Blood Youth are one of the UK's biggest up and coming acts circulating the scene by winning crowds over from supporting established bands like Bury Tomorrow, While She Sleeps and Prophets Of Rage. Blending modern Hardcore with Nu-Metal with their latest releases the band have just launched their new album Visions Of Another Hell. The album opens up with haunting these cleaning guitars before it starts cut up with distorted guitars stabbing in to build up the tension even more, before vocals scream over the spooky soundscapes. The song also features transitioning low pitched old school Marilyn Manson spoken word sections to add to there old 90’s tinted Nu-Metal vibes.
Iron Lung is the most unique sound track on this album where it opening with classic modern hardcore chug chug stab chords with the vocals making his battle call over the top of them before the song breaks off into this low bass rumbling electronic Dubstep Beat which I found quite unique when compared to other bands in that genre, the only band that I can think of that do this is Lotus Eater. After the band comes back into performing their chuggy grooves it goes into your classic Linkin Park/Breaking Benjamin esc chorus which I usually find very generic if it was from a Djent band doing, but cause it Nu-Metal I’ll forgive it. Something To Numb The Pain provides us with Knocked Loose sounding riffs infused with old school Slipknot drum, whilst Cells takes it easy on the tempo to explore the bands more darker side, by composing lyrics that hint on addiction and self destruction whilst incorporating more electronic elements.
The band keep this hard-core in-fused Nu-Metal momentum with songs like Body Of Wire, Colony3 and the Korn inspired Open Window as well the your eerie dark sounding songs like Kept In A Box and the closer Dogma. Over all I really enjoyed this bands recent direction of modern hardcore/beatdown mixed with Nu-Metal especially making it their own adding the electronic and spoken word elements, but there in the bigger picture there are other band that have already done this like Lotus Eater, Cane Hill and Code Orange but also have their own stamp on it. I also found that some of the Linkin Park esk choruses can a bit generic on times, but this is a great produced effort 7/10.
It was only in April that Rich reviewed the third album from the Parisian heavy proggers Baron Crâne. Commotions was a re-release from 2020, due to the band moving to Mrs Red Sound records. He wasn’t over impressed with it. I can understand why, for this is an album that won’t suit all tastes. Playing an enormous range of generally instrumental music, the opening two tracks provide everything one might want in a frantic 12-minute blast. Danjouer, with its heavy sound is followed by the nine-minute exploration of Larry’s Journey, which switches from stoner to psychedelic to jazz in a fusion of multiple styles. The first opportunity to grab vocals, courtesy of Cyril Boudin, comes on Quarantine, which has multiple changes of tempo before exploding into a furious climax which edges punk with clean, almost progressive movements. One can see that this talented trio are going to be a bit of a marmite band.
Drifting into more measured yet expansive soundscapes, Baron Crâne go deep into the jazz fusion on Mercury, the second of three organic and fluid movements. Given that this is an album that pays tribute to the French Jazz scene, it’s unsurprising that saxophonist Guillaume Perret shows his worth on this track. It’s absorbing, dramatic and underpinned with some light yet driving riffs. Perret is the star of this track with some stunning sax work that soars above the fuzzy riffs of Léo Pinon-Chaby. In contrast, the Latin feel of Pinon-Chaby’s guitar work lights up the gentle introduction to Inner Chasm. Backed up by Olivier Pain’s rumbling bass, the intro is deceptive for the song becomes remarkably heavy very quickly, with both musicians totally immersed as the temperature increases to allow Léo Goizet’s freestyle drumming to dip from front to back.
High Desert Queen – Secrets Of The Black Moon (Ripple Music) [Paul Hutchings]
Formed in 2019 in Austin, Texas, High Desert Queen have delivered a debut album that is worthy of note. Eight tracks over 40 minutes, the band who relocated in 2020 to accommodate bassist Matt Metzger and drummer Phil Hook play groove laden stoner rock which draws from the band’s eclectic range of influences, which range from QOTSA, Elder, Alice In Chains and The Allman Brothers. Tracking a selected eight from 12 songs with Jeff Henson (Duel) at Red Nova Ranch Studios in Austin, the mix and mastering was then handed over to Karl Daniel Lidén (Lowrider, Crippled Black Phoenix, Greenleaf) at Studio Gröndahl in Stockholm. The result is impressive. The opening thunderous rumblings of Heads Will Roll, with its gentle lyrical delivery countering the fuzzy, down-tuned riffs present a semi-psychedelic opener that eases the listener into the album.
Formed in 2019 in Austin, Texas, High Desert Queen have delivered a debut album that is worthy of note. Eight tracks over 40 minutes, the band who relocated in 2020 to accommodate bassist Matt Metzger and drummer Phil Hook play groove laden stoner rock which draws from the band’s eclectic range of influences, which range from QOTSA, Elder, Alice In Chains and The Allman Brothers. Tracking a selected eight from 12 songs with Jeff Henson (Duel) at Red Nova Ranch Studios in Austin, the mix and mastering was then handed over to Karl Daniel Lidén (Lowrider, Crippled Black Phoenix, Greenleaf) at Studio Gröndahl in Stockholm. The result is impressive. The opening thunderous rumblings of Heads Will Roll, with its gentle lyrical delivery countering the fuzzy, down-tuned riffs present a semi-psychedelic opener that eases the listener into the album.
