Cooking Hostile, the animated series from Joey Siler that featured Philip Anselmo in hilarious shorts is now back with another NOLA favorite, Acid Bath! There are tons of Easter Eggs for the seminal sludge/doom bands history as well as music. See if you can spot them all! Watch this Acid Bath inspired episode in Cooking on the Bayou with Acid Bath. Continue reading
In a move some thought might never happen, Brand New Sin is reuniting for a career-spanning concert in their hometown of Syracuse, NY. All original members of BNS will participate, which will be the first time they will have appeared together in over a decade. The southern rock and metal inspired band (think Black Label Society meets COC with a piano) had some minor hits, recorded WWE entrance themes and put out five records from 2002 – 2011 for labels like Now Or Never, Century Media, and Goomba Music. This band was incredible for their time, and here’s hoping they do a tour or at least several more dates eventually. Continue reading
Zakk Wylde is undoubtedly one of the icons of today’s metal scene and the Black Label Society guitarist and vocalist’s back catalogue is filled with more hits than he’s worn through guitar picks. Continue reading
Melding differing types of rock and metal together are American metalheads Sons of Texas. Formed in 2013 from, as their name suggests, the lone star state SOT are vocalist Mark Morales, drummer Mike Villareal, bassist Nick Villareal, and on guitar Jon Olivarez and Jes De Hoyos. Their new album Forged by Fortitude, coming two years after their début Baptized in the Rio Grande (both Razor & Tie/Spinefarm), is a continuation of their radio-friendly hybrid of rock and metal. Continue reading
If you find yourself seeking a soundtrack to a belligerent, drug fuelled weekend look no further than Songs of Darkness and Despair (Housecore Records), the new collaboration between the iconic Phil Anselmo and horror movie mainstay Bill Moseley. Continue reading
I first saw Liverpool’s Iron Witch around five years ago, supporting the once-mighty Kylesa and looking ready, with a little nervousness, to take on the globe. Cue the obligatory hard knocks and line-up changes…debut album A Harrowed Dawn (Secret Law Records) has seemed an age in the making but boy, has it been worth the wait. Continue reading
Every once in a while it is always nice to get a break from the heaviest of heavy music to just enjoy some nice hard rock for cruising in the summer time. Rubikon has created an album perfect for such a scenario in Delta (Round Hill Records). The Boston-based group does a pretty good job with mixing influences from the blues realm and the southern style metal world. Like some cheeses, Delta gets better with age as I found myself enjoying this album a bit more with each listen. Each track carries its own characteristics and overall feel that allows the entire album to feel fresh track by track. Of course the one down side to this as a writer is trying to determine which songs are on the list of favorites when each song is vastly different from the previous.
Right off the bat, ‘Live That Lie’ hits you with everything Rubikon is made of. The guitar work is catchy, bass can actually be heard and grooves well, and the vocals are certainly at sing-a-long status being memorable and fun. There are also a few keyboard passages, typically in the chorus, that help glue all of the parts together. ‘Swingers’ provides one of the more bluesy tracks from Delta and may or may not be about going to swinger parties. The track is slow, heavy, guitars utilize slide to add that southern “twang” for lack of a better term, and even includes the use of a harmonica solo towards the end which puts the icing on the cake. ‘Wasting Time’ is a ride of a track that starts off like an acoustic campfire song and escalates into a heavy outro. The overall groove of this song kept my head bobbing around to the bass but then started banging right as the distortion hit at the end.
While my first few plays through Delta did not overly impress me, it did end up growing on me after a few more tries. The overall laid back feel that Rubikon delivers through this album is the biggest upside for me which not many, if any, heavier bands are able to provide nowadays. If you are having a pool party or cook out in this second half of the summer, press play on this album, crack open a nice cold one, and enjoy before the winter returns.
For those who stopped paying attention to Mastodon when they started getting all proggy and had the nerve to feature twerking in their music videos, help is at hand from Austin, Texas power-trio Unmothered who churn out some seriously hefty sludge on new EP UMBRA (self-released), a blink and you’ll miss it slice of blackened southern riffs, pummelling tribal drums and angry, snarled vocals.
Featuring a mere three tracks, UMBRA is presumably stop-gap release before the trio get their arses in gear and record a new full-length. They already have one long player to their name in their self-titled 2012 effort, and fans of the dark, sludgey tones captured on that release will be all over this like a hillbilly on fresh road kill.
