Luna Sol - Vita Mors (Ripple Music) [Rich Piva]
Some albums are just special. You can tell from the first few notes that there is something happening that will be with you for a long time, maybe even the rest of your life. I have had a few experiences with albums that immediately stuck and never left rotation, even though the years and shifting personal tastes. The record becomes a part of you, it touches you, it makes you feel something every time you spin it. I think I found the next album for me that does that, the new record from Luna Sol, Vita Mors.You will know David Angstrom most likely as the guitarist from Hermano, but he has a number of other great projects too, such as Luna Sol. This version of the band is completely different from other incarnations, but keeps the spirit of the original idea alive. This time Dave has partnered up with Zeth Pedulla or drums and Doug Tackett on bass, and you can immediately hear the chemistry between the trio on Vita Mors.
The songwriting and playing of these three has come together and fit perfectly, creating a record with zero skips and that sounds exactly like it should production wise. Did we need two covers on the record given how great the Luna Sol originals are? Who cares when one of them is one of my favourite songs of the 70s and what I think stoner rock was built on, Never In My Life by Mountain, and one of the best tracks by the critically underrated 70s blues rock band Leaf Hound, Freelance Fiend, where Dave may have the vocal performance of his career.
I love Dave’s writing so much on here I had to look up if some of the heavy blues tracks were old blues covers (I’m not claiming to be a old school blues expert in any way, so this may just be me, but…). Songs like the opener, Black Cat Callin’, You Better Get Runnin', and Surrounded By Thieves are pretty much perfect heavy blues songs in 2024. Dave’s guitar work and riffs are fantastic throughout the record, and the rhythm section is spot on with what Dave is bringing. Check out the filthy riff on Bottom if you want some proof. While Hermano is stoner rock, Luna Sol are the kings of the high desert heavy blues (trademark this Dave) with a song like Evil being the prototype for this. I love the addition of the female background vocals and the solo that rips it up.
The tracks on Vita Mors can be catchy as hell too, as Dave can write an earworm when he wants to, like what you get on the very Goss/Masters Of Reality influenced I’ll Be Your One. You can hear the grunge love too on No Substitutions and on Low N’ Easy which has some Soundgarden vibes while keeping the heavy blues feel, and that riff and tone are pure perfection. There is so much love on Vita Mors, be it Dave leveraging all of his influences, the inclusion of his family on interludes and even in songs, the personal touch in all of his lyrics, and love just woven into the fabric of the 15 tracks on this new classic.
Yes, I am gushing, but Vita Mors is heavy blues rock perfection to me. Dave, Doug, and Zeth have captured lightning in a bottle and a created a generational record for me and I am sure for others who will become disciples of kings of the high desert heavy blues. Luna Sol may have released my album of the year, and beyond, with Vita Mors. 10/10
Yes, I am gushing, but Vita Mors is heavy blues rock perfection to me. Dave, Doug, and Zeth have captured lightning in a bottle and a created a generational record for me and I am sure for others who will become disciples of kings of the high desert heavy blues. Luna Sol may have released my album of the year, and beyond, with Vita Mors. 10/10
Defiled - Horror Beyond Horror (Season Of Mist) [Mark Young]
Well, this is suitably bonkers. Following my first listen I wasn't sure what I felt, what genre it's supposed to sit in or even have a handle on how my review would go. It talks about death metal, but the songs are structured unconventionally. They come in, blasting with an intensity that is common with other bands, but they don't act like the various parts are in synch, and at first, it's off-putting.
I'm assuming it is because traditional death metal occupies a linear approach where each instrument and part, they play is set to suit the others. Here, there's a discrete separation between them, the drums for example are playing one measure whilst the guitars, bass and vocals are just off. It takes a couple of listens to get past that and appreciate it on its own terms.
