Nero Di Marte have been quiet for quite a long time. Their last album Derivae, which was very well received with some critics ranking it as the best of that year, was released in 2014. Before this the band had released their first, self titled album in 2013. So, it’s not surprising that after releasing 2 albums in consecutive years, the protracted delay in releasing Derivae’s follow up had led some people to think that Nero Di Marte were no more. However the Italian four piece, who formed in 2012, are back with an album that has taken 6 years to make. Has the wait been worth it? Nero Di Marte’s sound isn’t the easiest to describe. It’s a very individual mix of Progressive Death Metal and Post Metal. The Progressive Death Metal isn’t like Opeth or Rivers Of Nihil, extreme metal with softer influences; this is Progressive Death Metal more in the vein of Gorguts, Dysrhythmia or maybe a little bit like Imperial Triumphant. This is deeply complex, highly technical music. It’s the kind of thing that shares the same feel as experimental Jazz or Classical. Complex guitar and bass riffs swirl around your head as you are pounded by intricate blast beats. At times this can feel chaotic, but it always has an underlying order; it feels chaotic because that is exactly what the band wanted, chaotic but with a definite intent.
The vocals feel impassioned and dramatic, on another album they would feel over the top and out of place, but on this album they fit perfectly. I should also point out that this is a very well produced album, in many ways it had to be well produced. There is proper separation of all the instruments; something that is so important with this style of Death Metal. You can hear what each of the guitar, bass or drum part are doing, which is essential as they are all doing different things. A less well produced attempt at this sort of thing would be a muddy, unlistenable mess. This is so important on the more extreme tracks like opening song Sisyphus, guitar and bass parts swirl around your head, but you can hear every note clearly, so it all makes sense (pretty complex sense, but it does make sense). The album isn’t all about extreme, there are some very interesting softer tracks as well; Irradia features a very long, soft opening section, which despite feeling quite dissonant, is lilting and hypnotic.
Some of the quieter sections have some very enjoyable repeating motifs that are a little reminiscent of Philip Glass. The are parts of this album that are closer to a Post Metal sound. Title track Immoto has a part that is very heavy, but in a more direct, simple way that is much closer to Post Metal than Death metal, giving the album a nice amount of variety, ebb and flow. Immoto is a great album. It challenges the listener, but if you give the album a little time (don’t expect something as complex as this, to be immediate) it will open up, and you’ll get a lot out of it. Yes, it’s very intricate and elaborate, but don’t be put off by that, that is the albums strength. If you like your Death Metal to have some depth and complexity to it, you should give this a go; also if you like ultra technical music like Animals As Leaders, this should also interest you as well, even if it is a little bit more extreme, it’s coming from the same kind of musical mind. Highly recommended for people who like their extreme metal difficult and complex. 9/10
Drive By Truckers: The Unravelling (ATO Records) [Paul Hutchings]
You probably know their name. Formed in 1996, Drive By Truckers play alternative Southern rock and The Unravelling is their 12th studio album. The band’s fluid line-up in the first years has settled in recent times with the current members consisting founders Patterson Hood (vocals, guitar, mandolin) and Mike Cooley (guitar, vocals, banjo), drummer Brad Morgan, Jay Gonzalez (keyboards, guitar, accordion) and bassist Matt Patton. Based in Athens, Georgia, Hood and Cooley originate from the Shoals Region of Alabama whilst the band also has roots with Richmond, Virginia.
Now, I’m not going to risk upsetting the band’s vociferous and loyal following one iota. I’m unfamiliar with their back catalogue so I’ll focus on this album with little reference point. What immediately strikes is that despite the laid-back mellow feeling that the band’s music generates, their lyrical content is the complete opposite. 21st Century USA, with its easy Americana feel is a dig at the state of the nation, whilst Armageddon’s Back In Town reflects the current nightmare of normal accepted in the US. Babies In Cages is traumatic subject matter and includes some impressive electric washboard contribution from Cody Dickinson from the North Mississippi All- Stars. Despair and darkness echo on the closing song, the eight-minute Awaiting Resurrection.
