The Dead Daises – Radiance (SPV) [Matt Bladen]
I’ve been following the career of David Lowy’s personal rock n roll project for a while now and with five studio, one live and on covers album, all with countless different members, it’s been a bit of a journey for this band. For me I’ve always been on the more negative side of the fence having seen the impossibly diva-ish behaviour during the Corabi/Mendoza era, these flowers have always left a bitter taste in my mouth. This of course means nothing as they have a voracious fan base who worships them, many essentially wanting to see this travelling showcase of some of hard rock’s best known but perhaps overlooked names.
I’ve been following the career of David Lowy’s personal rock n roll project for a while now and with five studio, one live and on covers album, all with countless different members, it’s been a bit of a journey for this band. For me I’ve always been on the more negative side of the fence having seen the impossibly diva-ish behaviour during the Corabi/Mendoza era, these flowers have always left a bitter taste in my mouth. This of course means nothing as they have a voracious fan base who worships them, many essentially wanting to see this travelling showcase of some of hard rock’s best known but perhaps overlooked names.
Now this changed in 2019 when Lowy trimmed the bands down to a practical, focused foursome recruiting ‘The Voice Of Rock’ himself Glenn Hughes (Deep Purple/Black Country Communion) on vocals and bass, rounding out the band with Lowy on rhythm guitar, long term axeman Doug Aldrich (Whitesnake/Burning Red) on lead and a returning Brian Tichy (Ozzy/Whitesnake) behind the kit. This peaked my interest as this was probably the most exciting and mature version of the band, 2021’s Holy Ground did well to rekindle the appreciation, Hughes’ voice especially a favourite of mine.
So after the pandemic this is the lineup that set about recording Radiance and I’ve very much warmed to The Dead Daises on this record. Kicking off with the repeating riff of Face Your Fear, Radiance gets you grooving from the beginning as Hughes’ basswork and vocal sets the tone for a bit of bruiser. A mid-pace rocker that is very much in the Hughes’ wheelhouse, it’s like being welcomed by an old friend as Aldrich doesn’t take long to start firing off solos from his Les Paul. A swaggering rock n roller to get things going and the warm glow of experience doesn’t diminish from here. Not Human and the title track, which come later, get heavier shifting to the sound of the Iommi’s Fused record, (Tichy making his mark), I’m in love with that album so for me this is highlight.
The highlights don’t stop there though much like with Holy Ground, The Dead Daises finally feel like they’re a complete unit, the way the rhythm section is locked down playing classy but hard hitting rock, allowing Doug to peel off leads at will and that full throated delivery from Glenn gets the space it deserves. More swagger comes on Hypnotise Yourself, the choppy Shine On and melodic Born To Fly both a big rock tracks as Kiss The Sun is brooding, this starts off a couple of heavy numbers as the bluesy grooves of Courageous into the low slung march of Cascade. Radiance is a fine example of what rock can be, sleeker, slicker and better than ever! Consider me a convert. 8/10
Robert Jon Burrison (lead vocals, guitar), Andrew Espantman (drums), Steve Maggiora (keyboards), Henry James (lead guitar), and Warren Murrel (bass) make up good ole Southern Boys Robert Jon & The Wreck. Wreckage Vol.2 is their second collection of songs that are in some way different. Wreckage Vol. 1 was all B-Sides, but Vol. 2 goes further with in-studio and live performances recorded between; 2020 - 2022. The first two songs come from a show in Belgium where they're playing their latest singles at full bore with some Southern swagger, a band back playing live ready to melt some faces, they’re a joyous twosome to start off this collection.
The next two were recorded in 2020 just before the pandemic and consist of one of their oldest songs Rescue Train along with a version of The Weight by The Band, which I believe has to be covered by every Southern/Americana band at some point during their career. It’s a fine version imbuing the soul of the original but so many have covered this now that it’s entered the realms of Ghost Riders In The Sky. The instrumental Cannonball also comes from that session and makes you realise why it’s such a live staple. The middle three tracks are all from the legendary Sunset Sound Studios and features two new songs in the form of Old Hotel Room and Dark Roses along with a firm favourite in On The Run.
