Crobot - Feel This (Mascot Records) [David Karpel]
Feel This is Crobot’s fifth full-length studio album. According to their bio, their music has been streamed tens of millions of times, and they’ve been acclaimed by all of the important music presses. Somehow, I’ve missed all that. Listening to their latest, though, I get the popularity. There’s a bit of a sleazy Skid Row meets a pop-oriented Oasis thing going on that together shapes a timbre of hard hitting, mainstream rock and roll. The mix is super clean and clear, allowing each piece of the band–Brandon Yeagley (vocals), Chris Bishop (guitar) Tim Peugh (bass), and Dan Ryan (drums)--to gleam in every crisp song.
We start with a sure-footed ripper in Electrified. Set You Free builds on a lyric sung like an Oasis song I’m too lazy to look up. It’s a heavy pop rock, radio ready tune that crescendos with flashy guitars. Golden is a soaring, Down On The Upside-era Soundgarden-ish ode to Chris Cornell. This jars me. There’s a moment when Yeagley sings “when your golden cage is empty and you’ve made your great escape, they can do what they want with your flesh and your bones but your soul they can not take” I want to sneer at the missed irony, but the band’s sincerity tempers my cynicism. More endearing, Without Wings shows off some triumphant NWOBHM chops. While Holy Ghost goes grunge, the closing track, Staring Straight Into The Sun, stomps and wails its way out.
Songs vere from ripping blues to good time sleaze to the all out ragers–each full of catchy, infectious hooks. Yeagley’s got a great voice that’s empowered by the occasional, well-placed harmonies, Bishop’s guitar work is solid, and Peugh and Ryan root the songs in undeniable groove. It’s no wonder they’ve gained fans and fame, and this album builds on that foundation. 7/10
Wolfsbane - Genius (Self Released) [Matt Bladen]
10 years after returning to Save The World, the Wildmen from the West Midlands Wolfsbane come back with their fifth studio album. Yep despite being a recognised name in the UK rock scene since 1984 Wolfsbane have only actually released 5 studio albums, much if this due to frontman Blaze Bayley's other endeavours, originally in Iron Maiden and since their reformation his solo band. However now they are back with 10 more tracks of what they describe as 'filthy rock'. It's the description I'd give for what Wolfsbane do and have always done.Bayley along with bassist Jeff Hateley, guitarist Jase 'The Ace' Edwards and drummer Steve Danger, play punky, riff fueled heavy rock, which was born in the NWOBHM, but since 2010's Wolfsbane Save The World they have also incorporated a lot more rock/AOR elements bringing in balladry and a 'lighter' touch. These elements still remain on Genius continuing the sound of a band maturing, disgracefully yes, but this is a band who have moved on from the youthful rage of Man Hunt, to a more reflective sound but still ready to party. The final song I Was Born In '69 showing this sense of nostalgia, it also sounds a little similar to Born In '58 by one Mr Dickinson, but enough about that.
At 31 minutes Genius doesn't hang around, getting the fire burning on tracks such as the furious punk rock of Spit It Out and the pub rocking Running Wild, both anthemic headbangers which sees things pumping on all cylinders, however there's a synth heaviness to Zombies that makes me think certain band members have been watching a lot of B-Movies, while Impossible Love will be sung back by the Howling Mad Shitheads, balancing sentiment and groove, it has to be a tribute to Van Halen, because of how close it sounds to Eddie, Alex, Michael and Diamond Dave, Bayley even doing the Lee Roth squeal! Small Town Kisses however brings a bit of The Darkness and Meat Loaf for another sing along. Slick, speedy rock n roll and tough guy balladry are the order of the day for Genius. Not big or clever but damn good fun! 7/10
Red Handed Denial - I'd Rather Be Asleep (Self Released) [Matt Bladen]
An album title I can get behind! With the waking world so chaotic at the moment, at times I'd does seem as if just sleeping the days away would be a blessing. However as with most of the lyrics and titles from this Canadian modern metalcore band I'd Rather Be Asleep deals with some pretty heavy subject matter. Their anticipated third album brings the hybrid sound of Red Handed Denial at an even more focussed direction than before.
