Let us all rejoice and dance around the fire as a new Blood Ceremony record has dropped from the icy tundra of the Great White North (ok Toronto, Canada but you get it). The retro, proto, 70s infused evil psych rock is something I cannot get enough of, and the new album, The Old Ways Remain, is more of the same greatness this band has delivered over their five-album run.
Right off the bat you get a signature Blood Ceremony track, with those amazing vocals from Alia O’Brien, so much of her excellent flute (but never too much flute), and a sound right out of 1976. More darkness is spread with the next track, Ipsissimus, which almost has an evil flower child vibe. I am always here for anything both evil as hell and catchy as hell at the same time. Blood Ceremony has the sound they want to make down perfectly, as this album is recorded exactly as it should be for these songs and this vibe.
Flute leads the way on Eugenie, until O’Brien takes complete control with her vocals, almost conjuring the music behind her via magic spell. The super clean guitar work is a great match for the vocals and flute. But with this track we finally get some of the organ and a sax(?) solo that doesn’t ruin anything like sax solos can. There is so much musically going on, but never does it seem like it is too much or too crowded for all of them to get the spotlight. Take Lolly Willows for example, where the drum work on this track is the highlight of this upbeat rocker.
Powers Of Darkness could be on a Super Sounds Of The Seventies compilations, the one about Satan worshipping (how awesome would that comp be…). The Bonfires At Belloc Coombe at times sounds musically like The Wizard but instead of harmonica you get violin and instead of Ozzy you get Alia, which works without question. You get more of the same killer stuff with tracks like Widdershins and Mossy Wood. The evil Carpenters are resurrected with the track Hecate, you just must hear it. Song Of The Morrow closes us out, as you can picture O’Brien lurking through the forest capturing all in her path with her siren song.
Blood Ceremony have lost none of the quality in their musicianship or writing with The Old Ways Remain. The record can stand up to just about anything in their current catalog and will compete for many end-of-year lists for sure. The perfect sounding album for the vibes they bring. I love all the different instrumentation without it sounding like a big cluster. You don’t have to tune down and bring the heavy riffs to be evil, case in point, The Old Ways Remain. 9/10
Redshift – Laws of Entropy (Self Released) [Duncan Everson]
Laws Of Entropy is the second album from the Bath, UK based trio, Redshift, following on from their excellent debut, Cataclysm. Fans of that album will feel at home here and shouldn’t hesitate to get themselves a copy of this as is a natural progression. Newcomers may also feel something is familiar here and let’s address that particular elephant in the room from the off - yes, the band sound a hell of a lot like Rush at times but I’m sure there are a lot of bands out there that wish they could sound that/this good. Redshift also have other influences that come through in their sound, like Dream Theater, Marillion, Iron Maiden, Black Sabbath and more but as with any group, it’s the mixture of all those influences that make the Redshift sound. And bloody glorious it is too.
Blood Ceremony have lost none of the quality in their musicianship or writing with The Old Ways Remain. The record can stand up to just about anything in their current catalog and will compete for many end-of-year lists for sure. The perfect sounding album for the vibes they bring. I love all the different instrumentation without it sounding like a big cluster. You don’t have to tune down and bring the heavy riffs to be evil, case in point, The Old Ways Remain. 9/10
Redshift – Laws of Entropy (Self Released) [Duncan Everson]
Laws Of Entropy is the second album from the Bath, UK based trio, Redshift, following on from their excellent debut, Cataclysm. Fans of that album will feel at home here and shouldn’t hesitate to get themselves a copy of this as is a natural progression. Newcomers may also feel something is familiar here and let’s address that particular elephant in the room from the off - yes, the band sound a hell of a lot like Rush at times but I’m sure there are a lot of bands out there that wish they could sound that/this good. Redshift also have other influences that come through in their sound, like Dream Theater, Marillion, Iron Maiden, Black Sabbath and more but as with any group, it’s the mixture of all those influences that make the Redshift sound. And bloody glorious it is too.
Described by the band as “a concept album about the trials and tribulations of life, from birth to death”, the album kicks off, unsurprisingly, with Birth and it hits you in the face right from the start, there’s no gentle acoustic guitar or piano intros on this album. As on the debut, the musicianship on display is top notch, with each of the band members having more talent than some bands combined, and more importantly though, they use it well throughout. There isn’t the feeling of musicianship for the sake of it either, the song is king here, with the level of technicality varying to suit the mood or tempo accordingly.
Discovery shows more of the band’s heavier side, with Liam Fear making good use of his harsh vocal style later in the song to contrast with his much higher clean vocals from earlier. But it’s on the track Entropy though that they really let loose. This is a wildly inventive track that showcases perfectly the band's lyrical and musical brilliance, switching between contrasting musical styles without warning, perhaps as a reflection of the mental health issues that the lyrics portray. Or I’m just reading too much into it – only the band will know! There is also a brilliant video to go with the song that can be seen on YouTube now.
Possibly the highlight of the album though, is Blueshift which is truly epic in every sense and is a perfect example of modern prog at it’s finest. Charting in one song what the album covers as a whole, travelling from birth to death and taking us on hell of a journey in the process. Here the band really take the time to stretch out and display the kind of expansive musical passages that prog is known for. Guitarist Joshua Bonafice and drummer Jack Camp both have opportunities to show off their musical chops and are equally impressive, the final guitar solo being perhaps the finest on the album and note must also be made of the Peart-esque drum fills which close out the album – not a coincidence I feel.