It's this approach that gives them a unique sound, that whilst it ticks all the necessary boxes: extreme vocals, drums that are firing like an Uzi and super-speed riffs that dominate from start to finish. This pattern of being slightly off kicks in with Smoke And Mirrors, a two-minute battering that mixes in the speed with numerous timing changes and it sets the template for the madness that follows. You know it's going to be different just from this and on the title track, Horror Beyond Horror they just detonate with some serious low-down riffing.
It's this approach that gives them a unique sound, that whilst it ticks all the necessary boxes: extreme vocals, drums that are firing like an Uzi and super-speed riffs that dominate from start to finish. This pattern of being slightly off kicks in with Smoke And Mirrors, a two-minute battering that mixes in the speed with numerous timing changes and it sets the template for the madness that follows. You know it's going to be different just from this and on the title track, Horror Beyond Horror they just detonate with some serious low-down riffing.
It has a fresh vibe to it, and I know there are plenty of bands that like to squeeze as many ideas as possible and ultimately bore the pants off you. That's not the case here, it's like being on a rollercoaster where you are holding on for dear life. That's the image I get of them recording it. Syndicate provides a prime example of this, the opening bends that morph at speed and then slide to an almost stop for the leads. Live, I’ve no idea how you could headbang to this without causing serious harm.
Later tracks in the album stay the course, Trojan Horse is all double bass, and you expect it throw the BPMs at you instead they slow it down for the verse which has a skittish feel until they kick it up through the gears changing the song to suit. Its manic, just like Spectrum Of Fear.
Later tracks in the album stay the course, Trojan Horse is all double bass, and you expect it throw the BPMs at you instead they slow it down for the verse which has a skittish feel until they kick it up through the gears changing the song to suit. Its manic, just like Spectrum Of Fear.
The songs are the same without being direct copies. I appreciate that sounds stupid but let me try to explain: They are the same in that they follow no discernible pattern or arrangement, but each has the same completely unhinged manner. It doesn’t let up, at all and they finish it with same energy as they started, with To See Behind The Wall coming in with intent to cause you serious harm.
As I said, this approach doesn't change, each song is a pummelling, visceral exercise in channelling an old-school approach through their own filter. With this in mind, your enjoyment of this may depend on how you like your death metal.
As I said, this approach doesn't change, each song is a pummelling, visceral exercise in channelling an old-school approach through their own filter. With this in mind, your enjoyment of this may depend on how you like your death metal.
Do you like it keeping between the lines, following that straight path, or do you like the feeling that it could derail at any time? I’m still not sure about it, but if you imagine that they have been laying waste in this fashion for the last 30 years, they must be doing something right. 8/10
Theigns & Thralls - The Keep And The Spire (Rockshots Records) [Simon Black]
Theigns & Thralls started life as a lockdown side project from Skyclad’s Kevin Ridley. This was something of a chaotic Supergroup, with a plethora of musicians from pretty much every Folk Metal band that the original Skyclad inspired contributing to it, but in a rather fragmented way. That debut didn’t land so well, with live performances generally getting the thumbs up but the album very mixed feedback, so I was curious to see how this sophomore would be handled.
This time the line-up is a little more restrained and stable, which helps define a much more consistent house sound that the debut sorely missed out on. In addition, the songwriting seems a lot less eclectic this time around, and actually this feels like it’s a full reboot of the brand, and a proper debut album to boot - rather than a collection of remotely recorded off casts from Skyclad.
First time through I struggled to find anything standout, because let’s face it good Folk influenced Rock and Metal should create an irresistible urge to dance a jig, but this album really benefits from a measured and repeated listen or two. It’s much slower paced than you might expect, and in fact those slower moments, such as Pagan Song work really well in a way that catches you out, twice – the first for the slower pace, the second time when it flips the tempo up and turns into exactly the bouncy beast the album had been lacking thus far, at least for the middle eight.
