to listening to the same music as your parents did…

“Exactly! My Dad listened to Deep Purple, and my Mum was into rock n’roll. When I was 13/14, I thought this is not cool! You don’t want to listen to what your parents listen to, because you’re brought up with it. It’s not something you can find your own individual space, because your parents are there too. For me, it was Metallica and Danzig when I was 13. Later on you grow up and you realize “Oh shit! It’s amazing what my parents listen to! Give me all your records!!””

“So, now I listen to my parents records!”

 

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STEVE TOVEY


Introducing… LUCIFER


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2014 saw the spectacular rise and burning fall of The Oath, a critically acclaimed (oc)cult NWOBHM / retro act, with the duo going their separate ways almost as soon as their self-titled debut (Rise Above) was released. A year on and Johanna Sadonis (vocals) is speaking to Ghost Cult from her home town of Berlin about the launch of Lucifer, her new phoenix from the flames, and their debut album, Lucifer I (Rise Above).

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Lucifer’s debut album Lucifer I, is out less than a year after The Oath separated. Were these ideas you had in mind for a second Oath album?

“No, I just had a lot of ideas and a lot of energy, so when The Oath disbanded and died I was sitting there with empty hands. I thought about everything I had planned for The Oath and thought, no, I’m going to take this energy and channel it right away instead of being frustrated about it. It took me a few weeks to leave one thing behind and decide to go on. The ideas weren’t there before. If The Oath hadn’t disbanded, that would have been my band, and not with these ideas.”

“It wasn’t my choice for things to happen this way, but it turned out, in the end, to be a really good thing for me. As much as I loved The Oath, Lucifer has come even more so to be my thing, so now I’m even more passionate about Lucifer.”

You turned to Gaz Jennings (Cathedral/Death Penalty) as a writing partner…

“I’d been in contact with Lee (Dorrian – former Cathedral frontman and Rise Above head honcho) all during The Oath falling apart, and he was someone I was seeking out to speak to – and he said “Hey, why don’t you ask Gaz, because he really likes The Oath”. Garry’s crazy, he plays so much guitar and has so many riffs piling up so I asked, and he said yes straight away.”

“I love Cathedral. I saw them for first time over 20 years ago, when I was 15, so we started writing and I gave him ideas for the types of riffs. I gave him certain songs as references, like “How about you make a song that sounds like a ballad from Scorpions In Trance album, or how about a Technical Ecstasy Sabbath kind of song.”

“I gave him suggestions, and he came back with riffs, so we could structure the songs together.”

While there are similarities across the two bands, there seems to be a much stronger 70’s rock bent to Lucifer, less of the NWOBHM influence that was prevalent in The Oath…

“After The Oath split up, I sat down and formed the concept in my head, so it was planned for Lucifer to be different to The Oath.”

 

“I really loved The Oath for what it was, and there is a common core to the sounds, particularly in terms of the influences; Black Sabbath being the main influence for me, for Garry (Jennings), also Linnea (Olsen – The Oath)’s favourite band.”

“But, the two differ so much in their guitar playing. Linnea, she had a more punky, raw, Motorhead kind of style that fit really well with the NWOBHM thing we were doing with The Oath. Garry’s playing is more complex, heavier on the doom.”

“I didn’t want to repeat The Oath as I felt the best thing in a situation like this is just to do something new.”

 

 

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STEVE TOVEY

 

 

 

 

 


Warhorse – As Heaven Turns To Ash + I Am Dying


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A decade ago this year saw the disbanding of Massachusetts cult heroes Warhorse, after a relatively short career that made quite an impact on the underground scene. After several EP releases, Warhorse released their first and sole full-length effort, As Heaven Turns To Ash; an album that maintains high acclaim to those in the know to this day, and that has proven highly sought after and very rare. Now it sees the reissue treatment, courtesy of extremist heroes Southern Lord.

