"Less is more” is as cliché as it is overused. But Volcandra took that trope to heart with one of the best four-track releases in recent memory. Border World assuredly could stand as a greatest hits collection since all of the songs are unadulterated standouts. Crucial to the EP’s smashing success are guitarists Jamie DeMar and River Jordan who have the chops to slot in as a live stand-ins for virtually any band, such is their eclectic grab bag of techniques from which they work. Resonance Cascade anchors Border World, appearing first as a furious onslaught which maintains a fascinating song structure through and through. A light smattering of groove and an invigorating guitar solo come together fluidly, and is further bolstered by Dave Palenske transforming his style in only a few lines.
The feather in the rhythm section’s cap is Colossi. DeMar and Jordan are chameleons of execution, showcasing a deep and articulate understanding of the craft. The track overall is multi-faceted, creating a polished juxtaposition while simultaneously introducing a cogent, evocative mood as the conclusion draws near. If Colossi is the guitarists’ time to shine, Guardian acts as Mike Hargrave’s exhibition. The percussion practically rolls in 360-degree tumbles, an acrobatic performance that sounds impossible to pull off without a third arm. The singular knock to Guardian is that it’s not longer – the strings are melodic and warming, reinforcing the finished product.
Even the record’s opener Tallon IV employs a finger-tapped riff, less seeming like showing off and more feeling like the catalyst for a hellacious production. It really is admirable what Volcandra pull off in such short order. The prospect of a forthcoming full-length is exhilarating enough to quell any misgivings about having to wait patiently. If so much gusto and precision can be contained with Border World, one can giddily imagine what Volcandra can whip up with two or three times the length. 9/10
Oreyeon - Equations For The Useless (Heavy Psych Sounds) [Rich P]
Heavy Psych Sounds has been on a roll lately. Every time you think you are going to get a run of the mill stoner/desert release from them they pull out something that stands out amongst the throngs of bands swimming in the fuzz filled pool we wade in. This is what makes labels like HPS and Ripple Music stand out; their ability to rarely swing and miss with the bands they get behind. Case in point is the new record from Italian four-piece Oreyeon with their third full length, and second for HPS, Equations For The Useless. Great title, and even better content.
Italy has quite the scene, and these guys should be right at the forefront. Equations For The Useless fits nicely with the Sabbath worship crowd, but also brings a ton of melody in their songs, which has increased more and more over their three releases. The opening track It Was Time is some solid stoner rock, with riffs galore and a heavy back end nailing it down. Pazuzu brings musically some Soundgarden vibes while also reminding me a bit of some of the 90s post hardcore stuff (see Manic Compression era Quicksand) before picking up the pace for some desert fueled Kyuss worship all within four minutes but without feeling too scattered.
The title track is a ten-minute slow burner with a two-minute psych-inspired soundscape to start and that leads into you to some more of the Kyuss-y desert rock with some excellent harmonized vocals. The harmonies are what makes this record stand out, and if there is one complaint it is that I want more of it. I could see this track being a live favorite and extended to double its length with some serious jamming. The track If is my favorite on the album. I love the opening riff and super catchiness that again reminds me a bit of a stoner version Quicksand, which explains why I like it so much. If sounds like their signature song and should be on any 2022 heavy rock playlist.
There is not a weak track on Equations For The Useless making the forty-two minute run time fly by. Once again Heavy Psych Sounds has picked the right horse. Oreyeon is right up there with the top tier bands of the genre and Equations For The Useless is their most mature, unique, and best yet. Check it out. 8/10
Dan Reed Network - Let's Hear It For The King (Drakkar Entertainment) [Finn O'Dell]
Funk Rock? I will be 50 soon and have been an avid music consumer since my teens and somehow never heard about this genre. So, when I first listened to this album and got past the "What the hell am I listening to?" and did a short search about this band and genre, I have truly heard something and about something brand new to me. Dan Reed Network have been around since the late 80's and this is their latest effort.
Pretty Karma is the opener that jolted me. For me, I hear elements of industrial and pop with vocals like Peter Gabriel. Again, all I have heard to compare this to (apologies to fans of this genre and I mean no disrespect). The chorus is extremely catchy and after a few listens, I get it. Supernova really hits that funk note hard and I love it. This song also has a spoken word section that is an inversion of a famous speech stating "I have a nightmare", super effective social conscious material. The state of the world is something that pops up several times throughout this work and I assume is a common theme of their art. I See Angels is a great song, probably my favorite here. It's chorus is so sweet and moving.
I feel I need to add this disclaimer; my rating of this album is solely based on my personal musical taste, not the genre itself, if you're an avid funk rock fan then you'll love it, I'm still trying to get my head around it. 5/10
Pathos & Logos - Cult (Self Released) [GC]
Here we have the 2nd offering from this instrumental duo and I’ve got to be 100% honest it’s not very good! It starts off with some ethereal sounding guitar work that forms into a riff that doesn’t really go anywhere and is very repetitive, if your doing instrumental music you need to grab the listener and take them on a journey not bore them half to death! It just seems that all the sections were written and recorded separately and cut and pasted together as an afterthought?
There is talk of Meshuggah style riffs, which are there but it’s a bold comparison that does not pay off but the next thing that really gets me is the production, the guitars just don’t sound heavy enough and the drums hiss instead of pound and the lack of a bass in there is really telling as it leaves the whole thing sounds flat. I am sure these guys have talent and are serious musicians and couldn’t really care less what I think but, here it just doesn’t work for me. I think it needs more than just playing well to take them to then next level. 4/10
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