Amongst The Low And Empty is Signs Of the Swarm’s fifth album of breakdown lessons for the uncultured. Despite some earlier controversy resulting in some line up shenanigans the remaining members managed a solid drop in ‘21’s Absolvere, an album I’ve gone back to several times since then. The new slab, Amongst The Low And Empty with its down played album art and almost under the radar release (for me at least…) seems to present a more mature package. Fingers crossed, I’m diving in.
Breakdown from the first seconds, no intro, no noodling just instant breakdown and chugging forward with technical prowess a plenty, vocalist David Simonich delivers bone rattling roars in top form. The song suffers however from feeling a bit like “hear us make breakdowns” while the technical flourishes are muted a bit by it all. Tower Of Torsos (great song title) actually starts with a 5 second fade in before…breakdown to the face. It becomes clear by the 51 second mark though that this track has more character when he growls out “I will never be forgotten!” I like that, it sticks out. Track 3 is Pray For Death and this is tight, with the most intense vocals yet mixed with some industrial sound effects. Nothing new here, no envelopes pushed but it’s tight, brutal and well produced.
That statement sums up the next 3 tracks pretty well to be honest. Borrowed Time is the shortest track here and I like to think it was intentional, very interesting vocal bits. Between Fire & Stone has the slow quiet intro bit I’ve been waiting for and an absolutely brutal drum opening blast, lots of technical ho-ha and loathsome zombie growls but it drags the end a bit. Shackles Like Talons starts in a similar fashion with a slow fade in with the obligatory breakdown and technical wankery, it even has some spoken word bits. I like each of these tracks, they’re tight and fun to listen to but nothing that sticks in the brain and makes me listen to it again and again.
DREAMKILLER all caps! This track literally feels different and I think it’s because guitarist Carl Schulz actually gets a touch of shred time. This track also has a great group chorus and fun fade out. I’m an unapologetic fan of a good fade out. Next track, The Witch Beckons also stands out as it features guest Matt Heafy of Trivium and although the opening is quite mindless the song clears up quickly for a groove infused blast. Bobby Crow’s drumming here is spot on with special attention paid to the moments with Heafy. However despite this they chose to end the song…with a slow gurgling drag.
And on to the final 3, Echelon, Faces Without Names, and Malady. Each of these songs bare minor flourishes that the earlier half of this album lacks. Whether it’s the strange echoing vocal effects of Echelon or the extra guitar noodling of Faces Without Names to the urgent swagger of Malady, I have to say this album ends on a higher level then it begins.
Amongst The Low And Empty is very tight and very much packed with breakdowns upon breakdowns and heaps of technical foolery. Not to mention top notch clear production. The problem is the first half zips past with little notice and little to really chew on until DREAMKILLER actually gets my attention again. It’s rare that the back half of an album brings me back around but, here we are. I’m not going to lie, the cover art is interesting but ultimately lazy, you all can do better. So in the end it comes to a solid 6/10
Jukebox Monkey - Smiles Becoming Teeth (Self Released) [Mark Young]
Smiles Becoming Teeth is the second full-length release by Jukebox Monkey, a trio from the UK that comes under a stoner / alt-rock tag according to those upstanding peeps at Bandcamp.Opening with the title track, it comes across with some of those early QOTSA lines but with a more-straight forward approach when the cleaner singing comes in and it really soars when they employ that approach as opposed to the grittier vocal style that kicks it off. There are some great chord movements within it that carries it well and we drop into Swirl which continues that cleaner singing against stabs of guitar. This one comes in at 8 minutes and is drenched in wah, with a storming Black Sabbath fill (you will know it as soon as it comes in) and then it hits me that they remind me of Clutch which is no bad thing at all. As one-two’s go, this is pretty good and I’ll be dead honest far better than I hoped (forgive me). Swirl has some doom moments going on that some of those bands should have a listen too and take onboard which is to make it interesting.