Both Old Hotel Room and Dark Roses were written earlier but never recorded so both are debut here to great effect, the latter one of the tender moments in the RJTW catalogue. Finally the last two were part of a livestream event during the pandemic Something To Remember Me By a big ballsy rocker and Witchcraft a sprawling Gov’t Mule-like instrumental jam. All in all this variation in the tracks make for a good experience, Wreckage Vol. 2 is a fan serving release, a gift for the completest and the collectors but it’s a strong collection of tunes worth of a spin. 7/10
Everest Queen - Murmurations (Trepanation Recordings) [Rich Piva]
Everest Queen brings the sludge on their second full length, Murmurations. The Stevenage, Hertfordshire, England trio have been around for about ten years and Mumerations marks that upcoming landmark with some heavy as hell sludgy doom. Everything on Mumerations moves slowly, like it is wading though some cold and foggy bog in their home country. This is some bare bones heavy sludge, and right off the bat you feel this with Sunken Thorn which at first drags you though the bog until you are bludgeoned by the drums and the sudden pick up in tempo, but once you are sufficiently unconscious the monster slows down again to bring your carcass back to its cave. You must be OK with some growly/screamy vocals, think a bit of Eyehategod vibes.
Sunken Thorn is ten minutes long, but it is broken up into segments where the last two minutes creates the most melodic the band has ever been (until the last track), for about one of those minutes, until the beatings continue. Of Treachery And Shadows is more pummelling, with a sludgy gallop, like you are being dragged by horses across the English countryside. Dare I say I hear some Bathory influence in this track, but a much better produced and vocals even more like a wolf growling at you. The title track is really a three-minute bass driven interlude that leads you to Dormant River, which is ten-minute slow burn with some synths. Super cool vibe with this track, almost trippy but still with those sludgy/scream/growl vocals.
At the six-minute or so mark they start to tun up to volume, and that voice get super upfront and in your face. I love the churning guitar work on this track. It takes a bit of an effort, but it is worth it. Divergence is another slow burner to start until that painfully urgent voice takes over and even without knowing what he is saying you feel like life as you know it is slowly being sucked out of you. Heavy with a capital H. The Burial is a fitting finale, with some clean, chant like vocals that gives you some serious end of days vibes but also is the most accessible track on the album (until the screams kick in). I dig the funeral dirge feel of this one and is a perfect way to put this record in the ground.
This is quite the heavy trip. You must be patient as you may feel it drags at times, and must be OK with the vocals, which I know for some may be a challenge. But the lite into heavy back to lite into rip your head off journey is worth your time if you dig the sludgy stuff, and if you do Everest Queen is worth the effort for sure. 7/10
Mythic Sunship - Light/Flux (Tee Pee Records) [Rich Piva]
Denmark’s Mythic Sunship specialize in free form psychedelic instrumental rock with some jazzy leanings and have been mastering their craft over five records since around 2010. On their sixth album, Light/Flux, the band continues their trippy ways with more of the same mind-bending jams.
These guys know how to play their instruments for sure, but you must be in the right mindset to truly get the most out of Light/Flux, and that mindset may need to include some mind-altering substances for full appreciation.
Exhibit A, Aurora, is a nice chill spacey psych trip with some killer guitar work and some sax at the tail end to accompany you while landing on an unexplored planet. Blood Moon sounds as much as a song called Blood Moon could without any lyrics. You get the vision as the drums start you off and the guitar and sax accompany you while gazing at the sky.
The chill vibe continues seamlessly into the next track with Equinox, but gradually picks up the pace until you are in a full sprint trying to get back to your ship on time. This is the most space rock jam on the record, Hawkwind fans will dig this one for sure. Decomposition is a of bit of a long one, maybe a bit to long, and tends to drag a bit, some of the free form would have been more effective if it was toned down a bit, but these guys are not about short and concise compositions, which is part of the charm of Mythic Sunship.
My favourite track is Tempest; I love to build and the urgency to it. It’s a nice juxtaposition to the rest of the more chill vibes on Light/Flux. And dig that crazy sax. This is the track where they just said screw it, let’s go crazy for six minutes, which is why the closer, First Frost is such an effective closing track as it brings back the chill factor but with just enough psych shredding to leave you feeling nice and toasty.
I usually prefer vocals, but I dig the trippiness that Mythic Sunship brings to the party. With the right people and party favours, this doomy, jazz, free form trip delivered by Mythic Sunship is worth your time. While it drags in some parts, Light/Flux is an enjoyable mind-bending free form trip. 7/10
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