Having successfully reinvented themselves as a power trio on 2018’s What Was And What Shall Be, Brimstone Coven, doubles down on the template with The Woes Of A Mortal Earth (Ripple Music). The style remains rooted in Seventies-flavored Occult Rock with the songs largely being driven by simple guitar/bass grooves and wafting vocal harmonies. The atmosphere and drawn-out pacing further reinforce a trancelike mood that is relaxing, yet esoteric. Continue reading
Giving me a copy of Brimstone Coven’s Black Magic (Metal Blade) is liking giving an alcoholic a free handle. I was in. Let’s cut through the bull, I was digging this album within the first few seconds of listen. It’s got that spooky, fuzzy sound that turns me into a giddy child.
‘Black Magic’ and its bass line get things started on a groovy note, a throw back to the jams of the 60s and 70s when everything seemed to be enveloped in a haze and movement was just a touch slower. I keep playing this song over and over again and just can’t get enough of Andrew D’cagna’s bass playing. Give me, please. Don’t be surprised if you come across me dancing to this in the woods with some friends from beyond the veil.
Songs like ‘Slow Death’ make KISS to mind. They’re higher energy with a little less fuzz and prevent the album from getting monotonous. You also have that classic 70s guitar riffs and even John Williams’ vocals are similar to a slightly more subdued Starchild. It’s like a five minute trip back in time.
The second half of the album or so steers the listener away from the light and back on the road towards Spookyville with ‘The Seers’ and ‘The Plague’. The solo about three minutes in on ‘The Plague’ is spectacular and I am mildly in love with it despite my usual fascination with the bass side of things.
I’m calling it now; Black Magic will be one of my favorite albums of 2016. Give it a listen and discover something beautiful.
ALEIDA LA LLAVE
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