As we know, band-tags can be misleading so when I read Alt-rock / stoner I have all sorts of crazy ideas of what its going to be like, all of which were squashed by these two. People Are Not Disposable starts heavy then drops into that quiet dynamic which makes me expect it to build and get noisy which it does. I’ve gone on record previously about historical use of track three for this sort of thing. I absolutely hate it. It is a good song but that initial lead in from loud to quiet has coloured by feelings towards it. Like 1973 starts heavy and distorted and stays there. It’s a meat and potatoes belter that continually moves forward and that Neil Fallon vocal really comes across, and its sounds tremendous.
Fountainhead has that loud / soft / loud dynamic thing happening and works better than People... and is replete with what should be great live sing-along moments. One thing that should be pointed out is there a ton of great guitar moments on here and it set’s us up for the final three of The Never, Deathbed Convert and Something Meaningless where the tone darkens slightly. The Never wears that stoner influence quite proudly and has that classic tone to it, with a riff to match.
Deathbed Convert has that epic start which doesn’t disappoint in building, combining the heavy with a melody line that is there providing that tension, anchored together that allows it to gain traction and rock out. Its funny that this is probably the most traditional sounding song on here when measured against the others. Something Meaningless finishes off proceedings on a strong, riff of a thing. Again, there is a lot going on here that echo QOTSA, Black Sabbath which is difficult to avoid but they put their stamp on it and it has the vibe of those bands without directly aping them (Ahem).
Overall, a strong album and if you get chance to see them live then you should. I don’t think you would be disappointed. 7/10
Marijuana Johnson - Reefer Chamber (Self Released) [Rich Piva]
I generally struggle with the weed worship bands. I find that either:
A. They are trying to be so out there they sound like a dude gargling while a garbage truck crushes its load
B. They spend too much time trying to make sure they have 11 ways to rhyme with Kush.
Both of those styles get old very quickly. So, when I see a band named Marijuana Johnson show up in my queue, I am immediately on guard for A or B. But I was pleasantly surprised when these Dayton, Ohio professors of green are as much about the riff as they are about their smoke. These guys have been around a while, but somehow this is my first exposure to the band, and when I see Dayton, Ohio as their hometown, all I can think of is if they have smoked weed with my favorite artist of all time, Bob Pollard, but I digress. Back to their new album Reefer Chamber…what these guys do bring is yes, weed worship, but also riffs and a catchiness that makes this must more memorable than bands who live in a similar haze.
Take the track Mountain High for example. I love the riff, and the chorus is one of the catchier things you will hear all year if your short-term memory is still where it needs to be at to remember such things. You still get all that green stuff love, but the music stands on its own as well. Glass Brain also brings the riffs, and almost has a Monster Magnet vibe which I am always here for, and I love the solo towards the end. My favorite riff on Reefer Chamber originates from My Weight (In Bud) and is some solid stoner rock goodness and continues to maintain the band’s ability to produce earworms. I really like the closer, Red as well, which is some solid smokey doom to round out the session with the band showing that they can really play their instruments, specifically love the drum work on this track.
Reefer Chamber is a fun listen and Marijuana Johnson are not just a weed gimmick band. These guys can play. This record is raw in the best kind of way and sounds perfect for their vibe. I don’t think the band needs the audio clips to get their point across because the riffs stand nicely on their own. Check it out. 7/10
Viatorem - And Yet The Earth Remained (Self Released) [Matt Bladen]
London/Brighton metal band Viatorem return with their second EP And Yet The Earth Remained, following their debut effort in 2019. They are a politically charged modern metal band influenced by groove metal, hardcore, death metal and also prog metal. Songs like Post Mortal having the chunky riffing gland plentiful lead guitar expression that is greatly appreciated. Those melodic phrases come on Gehenna which is the a powerful end as Cult Of Delusion is an aggressive beatdown filled opener. Lyrics drawn from the rise of the Far Right on Trigger Discipline, the trap of modern technology on Post Mortal and the world as it is today. Delivered with vitality and energy And Yet The Earth Remained is another muscular EP from this British metal crew. 7/10
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