Music, throughout history, has had a way of influencing the social behavior and norms found in human societies. Music is a universal language that is capable of bridging the gap between disparate people and entire social classes, cultures, and continents. Music can also be a tremendously personal thing, a song that has certain significance to one person may hold no meaning for the next. The current immeasurable dissonance in the social climate that spans the entire globe seems to push lost souls to seek comfort in music. In my humble Skullgurl opinion, that reason alone is why the world needs more bands like the four I saw on the second day of October 2019. Continue reading
Metalcore leaders Asking Alexandria has shared a new animated music video for their song ‘Vultures’! The song comes from their 2017, self titled album, out now via Sumerian Records. Direct by T.G. Hopkins, with animation from Bento Box Entertainment, the clip interprets the narrative of the lyrics perfectly. Check it out!
When you release an album as strong and visceral as “Vultures” as your début calling card which British rock band God Damn did in 2015- then you might forgive the band for heading their bets when it came to their second offering. It would have been very easy and very tempting to deliver another slab of their corrosive, howling rock’n’roll. In this age of not really being able to take real risks, giving the punters another Vultures might have been a very good idea indeed. Continue reading
It’s very rare in this game to be surprised. As in genuinely “Well, I wasn’t expecting that!”. Tribulation managed it earlier in the year, but very few do as expectation is there, or at least, a preparation for what a band is going to sound like. So, fair play to God Damn. The Midlands outfit aren’t the sort of band I usually go for, and Vultures (One Little Indian) isn’t the sort of album you’d normally associate with Ghost Cult, but the quality of their hybrid tunes stands out, which is why if even a little of what is written about it below piques your interest, dive in my friends.
The album kicks off with ‘When The Wind Blows’, a quirky Clutch groove that flitters into a raspy distorted vocal, before ‘Silver Spooned’ dances from a grungey intro then barrels into a lo-fi desert groove with dreamy melodies. ‘Shoeprints’ dances and swaggers, wide-legged, from sassy Monster Magnet territory, ending up in a dark, heavy powerful alleyway. ‘We Don’t Like You’ touches heavy psych, Nirvana juvenility and jangle, dark Seattle melodies and the very best of British alt rock, while the eight-minute ‘Skeletons’ has moving acoustics, world-weary vocals and expansive brooding fuzz.
Hand in hand with the alternative rock is a host of fuzzy doom, and it’s the amalgamation into stoner, alt noise, groove, rock and doom n’ roll via Sonic Youth, Nirvana, Smashing Pumpkins and a host of other versatile references that makes this an interesting proposition. Vultures doesn’t just do one thing, except for be God Damn. They’ve successfully built themselves a whole new box, over to the side of all the normal boxes, and are all the better for it.
More than a hotch-potch of references from yesteryear, throughout they deliver on the song writing front too, even if they do self-consciously shy away from “the anthem”. There is more than enough to suggest a potential cross-over to more mainstream success in their future. Despite the lo-fi chops, God Damn could equally pulling in the plaudits at a Reading/Leeds type festival. Vultures should open some pretty big doors for them.