To sum up: Buy it, it’s f**king brilliant! 10/10
Orsak:Oslo - In Irons (Vinter Records) [C Hunter]
I didn’t know Orsak:Oslo before hearing their debut full length album In Irons, and so decided to do a bit of research. Their facebook about section describes them as follows; Orsak:Oslo was formed with the nerve and the filth of a bar fight out of a Bukowski novel. There is no question that their hard and dirty, blues based and repetitive riffs would stand the test. Having been spawned from cold, concrete and monotony, that’s just what they deliver - the grey and gusty sound of O:O renders no man unaffected. Quite contrary to a bar fight, however - O:O leaves you wanting more. And personally I can’t argue with that.
This is the slow burn post rock atmosphere well known by lovers of macabre indie art cinema with the added groove and appeal of blues elements. A more popular based comparison could be the desolation captured by composers such as John Murphy’s 28 Days Later, Bear McCreay’s The Walking Dead or Clint Mansell’s Moon plus the addition of a 1970s acid trip.
Orsak:Oslo - In Irons (Vinter Records) [C Hunter]
I didn’t know Orsak:Oslo before hearing their debut full length album In Irons, and so decided to do a bit of research. Their facebook about section describes them as follows; Orsak:Oslo was formed with the nerve and the filth of a bar fight out of a Bukowski novel. There is no question that their hard and dirty, blues based and repetitive riffs would stand the test. Having been spawned from cold, concrete and monotony, that’s just what they deliver - the grey and gusty sound of O:O renders no man unaffected. Quite contrary to a bar fight, however - O:O leaves you wanting more. And personally I can’t argue with that.
This is the slow burn post rock atmosphere well known by lovers of macabre indie art cinema with the added groove and appeal of blues elements. A more popular based comparison could be the desolation captured by composers such as John Murphy’s 28 Days Later, Bear McCreay’s The Walking Dead or Clint Mansell’s Moon plus the addition of a 1970s acid trip.
Dutchman’s Wake (Part I) has the listener riding a repetitive driving bass line while the guitars pan around and into your head like ghosts. A soundscape that warps you into its own environment, an environment I found to be surprisingly positive considering the title.
In What Way Are You Different plays like a slowed down western panning over an old abandoned town. I’m still not sure if this is depressing, beautiful or both. Either way, it’s a powerful piece of music.
The penultimate track The Mute (Part II) Illustrates that minimalism can be effective. Essentially The Mute is 90% one stinking chord repeated to the rhythm of a dying sloth’s heartbeat in the company of additional feedback. And there’s nothing wrong with that.
We end in the Hadal Blue where after sinking to the greatest depths of the ocean, prepossessing tones reverberate and flicker lazuli lights in what would otherwise be a shadowy abyss. The seventeen minutes of the final track flew with ambience once again torn somewhere between haunting and beautiful.
Orsak:Oslo’s nordic noir In Irons has a jam like feel to it in parts, yet also comes across as meticulous, suggesting that they’re possibly telekinetic. If you’re into instrumental post rock bands such as Grails then Orsak:Oslo are recommended! In fact, try them anyway. If you don’t like them, try them again looking over a desolate wasteland. If that doesn’t work, try them again in a vast scenic location, maybe overlooking the ocean or a mountainous region. And if that doesn’t work, there are herbs and funguses available to help you enjoy post rock. 8/10
Cairo - Nemesis (Spirit Of Unicorn Music/Cherry Red Records) [Matt Bladen]
The UK prog scene is one of the most innovative and thriving scenes in the world, it's also very incestuoeus with former members of some bands then joining other bands, or bands splititing up and members forming new bands that have a lot in common (see: Yes). This latter idea is what keyboardist/vocalist Rob Cottingham did when he formed Cairo after the dissolution of Touchstone, having already released one album in 2016, and a live album, Nemesis is the return from this darkly cinematic band that fuses prog rock with alt rock.
Again constructed on the keys/synths/FX of Rob, the rest of the bands are still James Hands (guitars), Paul Stocker (bass) and Graham Brown (drums) with the change coming behind the mic as Sarah Bayley taking over from Rachel Hill. Her vocals are excellent melodic and powerful, creating emotion and attitude equally, just listen to the wonderful Glow. She's the counterpoint to Rob's lower soulful delivery and the heavily layred musical apporach of the band. The prog credentials are established early with Asleep At The Wheel, undulating and shifting between different time signatures while Trip Wire is more in the driving hard rock vein.
Nemesis makes sure to demonstrate the multitude of genres they can turn their hands too, overseen by the production experience of John Mitchell, Cairo are rockier than many of their fellow prog bands with some real pop hooks to their music too, Jumping On The Moon has all the musical trademarks of Phil Collins-era Genesis. The triumphant drumming of The Love builds to a wonderful Gilmour guitar solo from the delicate piano opening (which returns at the end), the Floyd-vibes return on Deja Vu. From here we go to acoustic wonderment on New Beauty while Save The Earth is a instrumental that pays tribute to Vangelis.
Nemesis shows that Cairo still rocks and progs with the best, hopefully we won't have to wait as long for the next album, until then though I'm sure Nemesis will get repeaeted plays. 8/10
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