Drive By Truckers: The Unravelling (ATO Records) [Paul Hutchings]
You probably know their name. Formed in 1996, Drive By Truckers play alternative Southern rock and The Unravelling is their 12th studio album. The band’s fluid line-up in the first years has settled in recent times with the current members consisting founders Patterson Hood (vocals, guitar, mandolin) and Mike Cooley (guitar, vocals, banjo), drummer Brad Morgan, Jay Gonzalez (keyboards, guitar, accordion) and bassist Matt Patton. Based in Athens, Georgia, Hood and Cooley originate from the Shoals Region of Alabama whilst the band also has roots with Richmond, Virginia.
Now, I’m not going to risk upsetting the band’s vociferous and loyal following one iota. I’m unfamiliar with their back catalogue so I’ll focus on this album with little reference point. What immediately strikes is that despite the laid-back mellow feeling that the band’s music generates, their lyrical content is the complete opposite. 21st Century USA, with its easy Americana feel is a dig at the state of the nation, whilst Armageddon’s Back In Town reflects the current nightmare of normal accepted in the US. Babies In Cages is traumatic subject matter and includes some impressive electric washboard contribution from Cody Dickinson from the North Mississippi All- Stars. Despair and darkness echo on the closing song, the eight-minute Awaiting Resurrection.
The songs are direct and pointedly provocative. Musically, there is plenty of Springsteen, Eagles, Tom Petty and Counting Crows included in the mix and it’s provided in sparkling style. Slick and polished, with a perfect production recorded at the famous Sam Phillips Recording Service in Memphis. The Unravelling is a comment on dark days, and having suffered writers block for some time, Cooley and Hood, backed by the longest serving line-up has returned with an album that is sure to please their fanbase as well as scooping up new fans along the way. 7/10
Gorilla Riot: Peach (Off Yer Rocka Recordings) [Paul Hutchings]
Something new is blowing through the world of rock. It’s a little sleazy, certainly gritty, but also bluesy hard rock. This is Gorilla Riot, a five-piece three guitar pronged outfit from Manchester. Following on from their 2017 EP Six Shots Down, their debut album combines elements of grunge (Half Cut) with dirty blues rock such as Riders I with its high octane, slow burn with a wailing guitar cutting through the combined heavy riff and repetitive bass drum beat, allowing a soaring refrain to cascade through. Riders II, Mind Your Head and Young Guns add enough variety to keep it interesting before the band get into their stride on Riders II. The instant groove and swagger provide a heady mix, the edge of stoner adding to the whiskey-soaked style. This combined with enough crunching riffs to last a lifetime alongside the drawling vocals of Arjun Bishma conjuring images of the Deep South’s legends as well as Alice In Chains, Screaming Trees and Soundgarden.
For a debut album, Peaches is difficult to dislike, such is the fresh and confident approach. The band deliver glorious part-harmonies and add a stoner style which merely enhances their quality. Tracks such as Mind Your Head combine The Black Crowes with the harder style of bands like Massive, with an underlying groove and feel that is deliciously enticing. Part of the Off Yer Rocker stable, Gorilla Riot don’t bring anything original to the table, but they do provide new blood to a genre that is saturated with wannabes and poor imitations. I’d wager a few notes that Gorilla Riot will be much bigger this time next year. This is an album that doesn’t disappoint in any way. 7/10
Revolution Saints: Rise (Frontiers Records) [Matt Bladen]
The third album from the melodic rock 'supergroup' Revolution Saints, doesn't break any new ground that hasn't already been tread by the band before but if you're a fan of the bands previous releases or indeed their other bands then you'll find much to like here. Now that could be the end of the review but in the name of journalistic integrity I'll tell you all a bit more about the album, it starts with When The Heartache Has Gone a pumping rocker kicking things off with big melodic rock riffs to get the heart pumping, it's followed by Price We Pay a track overwrought with emotion. Now the band membership may shed a little more light on the bands sound (if you haven't heard either of their previous two records).