On a cursory listen As Heavens… may appear a straightforward (albeit hugely strong) take on doom metal, with its melancholic feel and trudging pace, but closer inspection reveals an underbelly of 70’s psychedelic rock influences. The clean, acoustic opening passage ‘Dusk’ invokes a progressive rock feel before ‘Doom’s Bride’ bulldozes into view with a barrage of slow riffs and nauseating heaviness. In contrast, ‘Amber Vial’ has a haunting, almost tribal sounding campfire folk sensibility; not too far removed from the likes of Black Sabbath’s ‘Planet Caravan’; a template later seen again on ‘Dawn’, whilst original album closer ‘And The Angels Begin To Weep’ leads with a spooky, sharp piano passage.

In addition to the original album, this package includes the final EP/Single, the aptly titled I Am Dying; whose contributions sound even stronger; vocalist Greg Orne’s rasping roar sounding particularly emotive on these final offerings; all throughout two more succinct and direct songs, both in formula and duration.

This re-release serves to showcase a truly deserving cult classic which may have missed many people’s radars, but also sadly highlights what a loss to the underground arena Warhorse were, and how strong and important their star could have become if circumstances were different.

8.0/10

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CHRIS TIPPELL


Year Of The Goat – The Key and the Gate


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It’s been two years since Swedish retro rockers Year of the Goat released their debut album, Angels’ Necropolis and the band is back with a new release, the three track The Key and the Gate EP (Napalm)

Fans of their debut will be pleased to know that their brand of Satan-themed retro pop-rock is still firmly in place, and this EP suggests the next album will be more of the same and up to the same standard.

Featuring a classic NWOBHM twin-guitar lead, the opening title track is very melodic and hook driven. Frontman Thomas Sabbathi’s smooth croons the catchy choruses, while there’s a host of infectious riffs and impressive solos. It’s fun but a bit lightweight. The seven-minute ‘Magic Mountains’ is a slower, blues-inspired classic rock number. Anyone who liked Graveyard’s Light’s Out release will enjoy its haunting power. Filled with classy solos, it’s a great track and easily the highlight of the EP. Closer ‘Non-Euclidean Calculus’ may sound promising, but in reality is little more than a glorified outro; a 70s prog style instrumental of atmospheric keyboards and moogs, it’s a long wind down from an enjoyable but not overly exciting EP.

6.0/10

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DAN SWINHOE


Twingiant – Devil Down


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I presume the name of this Phoenix rumbling machine is pronounced ‘Twin Giant’, rather than being some bizarre moniker for someone who suffers sudden painful episodes [you mean like Twinge-ee-unt? That’d be odd… Phonetics Ed]. A somewhat irrelevant point, you say? Maybe, but none more so than certain passages of its sophomore full-length Devil Down (Medusa Crush).

That said, there’s a neat line in southern-infused stoner here, with luscious, howling lead solos a la Vulgaari‘s Brett Hedtke to boot. Delightfully-named opener ‘Old Hag’ is a languid yet moody beginning, all ‘stoner meets The Doors-in-the-Mojave, the dust getting right into a grainy production which completely suits the feel, some seriously chunky riffs planting the coda deep in the sand. Former Black Hell vocalist Jarrod Leblanc’s whisky-soaked growl rails over the more up tempo ‘Dead to Rights’, which carries something of the bloated stodge associated with the genre but is enlivened by some fascinating lead and rhythm work. Meanwhile, some plundering bass work from Leblanc sets up the ripping ‘Daisy Cutter’, a barrelling pace combining 70s suvvern rawk with the inhospitable wastelands of a desert storm and a moody, howling centrepiece.

So, it’s not to say the album’s terrible, but the main accusation frequently levelled at this sort of stuff is that it too often sounds like an easy Sunday afternoon jam session at your local rock pub; a little lazy, like your lovable Dad with his middle-age spread (hiya Girls), and not a little dated. Despite some swelling riffs and crushing power, those deficiencies appear throughout the aptly-titled ‘Through the Motions’; while the jerky, Allman-infused ‘Under a Blood Moon’, despite occasionally stirring the emotions, threatens to get going yet never really makes it. In a disappointing ending, only a sludgy vocal and the brief explosion of a pounding riff rescue the closing title track from utter tedium.