Theigns & Thralls started life as a lockdown side project from Skyclad’s Kevin Ridley. This was something of a chaotic Supergroup, with a plethora of musicians from pretty much every Folk Metal band that the original Skyclad inspired contributing to it, but in a rather fragmented way. That debut didn’t land so well, with live performances generally getting the thumbs up but the album very mixed feedback, so I was curious to see how this sophomore would be handled.
This time the line-up is a little more restrained and stable, which helps define a much more consistent house sound that the debut sorely missed out on. In addition, the songwriting seems a lot less eclectic this time around, and actually this feels like it’s a full reboot of the brand, and a proper debut album to boot - rather than a collection of remotely recorded off casts from Skyclad.
First time through I struggled to find anything standout, because let’s face it good Folk influenced Rock and Metal should create an irresistible urge to dance a jig, but this album really benefits from a measured and repeated listen or two. It’s much slower paced than you might expect, and in fact those slower moments, such as Pagan Song work really well in a way that catches you out, twice – the first for the slower pace, the second time when it flips the tempo up and turns into exactly the bouncy beast the album had been lacking thus far, at least for the middle eight.
After this things are generally more up tempo and what you would expect from Folk-infused Rock, but that moody and brave first half is actually the strongest part, even if it does take a couple of goes to truly appreciate it.
Vocally Ridley is a lot less front and centre than I am used to, but then this feels like a full band and not a collection of solo fragments, and it’s also way darker in mood and tone throughout, which is why it takes a little bit of getting used to. But it’s a gift that keeps on giving, and the more I listen to it the more I want to, and that in this day and age is no bad thing. 7/10
There’s quite the feel of the 90’s and as I mentioned for a band that began in that era it comes as no surprise and I guess that the adage of it ain’t broke don’t fix it applies; the riffs are a mix of Punk, Rock and at times bordering upon a more Metal based sound.
The album has its moments but overall there isn’t much that would make the album stand out amongst others of its ilk but then nearly thirty years is a long time for a band to still be active, so for their fans and any potential ones they are obviously doing something right.
Vocally Ridley is a lot less front and centre than I am used to, but then this feels like a full band and not a collection of solo fragments, and it’s also way darker in mood and tone throughout, which is why it takes a little bit of getting used to. But it’s a gift that keeps on giving, and the more I listen to it the more I want to, and that in this day and age is no bad thing. 7/10
Die So Fluid - Skin Hunger (Self Released) [James Jackson]
The basis of London based Die So Fluid has been kicking around since the late Nineties performing under the names Feline and Ultraviolet, before forming as Die So Fluid in 2000 and releasing their debut in the form of the Operation Hypocrite EP, which was soon followed by Spawn Of Dysfunction in 2003. Skin Hunger is the band’s sixth full length album and mainly consists of singles released since the previous album One Bullet From Paradise.
The basis of London based Die So Fluid has been kicking around since the late Nineties performing under the names Feline and Ultraviolet, before forming as Die So Fluid in 2000 and releasing their debut in the form of the Operation Hypocrite EP, which was soon followed by Spawn Of Dysfunction in 2003. Skin Hunger is the band’s sixth full length album and mainly consists of singles released since the previous album One Bullet From Paradise.
There’s quite the feel of the 90’s and as I mentioned for a band that began in that era it comes as no surprise and I guess that the adage of it ain’t broke don’t fix it applies; the riffs are a mix of Punk, Rock and at times bordering upon a more Metal based sound.
One of the tracks that particularly stood out for me was Walk With Me and for an odd reason, there’s an almost synthwave style bridge that acts as a base for quite an interesting guitar solo but it stands out for all of the wrong reasons, for at times and it’s nearly two minutes long, it enters World Music territory but thrown into an Alt Rock song, but what makes it particularly odd is that it’s a technique that isn’t repeated again throughout the album.
The album has its moments but overall there isn’t much that would make the album stand out amongst others of its ilk but then nearly thirty years is a long time for a band to still be active, so for their fans and any potential ones they are obviously doing something right.
Personally there’s not enough to grab my attention in order for me to enjoy or appreciate the album. 5/10
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