It’s for the best that I didn’t partake in any herbal supplements before Batushka‘s Hospodi (Metal Blade) as I feel that the religious themes and spectacle would’ve kicked open a vault of repressed Catholic guilt sitting in the back of my head. You see, the uncertain nature of religion and faith is one of the few things that elicits true fear from me. Well that, wasps, tractor-trailers and large dogs, but who’s counting?Continue reading
Riot Fest 2018 approaches next weekend and the bill looks stacked! The lineup features Weezer, Blink-182, Beck, Elvis Costello & The Imposters, Run The Jewels, Incubus, Young The Giant, Interpol, Blondie, Alkaline Trio, Father John Misty, and Jerry Lee Lewis. Tickets are on sale now at the link below. Now. Riot Fest takes place September 14th-16th at Douglas Park in Chicago, IL.Continue reading
Riot Fest had their big reveal last night, announcing the first and main wave of bands for this coming September in Chicago. Held September 14th-16th at Douglas Park in Chicago, IL the headliners include Blink-182, Beck, Elvis Costello & The Imposters, Incubus, Young The Giant, Interpol, Blondie, Alkaline Trio, Father John Misty, and Jerry Lee Lewis. Tickets are on sale now at the link below. Continue reading
Doom tends to be somewhat formulaic, it’s part of its gloomy charm. To be appreciated fully it’s generally best to be played at skeleton shaking volume. As a whole the genre isn’t particularly suited for records unless you happen to have a wall of cabinets in your house raring and ready to give your neighbours tinnitus. Ommadon’s eponymously titled album on Dry Cough Records follows that doom formula very well. Fleshed out with production from Billy Anderson meaning that the tone is excellent throughout both tracks.
The problem sets in somewhat with the fact that as it’s a two-piece instrumental doom act, they’ve kind of played themselves into a corner. What they do is good, but there’s not really all that much which they can do to make it stand out from the many other doom bands playing the same standard ‘bumbum bumbum BAAAM’ doom riff.
By foregoing vocals, the focus goes entirely onto the music to carry the emotion of the piece and unfortunately no matter how good the tone or the performance the standard hit the guitar/drums, wait, repeat formula just lacks an emotional depth after hearing it repeated for half an hour.
That’s not to say that it doesn’t have merit, with the tone and competency I would imagine this really comes into its own live, with the benefit of much higher volume, a mesmerised audience filling a small sweaty venue on a dreek day. Then it would have relevance and connect with the listener.
However, on record there’s nothing really hear which separates it from any other doom band I’ve heard. What it does is competent, with a great tone. However, there’s little to make it stand out from the crowd.
The 2015 Riot Fest Toronto will be held at Downsview Park in Toronto, ON on September 19-20, 2015. The first wave of the lineup was announced with more acts and headliners is expected to be announced on June 16th. So far the lineup consists of:
Rancid (performing …And Out Come The Wolves)
All Time Low
Tyler, The Creator
Coheed And Cambria
Drive Like Jehu
Echo & The Bunnymen
Frank Turner & The Sleeping Souls
Eagles Of Death Metal
Babes In Toyland
The Airborne Toxic Event
The Joy Formidable
The Dead Milkmen
The Thurston Moore Band
The Dirty Nil
The Dying Arts
Tasha The Amazon
Safe To Say
Psalm Zero is the last offering of the Canadian label Profound Lore Records and, once again, they hit the nail in the head (please do not forget about the amazing Artificial Brain’sLabyrinth Constellation that was also released by the label). This time around with Psalm Zero, a project that unites two great musicians and artists: Charlie Looker (Extra Life and Zs) and Andrew Hock (Castevet). Two musicians, two artists that have pushed the boundaries and delivered art of higher level. More often than we would like to admit, projects with members of known bands (if you don’t know them it’s your problem) fail because the members of those projects are afraid of facing with each-others style, influences and artistic output. Well, that doesn’t happen with Psalm Zero. With their debut full-length album The Drain, they face each other and there’s an enormous clash which makes the album such an enormous piece.
The first thing to make an impression on the listener its how the harsh vocals of Andrew Hock face the beautiful, overly dramatic – just imagine Morrissey (The Smiths) singing on and old, beautiful and huge cathedral and you will have an idea how profound, romantic and heartbreaking Hock’s vocals are – making a game of power sometimes and other times just a simple and incredible beautiful harmony like if they were meant to be together. The other thing is the all atmosphere of the record: perhaps the best description is post-punk industrialized that operates in this all spectrum of melancholy being sometimes just mournful other times just fuckin’ heavy with nothing on its mind other that pure and utterly rage. Seven songs and a record with just thirty eight minutes of running time, The Drain is an incredible and amazing introduction into their universe. There have been a lot of projects lately that are based on the 80s post-punk sonority, Psalm Zero are just one of most, if not the most, interesting projects of them all. Another pearl at the end of the ocean. Addictive and exciting.