Revolution Saints are made up of Deen Castronovo (The Dead Daisies, ex-Journey, Bad English), Doug Aldrich (The Dead Daisies, Burning Rain, ex-Whitesnake, Dio), and Jack Blades (Night Ranger) along with producer/keyboardist Alessandro Del Vecchio, tinkling the ivories and in the studio chair. Castronovo is the main lead vocalist here showing why he was a valuable member of Journey on the mic along as well as their skilled drummer, his rhythm section foil and co-lead singer for a few tracks is Jack Blades, the creative mind behind Night Ranger, while Doug Aldrich is Doug Aldrich, his licks and solos flowing as freely as his golden mane. Songs made to bother FM/DAB mainstream radio as much as possible, Rise doesn't change the world of rock, it sticks to a pretty well worn formula (admittedly one co-written originally by it's membership) and if you're into that go with it, if not look elsewhere. 6/10
Gorilla Riot: Peach (Off Yer Rocka Recordings) [Paul Hutchings]
Something new is blowing through the world of rock. It’s a little sleazy, certainly gritty, but also bluesy hard rock. This is Gorilla Riot, a five-piece three guitar pronged outfit from Manchester. Following on from their 2017 EP Six Shots Down, their debut album combines elements of grunge (Half Cut) with dirty blues rock such as Riders I with its high octane, slow burn with a wailing guitar cutting through the combined heavy riff and repetitive bass drum beat, allowing a soaring refrain to cascade through. Riders II, Mind Your Head and Young Guns add enough variety to keep it interesting before the band get into their stride on Riders II. The instant groove and swagger provide a heady mix, the edge of stoner adding to the whiskey-soaked style. This combined with enough crunching riffs to last a lifetime alongside the drawling vocals of Arjun Bishma conjuring images of the Deep South’s legends as well as Alice In Chains, Screaming Trees and Soundgarden.
For a debut album, Peaches is difficult to dislike, such is the fresh and confident approach. The band deliver glorious part-harmonies and add a stoner style which merely enhances their quality. Tracks such as Mind Your Head combine The Black Crowes with the harder style of bands like Massive, with an underlying groove and feel that is deliciously enticing. Part of the Off Yer Rocker stable, Gorilla Riot don’t bring anything original to the table, but they do provide new blood to a genre that is saturated with wannabes and poor imitations. I’d wager a few notes that Gorilla Riot will be much bigger this time next year. This is an album that doesn’t disappoint in any way. 7/10
Revolution Saints: Rise (Frontiers Records) [Matt Bladen]
The third album from the melodic rock 'supergroup' Revolution Saints, doesn't break any new ground that hasn't already been tread by the band before but if you're a fan of the bands previous releases or indeed their other bands then you'll find much to like here. Now that could be the end of the review but in the name of journalistic integrity I'll tell you all a bit more about the album, it starts with When The Heartache Has Gone a pumping rocker kicking things off with big melodic rock riffs to get the heart pumping, it's followed by Price We Pay a track overwrought with emotion. Now the band membership may shed a little more light on the bands sound (if you haven't heard either of their previous two records).
Revolution Saints are made up of Deen Castronovo (The Dead Daisies, ex-Journey, Bad English), Doug Aldrich (The Dead Daisies, Burning Rain, ex-Whitesnake, Dio), and Jack Blades (Night Ranger) along with producer/keyboardist Alessandro Del Vecchio, tinkling the ivories and in the studio chair. Castronovo is the main lead vocalist here showing why he was a valuable member of Journey on the mic along as well as their skilled drummer, his rhythm section foil and co-lead singer for a few tracks is Jack Blades, the creative mind behind Night Ranger, while Doug Aldrich is Doug Aldrich, his licks and solos flowing as freely as his golden mane. Songs made to bother FM/DAB mainstream radio as much as possible, Rise doesn't change the world of rock, it sticks to a pretty well worn formula (admittedly one co-written originally by it's membership) and if you're into that go with it, if not look elsewhere. 6/10
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