From there on in, it’s a bit more of the heavy, with The Mountain Vs The Quake shaking the foundations. The Rise, with its Eastern flavours links neatly to the soaring Skyscraper, a massive song that looms tall, very much in keeping with the song title. Throughout Secrets Of The Black Moon, High Desert Queen manage to balance their sound perfectly, with the lower end rumbles and higher, searing guitar bursts combined with Ryan Garney’s impressive vocals. To top it all, the band launch into some deep Sabbath filled doom on the finale, Bury The Queen, an imperious, majestic, and simply epic track. This is a hugely impressive debut release and massive in many respects. I found myself repeatedly pressing play. In a saturated market, Secrets Of The Black Moon is an album that stands apart. If you like doom filled stoner rock, then this should be on your list. 9/10
The Breathing Process - Labyrinthian (Unique Leader Records) [Zak Skane]
The Breathing Process are a US six piece Deathcore act that incorporate breakdowns that will please any Whitechapel fan as well as adding symphonic elements that take influence from bands like Dimmu Borgir and mixing groovy riffs inspirations from bands like the Decapitated. Opening up with Terminal, the track begins with dark ambient soundscapes before clean dissonant chords are played to build up tension before we get pummelled with some crushing rhythms provided by the drums and guitars courtesy of Jordan, Dan, Sara and Bryan. Mid way through, the track plays homage to classic melodic death metal producing riffs that any At The Gates fan will be satisfied with. This is followed by Shadow Self which continues the momentum by providing symphonic backed riffs that will keep your head banging. Wilt embraces the bands Symphonic Black Metal influences which sounds like Cradle Of Filth and Dimmu Borgir with guttural vocals.
That carries on with Wilt till we get to A Savage Plea, which begins with this dramatic piano arrangement accompanied by strings that satisfy any classical music fan, the tension builds up electric drums before beautifully chaotic blast beats, chunky riffs and guttural vocal get added to the mix. The epic title track Labyrinthian oozes old school Melodic Death metal taking influences from Insomnium and Doom Metal acts like Paradise Lost. Whilst another personal highlight for me was the ninth track Atlas which showed the best of the bands abilities of performing Blast Beats over symphonic layered riffs but the track combines those extra dynamic stops in the arrangement just helped the song breathe a lot more and as a result just sound a lot more heavy.
In conclusion this is a really good release if you’re a fan of symphonic-laced death metal bands like Carnifex, Bleeding Through and Cradle Of Filth. The guttural vocals that Chris provided sounded cynical, Jordan, Dan and Sara’s guitars sounded chunky where as Bryan drum parts and Alexander’s symphonic arrangements are the secret source that take the bands sound to the next level sonically. On times I found that the multiple layer can be a bit too pulverising track after track but over all it’s a 7/10.
Baron Crâne- Les Beaux Jours (Mrs Red Sound) [Paul Hutchings]
It was only in April that Rich reviewed the third album from the Parisian heavy proggers Baron Crâne. Commotions was a re-release from 2020, due to the band moving to Mrs Red Sound records. He wasn’t over impressed with it. I can understand why, for this is an album that won’t suit all tastes. Playing an enormous range of generally instrumental music, the opening two tracks provide everything one might want in a frantic 12-minute blast. Danjouer, with its heavy sound is followed by the nine-minute exploration of Larry’s Journey, which switches from stoner to psychedelic to jazz in a fusion of multiple styles. The first opportunity to grab vocals, courtesy of Cyril Boudin, comes on Quarantine, which has multiple changes of tempo before exploding into a furious climax which edges punk with clean, almost progressive movements. One can see that this talented trio are going to be a bit of a marmite band.
Drifting into more measured yet expansive soundscapes, Baron Crâne go deep into the jazz fusion on Mercury, the second of three organic and fluid movements. Given that this is an album that pays tribute to the French Jazz scene, it’s unsurprising that saxophonist Guillaume Perret shows his worth on this track. It’s absorbing, dramatic and underpinned with some light yet driving riffs. Perret is the star of this track with some stunning sax work that soars above the fuzzy riffs of Léo Pinon-Chaby. In contrast, the Latin feel of Pinon-Chaby’s guitar work lights up the gentle introduction to Inner Chasm. Backed up by Olivier Pain’s rumbling bass, the intro is deceptive for the song becomes remarkably heavy very quickly, with both musicians totally immersed as the temperature increases to allow Léo Goizet’s freestyle drumming to dip from front to back.
Heavy riffs arrive, the tempo fires up and the band let rip. Clenchingly riffs drive the track forward and for those who like their music with a large serving of heavy, this is the song. In total contrast, Baron Crâne drift into a reggae feel for the penultimate Merinos, which is lit up by flutist Robby Marshall before the niceties are sent packing with a short blast of riffage before more free form expression allows the track more twists and turns than expected. There’s more reggae and flute as well. That leaves the title track, a trippy, finale with lyrics in the native tongue, and ample twists and turns to provide a conclusion of some magnitude. The challenge and the attraction with this album are that on first listen it’s genuinely unpredictable, dynamic and at times completely unexpected. It’s a voyage of discovery and undeniably French. I’m kind of drawn towards it. The musicianship is incredible, and the progressive nature and openness appeals. Maybe the best thing to do would be sample it yourself. 8/10
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