Opening track ‘Magnetar’, named after a neutron star with an extremely powerful magnetic field wields a seriously catchy riff that stops and starts between booming percussion fills before the band march off into the unknown with some vaguely Minsk-esque tribal effects giving things a primitive and primal feel.
Next track ‘Huntress’ is thankfully nothing like the lame mainstream wannabes of the same name, but instead features a selection of pounding riffs that fellow Southern grizzlies Black Tusk would sell their most potent moonshine for. Keeping still to this one is pretty much impossible so it’s probably a good thing it only lasts for just over two minutes.
Last up is the gradually building crush of ‘Scarp’ which toys around with a menacing discordant riff for a couple of minutes before wandering off into the swamp, replete with ominous background percussion, stark melodies and muffled spoken word before everything finishes in a blaze of glory that harks back to the glory days of Remission-era Mastodon.
Not content to blindly recycle the usual clichés of their genre but at the same time not straying too far from the path, Unmothered know it’s the riffs that matter and they have plenty of big dirty ones for you to cop an earful of.
If there is ever a time I get to go on a great road trip (outside of Maryland Deathfest this year) I will be certainly cranking albums like King Hitter’s self titled debut EP. For those not familiar, King Hitter consists of Karl Agell on vocals (Corrosion of Conformity/COC BLIND/Leadfoot), Scott Little on guitar (Leadfoot), Mike Brown also on guitar (Cutterhead), Jon Chambliss sitting behind the set (S.L.A.M.), and Chuck Manning keeping up the low end on bass (S.L.A.M.). Overall, I liked the groovy, southern personality this group brings on their first EP. Karl’s vocals may not be the harsh vocals the heavy metal culture is accustomed to nowadays, but I find them to be fitting. Even if this EP only has five tracks on it, each one has its own feel and vibe which kept me interested throughout.
The first track, properly entitled ‘King Hitter’, is a great sample of what these guys have to offer. A great southern, bluesy feel while still keeping it groovy. Karl’s vocal hooks are also very catchy and listener’s will catch themselves head banging for sure. ‘Drone Again’ and ‘Feel No Pain’ increase the ante by getting a little heavier on the guitars and, at times, had sections of instrumentals that sounded like a punk rock band. ‘Suicide (is the Retirement Plan)’ wins the award for most clever song title of the month by a landslide as we hit the second half of the album. However, even if this EP is coming to an end, King Hitter does not wind down at all. Arguably one of the heaviest guitar riffs on the album comes in the verse of this song. Lastly, we have the most appropriate song title to end any album, ‘The End.’ The mood of this song swings more than pendulum which I though adds to the insanity of all endings really. Halfway through the track we get the most bluesy guitar solo I may have ever heard from a heavy metal band.
Overall I did enjoy this EP and I look forward to see what else King Hitter has to offer. For fans of bands like Corrosion of Conformity, Down, and even Volbeat, I feel you should check these guys out. Even if none of the aforementioned bands interest you, check out King Hitter.
Not everybody has the attention span for songs that boil over the four-minute mark and when done badly, this type of music can sometimes be a chore to listen to. Wo Fat is a threesome from Texas whose songs have become longer and longer with each release, while their number of tracks has become shorter. Boasting a stoner-rock sound, with some doom and psychedelic tendencies, The Conjuring (Small Stone) is the bands fifth studio album since their 2003 beginnings, and like its two predecessors it is made up of only five tracks and yet consists of over 40 minutes worth of music. Mostly a solid listen, The Conjuring does however have some weak points that let it down.
Starting with the slow burning, southern tones of title-track ‘The Conjuring,’ it’s clear from the off that riffs-a-plenty are once again going to feature here and so they do throughout. ‘Read The Omens,’ one of the shorter tracks, is also one of the best; its upbeat and quick-tempo start continuing to remain throughout, while the excellent ‘Beggars Bargain’ ups both the southern beat and creativity even more. The Conjuring however is not all imaginative gold as ‘Pale Rider From The Ice’ suffers from dull moments as does closing number ‘Dreamwalker’, but on a larger scale. Weighing in at 17 minutes long, the final track of the album doesn’t have enough substance to justify its length and so the result is one of indifference.
The Conjuring doesn’t exactly bring anything new or exciting to the stoner-doom-rock genre, but it isn’t a bad effort within it. Fans of the band will be pleased with the new output, even if it doesn’t transcend their previous efforts and if you’re new to Wo Fat and enjoy this type of music, The Conjuring is worth a listen.
Or at least most of it is.