Turn On. Tune In. Drop Out. That’s the overarching feeling with the newest Greta Van Fleet, Starcatcher (Lava/Republic Records). Starcatcher has swirling browns and oranges reminiscent of the seventies. It evokes lava lamps and black light posters. There is an earthiness to Starcatcher, a richness in tone. It’s an album that is felt as much as it is listened to. Starcatcher’s sound is as close to analog as you can get in this digital age.
Ronnie James Dio. David Bowie. Dimebag Darrell. Lemmy. Jeff Hanneman. John Lennon. Kurt Cobain. Layne Staley. Trevor Strnad.
Countless others.
We all know where we were when we first heard they had died.
Since their debut in 2009, Long Beach four-piece Rival Sons have been cranking out seventies-influenced rock records at regular intervals. Since Feral Roots in 2019, COVID forced them to take their time on the follow-up – it turned out to be time well spent as they have two albums due for release this year, Darkfighter and Lightbringer (Elektra/Low Country Sound). Darkfighter is the first one to be released and it is a tight, eight-song offering that continues their accomplished rock n’ roll – marrying Free, Led Zeppelin, and Black Keys influences to Dave Cobb’s rich production values.
Everyone loves a comeback story, don’t they? A tale of fortunes regained, odds defied and former glories revisited. Unfortunately, as is the way with recoveries and revivals, there always has to be darkness before the dawn. And among all the typical and often comparatively inconsequential trials and tribulations artists face during their careers, death seems to play its part far too many times. A fact with which San Francisco act Metal Church are all too familiar.
In their forty-three year (!) recording career, it isn’t unfair to say UK rock stalwarts Def Leppard are known for a pretty steady formula and approach of, in the main, pristine, polished hard rock songs, centred in an eighties sheen. Most of us could recognise a Def Leppard-style song without too much difficulty, and they aren’t (a few deviations – RetroActive, Slang, Taylor Swift, and Ghostly interactions – aside) known for their musical risk-taking or surprises.
Spring time on planet Earth. Flowers are blooming. The weather is heating up. New music is dropping. But what, dear readers, should you be blasting from your 8-tracks this season? Oh, you don’t have an 8-track? Well, never fear, Verdena shall provide you with an 8-track worthy tome in Volegio Magia (Capital Records Italy / Universal Music).
Crown Lands claim the crown with this truly fearless album. Which crown? The crown of the New Kings of Progressive Rock. This virtuoso, exciting and engaging Canadian duo – guitarist/bassist/keys player Kevin Comeau and singer/drummer Cody Bowles – have delivered a record that, if you hold any prog in your soul, will leave you smiling from sated ear to sated ear. It’s also a record full of ideas, that will make you think, that fulfills its promise, and is well worth the wait – how many albums can we say that about? As Bowles sings on ‘Context’: “If life is a wheel/ Please let it spin/ And doors that may open/ Please let me in …” You’re in guys, you’re in.
Ghost Cult welcomes in guest contributor, podcaster and Pink Floyd expert Nik Cameron of The Glacially Musical Pouredcast to wax on about Pink Floyd’s The Dark Side of the Moon, which turned 50 years old today (March 1st, 2023).
The Dark Side of the Moon, 50 Years Later
As we sit here, author and reader, what could be arguably called the greatest prog rock album of all time, The Dark Side of the Moon, by Pink Floyd, has aged fifty years. At the time of this writing when I attempt some words about this massive achievement, I am 47 years old.Continue reading
Thunderous. Anticipatory. Windswept. A Bugatti Veyron driving at top speed through the Uyuni Salt Flats. Batman. Witch Ripper’s The Flight After the Fall (Magnetic Eye Records) is all of this and more.
With 25 studio albums under his belt after forming Uriah Heep back in 1969, Mick Box is not your average 75-year-old. While it is a travesty that Uriah Heep are left in the shadows of their contemporaries, such as Led Zeppelin and Deep Purple, the consistent high-quality of Uriah Heep’s albums puts them up with the aforementioned bands.