Reviews: Four Stroke Baron, Dwarrowdelf, Crystal Spiders, Under The Oak (Matt & Paul H)

Four Stroke Baron: Monoqueen (Prosthetic Records) [Matt Bladen]

There are very few instances where a 'stop-gap' release perfectly encapsulate the style of a band but Monoqueen the third album from 'heavy pop' band Four Stroke Baron shows why the band are a band a nightmare for critics such as myself. They do what they do very damn well, but what they actually play is something harder to explain than the British Governments Covid policy. I guess 'heavy pop' is the best way to describe it as they certainly have poppy, sing along hooks, numerous uses of electronic music, some hip hop beats and a myriad of other influences into a type of rock/metal I guess more closely associated with bands like Baroness/Mastodon. There are some echoed shouted vocals, thick muscular riffs but much of what is intriguing here are the other sounds that lend themselves to Four Stroke Baron's unique sound. 

So then Monoqueen, it's a record that is a mix of covers and originals that are re-recordings of songs from their debut album King Radio. Now if you've heard their debut album (and to be honest I hadn't) the originals are pretty similar just better recorded but it's the covers where this album will be bought and sold as they have gone for left field choices (for metal bands anyway) but they are bands that have influenced Four Stroke Baron's eclectic sound and ones who they share an affinity with. On this list you have Lungs by Chvrches, Why A Bitch Gotta Lie by Death Grips and Broken Whiskey Glass by Post Malone, so left of mainstream artists with even their Beatles cover being Mean Mr Mustard from the Fab Four's 'greatest' album Abbey Road. But elsewhere they have interpreted tracks by AOR rockers Red Rider and Post punk band Tones On Trail in their hazy, swirling, riff-fuelled musical smorgasboard. As I've said Four Stroke Baron are a little bit of an enigma and this EP will be many people's entry point to the band and it certainly gets you excited for what realms the new material may take us into. 7/10 

Dwarrowdelf: Evenstar (Northern Silence Records) [Paul Hutchings]

This is the third full-length release from Dwarrowdelf, the work of Southampton’s Tom O’Dell. We reviewed the previous release Of Dying Lights last year and noted what a talent O’Dell is. Evenstar sees Dwarrowdelf continue with their Tolkien themed narrative as the album follows the journey of Aragon and his quest to earn Arwen’s hand in marriage. Alongside O’Dell is drummer Joe Bollettiero who adds a solid engine to the whole project. Whilst still very much rooted in the black metal sphere, Evenstar sees melodeath and folk incorporated into the sound, enhancing the atmospheric styles that are the trademark of the first two records. The mix of growls and harmonious cleans works well the tremolo riffing, intricate guitar work, rolling drums and thick synths once more blending neatly.

The album features the guest guitar work of Jeremy Reinhold on For The Kingdom I Shall Claim, one of three seven minute plus songs and Kristoffer Graemesen provides some folk infused tin whistle on In Pursuit Of Ghosts. Whether there has been much development in the song writing since Of Dying Light is debatable, and there remains a slight disconnect at times – for example, I’m not a big fan of the rather tinny synth sounds which feature on Undómiel. Evenstar is pleasing to listen to, the harmonies and melodies blending neatly with the more raucous black metal elements. There is ample to sit back and enjoy once more. 7/10

Crystal Spiders: Molt (Ripple Music) [Matt Bladen]

Crystal Spiders are a noise-making duo from North Carolina, their psych-tinged doom rock first came to a wider audience on their 2019 demo, so then it wouldn't be long until they were snapped up by a label for their debut record. Molt is that debut release, coming on one of the go-to homes of riffy, psychy heavy records, Ripple Music. The band consists of bassist/vocalist Brenna Leath (The Hell No/Lightning Born) and drummer/vocalist Tradd Yancey (Doomsday Profit), so with no guitarist to speak of those doom riffs are very low and thick like a good Carolina BBQ Sauce Leath attacking the four strings with the tenacity of a lead guitarist while also have penchant for throbbing gloom that works in conjunction with her ghostly soulful vocals. 

Which I personally enjoyed massively on that Lightning Born record, who's Mike Dean (Corrosion Of Conformity) helps with the production. All the while Yancey's deliberate, cymbal filled, expressive drumming leads the doom tracks such as Trapped and Gutter while the pacier title track and Cunhell gives you that other side to things with almost a punky feel. They draw from right across the doom/stoner/psych spectrum here and you don't notice that there are no guitars when the fuzzy solos and riffs that are so synonymous fill your ears as things spiral in to desert rocking for Chronic Sick, The Call and the tribal Headhunters. Crystal Spiders have successfully followed up their demo with a record that takes these initial forays into the world and have brought a more rounded muscular sound on their debut release. Recommended if low slung riffs are your bag. 7/10

Under The Oak: Ripped Up By The Roots (Wormholedeath Records) [Paul Hutchings]

How do you be critical of a band who state that “Make no mistake, we are still a tribute band and will continue paying homage to the eighties, but we will do so both through our own material and through cover songs. A regular Under The Oak show will be a mixture of this, but still weighing heavily on the cover material”. A group of friends who joined forces to honour their speed and thrash heroes of the 1980s, Under The Oak clearly have no pretensions about getting to the big time. These are four guys who just want to play some meaty thrash metal. And overall, that’s exactly what they do. The ten original tracks on this debut album are routine thrash metal, tipping the nod to bands like Exodus, Flotsam And Jetsam and Testament with nothing special or indeed, awful to report. 

The band, Jostein – vocals; Marius – drums; Hillbilly Bill – Bass and Bolverk - Guitar can thrash it up with a riff heavy delivery and whilst Jostein isn’t going to win any prizes for the best vocalist of the year award, he can hold a note and does a decent job. Under The Oak focus mainly on the American thrash outfits but there is more than a nod to the German beasts, in particular, Kreator and Destruction within this album. The two covers are both classics but in completely different styles. Candlemass’ Solitude is a hugely brave track to record, being one of the most immense doom songs of all time. 

Under The Oak obviously take their name from that debut release Epicus Doomicus Metallicus and they do an okay version, albeit with Jostein unable to get near the pipes of Johan Längqvist. They finish with a ragged version of Exciter’s Pounding Metal and again, the energy and enthusiasm is probably the highlight. I admire their passion and effort. 5/10