That said, this does, at times, rip, those driving riffs sounding like a firing engine with groove-laden, trippy leads dancing all over ‘Tiger Lily’. It’s a warm, heavy sound which isn’t for everyone, but evokes welcome memories of days gone by and will certainly get a gasoline party going.

6.0/10

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PAUL QUINN


Avatarium – All I Want EP


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When it comes to going in blind on a release it can be the best or the worst of times for a listener, On the one hand you can discover an absolutely storming new band, or you might come across (as I have many times in the past) discover an album that could be vastly improved by sending the CD case out to the reviewer blank with nothing but an apology note and some chocolates.

All I Want (Nuclear Blast) by Swedish female fronted doom five piece Avatarium luckily falls into the first category. Its sweet yet substantial sound fills your ears with enough melody, crunchy drone and riff to keep even the most melodic rock or gnarly doom fan satisfied. The first two tracks are recorded in the studio, with the latter three recorded live, especially pack the punch all tracks hope to deliver on their first listens, with the album’s title track providing to be the highlight of the release with its soaring vocal line and clearly Sabbath influenced riffs.

It would be easy to make connects to the likes of Sabbath and Blue Oyster Cult as touchstones for the band’s sound, which borrows heavily from the 60’s/ early 70’s early hard rock scene. But the album owes a great debt to the likes of Jefferson Airplane (certainly not Starship) especially in front women’s Jennie Ann Smith’s epic vocal range, she really has a great set of pipes on here and she shows it off throughout the five tracks on offer.

Overall, All I Want is a great EP from the group and shows a lot of promise in what is to come. The sweet mix of the almost Janis Joplin vocals and the low end of the 70s hard rock influenced doom under it makes a great pairing as they effortlessly work against each other, packing just enough low end and bottle to stop it from falling into the weak end of the spectrum.

7.0/10

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DAN O’BRIEN


Stubb – Cry Of The Ocean


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With the profusion of proto-metal, stoner, psychedelic rock acts about the question is, do we really need another one? Zodiac, Blue Pills, Scorpion Child and a host of others are now joined by Stubb and their second full-length release Cry of the Ocean (Ripple). Everything fuzzed up, riffs repeated ad infinitum and laid back languid vocals it would seem that Stubb have all the ingredients to fit into the psych, blues locker and roll out success.

But there is a problem; at times it seems that all the ingredients are part of a formula. It is only by the time track four, ‘Sail Forever’ kicks in that the sense of individualism comes through, as Jack Dickinson’s vocals rise above his intricate guitar work. The ability to put together such involved work is on display on ‘Heartbreaker’, but Dickinson’s vocal performance this time is reminiscent of an off-key punk doing a ballad during the verses, however, when it kicks in it turns into a good track which displays the potential of the band. Stand-out track ‘Devil’s Brew’ has a sense of purpose to the blues tinged classic rock feel as Christopher West (drums) and Peter Holland (bass) drive the track along, though

Throughout this release there is no doubt of the potential in Stubb; but someone needs to sit them down, take that potential (and musical ability) and slap it into shape. At times they stray into early Pink Floyd, Iron Butterfly and Cream territory so much so that it might be best to take any albums they have of those acts away from them until they can work on their own sound, and Dickinson’s vocals range from bluesy to sounding like Roger Waters giving a lecture on life’s lessons.

Despite these criticisms, what Stubb have produced is a solid album within their chosen genre, with the final two tracks –‘Snake Eyes’ and ‘You’ll Never Know’ – showcasing what they can do when they focus. The space the seven-minutes plus of each track allows is enough to doff a cap at what Stubb might become. Overall, this not a bad release, but has too many flaws to make it an essential part of collections of fans of this type of rock.

