Calling The Quarters is the second full length album from Cardiff based psychedelic space rock druids Lacertilia. Their debut was released in 2016 with two EP's preceding it, on the back of these records the band have toured somewhat relentlessly all over the country and in Europe, they have changed their drummer and bass player since their last record and honed the ideas for this album on the live scene where I have commented them numerous times. Live is where they shine but as with all bands albums are needed to add new songs to their repertoire so in early 2019 they retreated to Foel studios in Mid Wales to record what would become Calling The Quarters, legendary bands such as Hawkind have recorded here so I'm sure that intergalactic wizardry has seeped its way into Lacertilia who count the Space Rockers as an influence. The album was mixed and mastered by Sam Thredder (Elephant Tree, Chubby Thunderous Bad Kush Masters, Slabdragger) to try and nail the bands crusty, heavy live sound on record.
So to the album. First single Cloaks & Daggers the record with groovy walking riff that you may recognise from it's weird video. It's kicks off with big riff before the psych elements creep in with Tom and Ed pumping out the rhythms so Michael and Lukas can add some shimmering trippy guitars before that riff kicks back on and we get a killer solo, but we're not finished as there's a key change into yet another excellent heavy rocking groove. This is only the first track and you can hear that the band have upped their game from the previous record, they've embraced the space rock ethos of literally throwing in as much as possible at times while stripping it back to its core of honest hard rock in others. I mentioned the mix/mastering earlier and you can really get that biting, raw, retro sound as there is a definitive left speaker/right speaker dynamic range of classic stoner/psych rock bands which makes the record sound huge on tracks such as Labyrinth, which just crawls on its belly serpent like as frontman Fry weaves his lyrical spell casting with a mixture of punk aggression and doomy wildness. Furthur has that stripped back feel I spoke about sounding like a mix of Clutch meeting Tom Waits layered acoustics and chanting vocals at the start before the head nodding riff ramps things up though it keeps its honey soaked blues inspiration throughout. It also adds yet more soloing which seems to have been dialled up since their previous records too. Just check out the furious start to punk rocker At The Edge Of Utopia which is a smoking lead on top of the discordant riffs.
In the album blurb from Proper Tidy Records they talk about Calling The Quarters being a distraction from the surreal time face at the moment and what better distraction than an album full of brain altering heavy music that's all about feel and groove. It's an album that has been written with the live show in mind, unfortunately of course live shows are currently at a standstill but that doesn't mean you shouldn't be seeking out this album, the record has two almost interludes that keep the blood flowing but it's tracks such as the thumping Inside The Circle and the final doomy number So Mote It Be are guaranteed to get your neighbours grooving when played at high volume. Calling The Quarters is a skillfully crafted slice of heavy, Welsh, space rock wizardry from Lacertilia! 9/10
Green Carnation: Leaves Of Yesteryear (Season Of Mist) [Matt Bladen]
Norwegian band Green Carnation play the sort of music you wouldn't expect from Tchort a former member of Emperor, Satyricon and Einherjer. Green Carnation play epic sounding progressive rock with a metallic edge, emotional clean vocals, soaring guitars and hooks galore but it hasn't always been this way, they have followed the Anathema career progression starting out as a death metal band, moving into progressive doom metal, then atmospheric gothic metal before they are now moved into their current incarnation as a melancholic hard rock act with progressive tendencies. Due to numerous issues the band disbanded in 2007, after the acoustic album in 2006, however in 2014 they announced their gig availability which has resulted in Leaves Of Yesteryear their first proper album in 14.
It's a brilliantly realised record that pays homage to their past and hints at things to come. Take a song such as My Dark Reflections Of Life And Death which is from their Gothic/doom period, 2000's Journey To The End Of The Night, it's got huge piano/keyboards from Kenneth Silden and a theatrical maudlin and a 15 minute run time too where it moves into acoustic passages full of flutes. It also displays the vocal power of the bands frontman Kjetil Nordhus, the throbbing bass power of Stein Roger Sordal meeting well with Jonathan Pérez's drumming. It's a cracking centerpiece of the album showing anyone who have overlooked Green Carnation's previous releases while Hounds has an element of Modern-Opeth with Tchort and Michael Krumins, huge riffs really getting the head nodding in sync. The final song here many of you will recognize I'm sure as it's Solitude (apt for our current situation) from Sabbath's Master Of Reality, done in a more modern prog style. Leaves Of Yesteryear is a strong return from Green Carnation, progressive hard rock with the right amount of heaviness. 8/10
Forming The Void: Reverie (Ripple Music) [Paul Hutchings]
Interdimensional shamanic sludge rockers Forming The Void’s fourth long player arrives less than two years after previous album Rift. The Louisiana sludge monsters have dragged another fine opus from the swamps, with 36 minutes of explosive progressive stoner sludge that captivates on a journey into atmospheric wonder and psychedelia. The pulsing thump of Onwards Through The Haze with its bowel churning bass lines, the pulsating power of opening track Sage and the churning fire of Electric Hive soar with the melodies of Floyd and the heaviness of Mastodon and the confidence of Soundgarden.
Whilst the band are not afraid to slow the pace, such as on the gargantuan Ancient Satellite, it’s on the beat driven tracks that the band are most impressive, with James Marshall’s harrowing vocals combining with his and and Shadi Omar Al Khansa’s downtuned riffing. Meanwhile the massive drum sound of Thomas Colley and bassist Luke Baker combine to lay down a thunderous layer upon which the band construct their stoner temple. Mystical energy and cosmic transcendence surge through this album. It is beautifully crafted and varied in style and delivery. A stomping sludge monster which fans of the genre will appreciate. 8/10
Thy Despair: The Song Of Desolation (Rockshots Records) [Paul Hutchings]
An album that may be of interest for fans of Tristania, Dimmu Borgir and Wolfheart, The Song Of Desolation is a dark blend of black, gothic and doom metal with symphonic and melodic death elements. Partly influenced by the war that occurred in the Eastern part of Ukraine in 2018, Thy Despair focus on maintaining freedom in heart and mind. Having released their debut EP Free One in 2018, the band, who utilise both Ukrainian and English vocals have produced a decent debut full length. The band trade soaring operatic vocals of Elin with the guttural growling delivery of Nephilim, who is also guitarist and main song writer in the band. The other members are guitarist Strike, Navka on keyboards, drummer Alex and bassist Anton.
The album follows a traditional pattern, with plenty of melody underpinning the symphonic elements, jagged riffing and blast beating drums which underpin every song. The typical cleans versus rough singing works well although the high-pitched singing of Elin can become a little irritating; I would have liked a little more singing as opposed to operatic delivery. Song compositions are generally solid if a little repetitive, although songs such as Sabbath and the Eastern fusion on War do stand out. At 42 minutes the length is spot on, and the music is sufficiently engaging to maintain attention during the album. In fact, although it dips at times, the songs do follow a pattern which ensures the listener can tune back in on the next song. With a darkness that seeps through every track, the gothic feel is understated but consistent, whilst the other elements of the band’s sound blend neatly.
Founded initially in 2006, one can only applaud the determination of Nephilim to keep the dream alive. Having undergone name and line up changes, as well as several years honing the band’s style and sound, it was only in 2017 that the current line-up was completed. Whilst this album isn’t a showstopper by any means, it isn’t a bad listen and for a debut release can be commended. 6/10
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