The trio of Ogoun (Zel Kaute-drums), The Marassa (Linz Hamilton-guitars) and Oya (Chantal Brown-voice) return with the follow up to their rip roaring debut Possession since then the world has turned and the spirits and omens have become darker, the world is worse that it has been for a while and the music on Ascend reflects these seismic shifts in what is now seen as the norm, drawing on the lessons of history to be clarion call for action. Opening with the percussive power of Spirits Past the album kicks off with is a pro-feminism, anti-racist/fascist etc battle cry to stand up to those that oppress you (a theme repeated on this very aware record).
Ogoun's drumming is what gets this song kicking ass from the get go as Oya's incredible vocal howl evokes the spirits of ancestry to get you involved, before turning into a proto-thrash end as The Marassa riffs like a unleashed demon. A killer start that gives you what Vodun do best however what can hear here is progression, the record is more sophisticated than their debut, with broader brush strokes making wider musical palette, the trio bring in heavier riffs on the driving Started From, they pair these heavy riffs with the African beats and sax parps on Ogun's Fight. With Time Honoured a slower, sludgy, stoner, Sabbath sound that gives you a refreshing change of pace and a chance for some soulful sounds from Oya.
A difficult second album is not the case with Vodun their sophomore effort is not just better than their great debut it's got a wholly different edge to it, the African sounds are still here in abundance but everything's a lot tighter, more mature and angrier, a track like New Doom (featuring Turbowolf's Chris Georgiadis) which has everything tribal beats, the dual sneer and holler of the vocals and the shimmering/groove-driven guitars coming together as much bigger than the sum of their parts. A band shaped by their ideological/political history and their defiance of the current forms of oppression Vodun have taken their sound to more primal style of rage that I can't wait to see be unleashed on stage! 9/10
The Skull: The Endless Road Turns Dark (Tee Pee Records)
If you know doom then you'll know who Eric Wagner is, the vocalist of seminal Sabbath worshippers Trouble, he formed The Skull back in 2012 with Trouble bass player Ron Holzner, naming the band after Trouble's second album. Four years on from their debut album they've released their follow up and it's not a record that's going to be a surprise. What we have here is 45 minutes of bone crushing doom from the opening riff of the title track to the closing sustain of Thy Will Be Done it's fuzzy doom riffs right from the get-go and they don't really let up, Holzner's low four string in devilish union with Brian Dixon's punishing drums as the dual riff machines of Lothar Kelley and Rob Wrong play it like it's pulled pork, low and slow.
It's straightforward doom metal from two men who have done this kind of music their entire careers, what I always find fascinating though about Wagner's vocals are that they are certainly more Ozzy than Scott Weinrich (singer of Saint Vitus in case you don't doom), actually this record has many more melodic elements than a lot of doom bands, yes it's maudlin and gloomy but there are flashes of psychedelic light, like on The Longing which has great soaring lead playing or the jazzy From Myself Depart. The Endless Road Turns Dark is a record steeped in traditional doom, noted Trouble fanboy Dave Grohl is going to love it, but I'm sure you will too. Crank it up loud and get that head banging! 8/10
God's Army: Demonocracy (Rock Of Angels Records)
No! Wait! Come back! It's not a Christian band, there's no God bothering here in the vein of Stryper or our perennial favourite Enzo And The Glory Ensemble, I promise! The religion here is a simple one with no edict at all, the only thing to worship here is good old fashioned rock n roll. Formed by Gallows Pole singer and Scanner bassist John A.B.C. Smith and drummer Mark Cross (Tainted Nation, Tower Of Babel, ex Firewind, Helloween) who came together to record some muscular heavy rock that balances between melodic power metal and radio loving heavy rock.
They have big fist in the air moments such as The Replicant which is beast of track clocking in at over 13 minutes which works into a steady groove with some shredding solos from Ian O’Sullivan and Eddie Van Dahl who trade off in the instrumental middle which has to be homage to Maiden due to the gallops and twin harmonies. It's not an album with no substance though as good as music is, there's political message on this album which has soundbites from Orwell, Malala and Regan all fitting with their commentary on the current political climate.
Whether you want to get that deep is up to you but tracks like Games Without Frontiers, Final Destination and Free Your Mind (which I swear has nicked a Motley Crue riff) all rock hard, unfortunately they nearly ruin everything with a 'rock' cover of Old Blue Eye's My Way which is probably worse than the Sid Vicious version (which was at least ironic). Still ignoring this (you really must) Demonocracy is a pretty strong melodic metal album from this group of seasoned metal musicians. 7/10
Ink: Whispers Of Calliope (Wormholedeath Records)
It's a brave choice to open with a Tool cover but Greek alt/prog metal band do it well stripping Sober back to dark fear-laden acoustic version of the famed prog metal heroes. It's the first of a few choice slightly outside the norm covers. The other brave choice is a cover of NIN's Hurt a song that has taken on new life due to the definitive cover from Johnny Cash, here it's once again a good cover but will never have the gravitas and pain of the Cash cover. Every song here though is from a band that seem to have an influence on Ink, there's a lot of alt, grunge, prog, electronica and general dark weirdness on this record from Leonard Cohen, to Billy Idol, Smashing Pumpkins to Massive Attack it's a jukebox of miserablism that Ink do very well with their own songs.
The majority of the record is built on bleak, robotic synths and intense acoustic work outs, it works best on Rebel Yell which gets sparse and more anthemic Chris' vocals are passionate and distinctive as Kostas ushers in a clean electric guitar solo. As I've said the covers here are all good with a real mix of artists however it's the emotional finale of Temple Of The Dogs' Hunger Strike that is the most resonant in the memory as it serves as a fitting tribute to Chris Cornell's genius. I will admit it brought it year to the eye as clearly Cornell is big part of Ink's sound. Covers records can be something of a cash-in often relying on the big hits and shameless rip offs but on Whispers Of Calliope Ink have released an honest, inspired record. 8/10
No comments:
Post a Comment