An album title I can get behind! With the waking world so chaotic at the moment, at times I'd does seem as if just sleeping the days away would be a blessing. However as with most of the lyrics and titles from this Canadian modern metalcore band I'd Rather Be Asleep deals with some pretty heavy subject matter. Their anticipated third album brings the hybrid sound of Red Handed Denial at an even more focussed direction than before.
The thrilling opener Cloud 9 gives you arpeggios on top of djent grooves, Chris Mifsud's guitar playing explosive and technically impressive. He gets many chances to add melodic flourishes on tracks such as Cloud 9 and even some solos like on Carbon Copies. Much of his freedom comes from Dominick De Kauwe's crushing bass playing and a multi-layered approach to the guitars on this album. It's certainly got a broad soundscape, ideal for the multifaceted vocal delivery of Lauren Babic just as comfortable with sneering attitude, soaring emotional cleans and aggressive growls. If you take a song such as Fix Me, you understand just how great Red Handed Denial are as a band, it's heavier than a tank full of anvils, features some insane drum breaks from Tyson Dang, a big headbanging breakdown but it also has the most anthemic, angsty chorus of the record.
The evolution of the djent scene is right here on I'd Rather Be Asleep, taking what bands such as In This Moment do but fusing it with acts such as Monuments, the musical dexterity met with vocal masterclass. Unlike the 14 tracks on their previous album, Red Handed Denial keep things to a tight 10 here, though they are bursting with modern metal trickery but an emotional heart that comes on Father Said. There's a bit more variation too with the electronic driven Let The Colours Fade To Grey leading into Saint which has thrash, metalcore and pop punk all rolled into one. It's a breathless record from a band who deserve much more recognition in my opinion. There's a myriad of bands in the modern/djent/metalcore sound but Red Handed Denial stand head an shoulders above most. 9/10
Like a sandstorm slashing through your speakers, L.A.’s Somnus Throne churns heavy stoner doom with hungry energy and a huge desert sound. Themes of narcotic needs run through the maelstrom of Evan (guitars/voc), Ansel Bretz (bass), and Matt Davis (drums), and the songs reflect those hoary desires. While their bio mentions the influence of bands like Acid King, Iggy Pop & the Stooges, The Melvins, The Sword, Electric Wizard, and others–and you can hear a bunch of that throughout, in tone, mood, and sound–I’m also reminded of the early 90s deep fuzz Sub Pop’s Rein Sanction dished out on Broc’s Cabin and the chops of Red Red Meat on Jimmywine Majestic. That is to say, when it comes to fuzz, Somnus Throne revs the engine high driving over the desert dunes.
The opening salvo of wreckage comes charging like the oncoming wall of the aforementioned sandstorm. Snake Eyes gallops forward like an up-tempo Kyuss tune with a nasty attitude. A guitar solo points to a plodding, chaotic whirl of bashing drums, reverb blurs, and desperate, gravelly vocals. Lacquer Bones goes low and slow, includes a sample recording about the double edge of opiates, Evan is clearer in his delivery, and the riffs are as fuzzy as a greasy cardigan left under a pedal board. While Dice and Scarecrow shreds that cardigan at the altar of the Melvins, L-Dopatryptamine follows with a psychedelic mid-tempo groover. Midway through the jam picks up the pace and layers of guitar melt your face with mass, power, and volume.
Rubber Tramp begins with a hypnotizing propulsion and trippy, melodic vocals nearly buried under until near the middle of the song, where, sounding a bit like The Sword, the pace picks up and the song takes a turn into a tight crunchy groove. The closer, Calm Is A Devil, bookends fat-tired, desert highway riffs with pristine acoustic guitars. Essentially, the six songs of Nemesis Lately are a great follow up to 2020’s self-titled effort, which grabbed some deserved press and fan attention. This album should also get your attention. Play it loud. 8/10
No comments:
Post a Comment