If you only know William DuVall from his time in Alice In Chains, you might have missed out on his multifaceted musical career spanning over thirty years. From Hardcore Punk, post-Grunge, RnB, and producer of other artists, he has run the gamut of styles, and often making everyone around him glimmer too. That’s why on his debut solo album One Alone, (DVL Records), it’s so refreshing to hear him just as the title indicates and armed only with his singular voice, and acoustic guitar to bring these eleven tracks to life.
Ghost Cult is proud to bring you the new single from indie singer/songwriter Serendipity today. The artist cut her teeth in the NorCal slam poetry scene as well as multiple cross country road trip, honing her craft and finding her voice. The confessional tone of the music and vulnerability the writing is something you often don’t see from an emerging artist. “So Wise” comes from her forthcoming debut album Honey, an elven-track expose on her life and coming-of-age in a turbulent, unforgiving world, yet seeing the old world but through young eyes. Check out ‘Soo Wise’ right now! Continue reading
The music business is ugly, hard, and not for everyone. You hear this over and over from industry types and even some artists. Still, it’s hard to not pine for the days when record labels were really putting a priority on A & R (artist and repertoire), and nurturing tomorrow’s important groundbreaking artists. Sargent House is one of the few labels that allows talented people to find themselves over and over again. They release music that makes it easy to care and be passionate as fans. Like the iconic graphic on their logo, sometimes you get the snake, sometimes you get the sweet cup of wine. Once in a while, both. One of those artists you get both sweet and bitter with is the fantastic enigma that is Chelsea Wolfe. Continue reading
Singer-songwriter Travis Hayes is releasing his brand new album later this week, Sleepless. His second album looks to build on the promise of his debut and features more of his folk-rock songcraft and the distinctive voice that has seen him earn accolades from the press and spots at festivals like SXSW, Noise Pop, Off Beat, Phono del Sol and Ocean Beach Music & Arts. Stream ‘Sad Songs’ right now! Continue reading
As previously reported by Ghost Cult, Danny Worsnop (Asking Alexandria) will released his long-worked on Blues/Outlaw Country album this winter. The Long Road Home will see release via Earache Records on February 17th, and Danny has booked a record release show on Valentine’s Day. Continue reading
With Anathema bassist and song-writer Duncan Patterson having left the Antimatter project in the sole hands of former writing partner Mick Moss a decade ago, The Judas Table (Prophecy) is the sixth release under the Antimatter banner, and the third of Moss’ own making – the initial triumvirate featuring a split of compositions and recordings made by the pair mainly in isolation of each other – and continues the move to a more organic melancholy, leaving further behind the electronica that had featured in their earlier material.
Introverted and disappointed (though not disappointing), Moss uses The Judas Table as a cathartic vehicle to share his dissatisfaction with the people and situations he encounters in life, along with the betrayals and frustrations that he faces; “Just another dream that died…” he laments in ‘Stillborn Empires’.
Wholeheartedly earnest, there is no mistaking the feeling and conviction in Moss’ unassuming vocals, vulnerable on ‘Little Piggy’, a heartfelt song that builds from simple acoustic and vocal origins, or the more powerful, though still emanating a fractured soul, oration in the title track, his baritone meshing with a haunting female vocal and cello accompaniment.
The Judas Table invites reflection, it opens a forum to analyse loss and betrayal, and is a catalyst for melancholy, yet in a therapeutic way; there is something cleansing and uplifting about the introspection and realisation that occurs during the musings propagated by the subtle and underplayed despondent art rock Moss has produced. On ‘Hole’, the stark staging and gentle progression is as effective as Moss’ gets, sincere and sparse, just a voice and a guitar until the song spreads and breathy female vocals accompany a coda that slips away as delicately as it was constructed. Indeed, most of the songs here develop and sprout from clean guitar strums and soulful male vocals, building through adding strings and synths, and, at its core, are about the sharing of feelings, of sadness.
It goes without saying The Judas Table is not an album for all occasions, but its beauty and melancholy has a place and time with genuine and heartfelt emotions, it is a reserved and affecting soundtrack to reflection.
VLY is an international project brought to light by the opportunities afforded by the technology of today… a disparate and loosely connected group of musicians brought together by a series of thought processes and online links, covering the US, Britain, Italy and Sweden. The brainchild of Karl Demata (Crippled Black Pheonix), the digital airwaves brought his ideas to the ears, and subsequently voice, of Keith Gladysz and I / (TIME) (Lazers Edge) began to pull its threads together and weave the dreamcatcher of ideas that would form their debut.
With serene progressive rock as the spine, the ribs of the Frankenstein’s monster cover classic rock, lush textures, psychedelia, and singer-songwriter pop, as well as, on a track like ‘Hypnotic’, building swathes of vocal repetition to mirror the song title, while touches of Americana decorate ‘Dark Days’. The musicianship is exemplary as Italian keyswoman Elisa Montaldo steps from background adornments to the forefront and back again, with the delicate piano touches of ‘Time Remembered’ setting up the meandering ‘Silver Beeches’, or the wall of sound that accompanies the rockier and more substantial ‘Out Of The Maze’ filling and encompassing, her use of organ and synth sounds reminiscent of Richard Wright with some beautiful minor key selections and enhancements; indeed ‘Perfect Place’ is an eight minute tribute to Pink Floyd.
Playing in the same child’s playground of the heart as Tim Bowness, both lyrically and musically, VLY have found a way to marry progressive with emotive and to prove that collaboration can be successful and effective, even if carried out remotely, with individuals trusted to bring their own emotive footprint. While there are variants of style, in the main, clean guitars shimmer, Montaldo and Mattias Olsen create soundscapes to guide and Gladysz, vocally pitching somewhere between Geddy Lee and Papa Emeritus, is the hand to hold to walk us benignly through.
While several of the songs blur into one progressive post-rock psych-flecked confluence, at its best I / (TIME) is a varied and successful experiment. To truly capture the heart, perhaps emotions need to be played with more earnestly, but Demata and Gladysz should continue their experiment, for VLY should be viewed as nothing other than a success.