5.0/10

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JONATHAN TRAYNOR


Lunatic Soul – Walking On A Flashlight Beam


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How Mariusz Duda finds any spare time is a complete mystery. Not only the vocalist for Polish prog behemoths Riverside, Duda simultaneously has steered his own solo outings under the moniker of Lunatic Soul through alternate sonic landscapes. Despite most assuredly earning some downtime after the former’s most successful year, Lunatic Soul now return on yet another direction.

In stark contrast to Riverside’s previous album Shrine Of New Generation Slaves (InsideOut) and its more overt signs of 70’s rock worship, Walking On A Flashlight Beam (KScope) virtually eschews all remnants of guitars from its palette, relying instead of ambient electronica and synths, with drums and bass. Both bands may still be tied in their sense of mood and melancholy, and of course the shared talents of Duda’s distinctive and delicate tones, but otherwise they veer to different paths.

Opener ‘Shutting Out The Sun’ begins in an unassuming manner, with the sounds of light, crashing waves before it builds upon layers of effects and synths, shaping to an altogether more crowded form. WOAFB sees Duda really open up in creativity, from the almost tribal drum beats on ‘Gutter’ to the Eastern tinged melodies within ‘Pygmalion’s Ladder’, all still maintaining the album’s wispy atmosphere. Of course the star is without doubt Duda’s voice which conveys an almost unmatched sense of fragility and emotion in modern prog.

Whereas Riverside’s last venture saw the influence of the likes of Deep Purple, WOAFB draws a lot more from the likes of Tangerine Dream, both in its synth based structure and also in its ambience and inventiveness. Showcasing in its beauty a plethora of ideas which may be in some ways far removed from the more famous of Duda’s bands yet not alienating to its fans, WOAFB is evidence enough of Duda’s claim as one of modern prog’s great minds.

8.0/10

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CHRIS TIPPELL


Inter Arma – The Cavern


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The epic single-track issue isn’t quite unique, but an uncommon level of creativity and musicianship is required to make the product entertaining and involving. Virginian quintet Inter Arma possesses an outrageous level of inventiveness and aptitude, and 45-minute opus The Cavern (Relapse) is certainly not shy of it.

The sheer gravity and fulminating power of much of the music here is oppressive yet it carries the weight easily, positively gambolling through more intricate moments whilst retaining intensity. A journey through the galaxies begins with eerie then soothing atmospherics, sparing acoustic and strings before the titanic, savage yet occasionally complex riff fires home and gradually introduces the plaintive hollers of Mike Paparo, delivered from atop Kilimanjaro. It’s a powerful flexing of muscle, the soundtrack to Atlas stirring after a deep sleep. That riff deals crushing blows, aided by TJ Childers’ mammoth drums, his sticks pulverising with the power of Thor’s hammer.

It would be simple to dismiss the early stages as the product of adventurous Conan wannabes but the magic of unfettered imagination shines through, not least with some staggering lead guitar play. Some fabulous intricacies at seventeen minutes lift the track to the heavens with the assistance of some SubRosa-like mournful strings, while Thin Lizzy-esque dual leads introduce the final third; a mournful howling pattern accompanying lush orchestration, the soaring beauty of Paparo’s clean vocals aided by Windhand‘s Dorthia Cottrell, all the while retaining the tracks unearthly power and superiority. It’s this blend of raw animal force, aching melody and immeasurable creativity which marks out this fantastic band. More duels bring a gloriously overblown 70s heavy prog passage to a pounding, crushing coda, a gradually slowing yet swelling reprise of the opening structures which is close to orgasmic.

This is an ambitious effort but Inter Arma haven’t merely managed to navigate it, they’ve ridden it into the skies upon Apollo’s chariot. Euphoric, moving and gut-wrenching, quite simply this is a piece of monumental greatness, a game-changer, and essential for all fans of low-end prog.

We should all pack up and go home now. Anything else will seem average after this.

10.0/10

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PAUL QUINN