O.R.k shift their soundscapes again on this fifth album, there is lots of links to King Crimson, final track Dive In, a bonus track on the CD edition feature, features some expressive percussion work from Pat Mastelotto as it moves through a 16 minute run time of heavy riffs, smooth jazz sections, orchestrated moments of bliss and then atmospheric clean guitar that builds from layered acoustics and some parping brass. Its real prog mastery from a band who have all have a background in the genre.
The rhythm section of Mastelotto and bassist Colin Edwin are both prog veterans so these songs always carry a foundation that is slightly off kilter, a counterpoint groove equivalent to Tool on Blast Of Silence. O.R.k play with styles though, Hello Mother and Seven Arms both have the angular fuzz riffs of QOTSA Carmelo Pipitone cracking out the alternative rock that seems to be a major influence on Firehouse Of Falsehoods. The latter has some dark country slide to it as well. Singer LEF is a dead ringer for Chris Cornell so there’s more than just a taste of Soundgarden on the huge riffing The Other Side. Though with 16000 Days they feature some of the slower, artier sound of Temple Of The Dog though with a much bigger production value.
O.R.k’s music is constantly evolving and with Firehouse Of Falsehoods they’ve made alt rock arty, colossal guitar riffs take the centre stage but there’s always that prog heartbeat that directs you into virtuoso playing and technical moments, it’s towards the end of the album really that they adopt their prog beginnings more, Dive In I’ve mentioned but before that is Mask Becomes The Face, a song worthy of Porcupine Tree, and sees former PT man Colin Edwin link up again with former PT second guitarist John Wesley.
Another musical feast for anyone who always thought grunge needed a bit more of art rock influence this Firehose Of Falsehoods is streaming full blast on O.R.k’s fifth album. 9/10
Crimson Glory - Crimson Glory: The Roadrunner Years (Cherry Red Records) [Rich Piva]
Crimson Glory was as good as any other proggy metal band around in the 80s. Yes, that includes bands like Queensryche and Fates Warning. The band was woefully underappreciated when their two classic records came out (their self-titled LP in 1986 and the stone-cold classic Transcendence in 1988), and only relatively recently has the band been given the real love they should have had all along.
To go along with that, the amazing Cherry Red Records brings us a complete history of the Sarasota, Florida band from their time on Roadrunner Records, from 1986-1991, including the records I mentioned and the not so great but also not terrible third album Strange And Beautiful, along with a handful of bonus tracks. The set is a great way to capture the band at the height of their powers, and even where the direction was starting to go before lead singer, Midnight, left the band.
The first two records are untouchable. Queensryche put out Rage For Order and Mindcrime the same two years as these records, so you could see how they may have been overlooked. But while Queensryche had the stories and the mullet, CG had the man in the mask, the late Midnight, who could hang with Geoff any day. These two records are absolute must listens for anyone who loves 80s metal and wants to hear it at its best. So, buy this new set just for that and the Japanese bonus tracks you get with it.
The first two records are untouchable. Queensryche put out Rage For Order and Mindcrime the same two years as these records, so you could see how they may have been overlooked. But while Queensryche had the stories and the mullet, CG had the man in the mask, the late Midnight, who could hang with Geoff any day. These two records are absolute must listens for anyone who loves 80s metal and wants to hear it at its best. So, buy this new set just for that and the Japanese bonus tracks you get with it.
Strange And Beautiful is an odd record, and maybe I would have liked it more if it was not Crimson Glory putting it out. It sounds more like Cinderella’s Heartbreak Station than Queensyrche’s Empire and that is fine, but listening to it again recently made me cringe a bit, given have much of a shift it was, and let’s not talk about the saxophone. It is a fun listen to go end to end on this set to hear how the band progressed over the five-year span, and how a band in crisis sounds after losing two original members and just not vibing as a group any longer.
In summary, if you have never heard the first two Crimson Glory records, what’s wrong with you? Go listen to this now. You can ignore disc three if you want, but you may find a gem or two on there as well. Thank you once again to Cherry Red for helping to continue to spread the word on underappreciated bands and albums. 8/10
Sanhedrin - Heat Lightning (Metal Blade Records) [Matt Bladen]
Sanhedrin are Erica Stoltz (vocals/bass), Jeremy Sosville (guitar/vocals) and Nathan Honor (drums) and they’re a throwback to the beginnings of what we now call heavy metal, power trio rock n roll that owes much to rock bands such as Motorhead, Budgie, Anvil and Raven as well as the New York punk scene that featured The Ramones. Just bass, guitar, drums and vocals, recorded analogue in isolation with just the rock n roll flowing. It’s an old school way to do it but Sanhedrin have been creating their niche for over a decade, there’s a ‘street metal’ sound that can only really come from a New York band worn well all over Sanhedrin’s music.
In summary, if you have never heard the first two Crimson Glory records, what’s wrong with you? Go listen to this now. You can ignore disc three if you want, but you may find a gem or two on there as well. Thank you once again to Cherry Red for helping to continue to spread the word on underappreciated bands and albums. 8/10
Sanhedrin - Heat Lightning (Metal Blade Records) [Matt Bladen]
Sanhedrin are Erica Stoltz (vocals/bass), Jeremy Sosville (guitar/vocals) and Nathan Honor (drums) and they’re a throwback to the beginnings of what we now call heavy metal, power trio rock n roll that owes much to rock bands such as Motorhead, Budgie, Anvil and Raven as well as the New York punk scene that featured The Ramones. Just bass, guitar, drums and vocals, recorded analogue in isolation with just the rock n roll flowing. It’s an old school way to do it but Sanhedrin have been creating their niche for over a decade, there’s a ‘street metal’ sound that can only really come from a New York band worn well all over Sanhedrin’s music.
So with this new record they’re focussing their live performances into a studio environment alongside Matt Brown (Life Of Agony, A Pale Horse Named Death) and Jerry Farley (Sick Of It All, Madball) changing from their previous three albums. It makes Heat Lightning sonically more accomplished than what has come before but it’s still an album that will only really appeal if you’re a fan of the brazen rock n roll Sanhedrin have to offer. If any of the bands I mentioned earlier in the review are in your favourites then you’ll be playing Heat Lightning at 11. 7/10
Gentle Beast - Vampire Witch Reptilian Super Soldier...From Outer Space (Sixteentimes Music) [Rich Piva]
Swiss stoners Gentle Beast are back with their second record, once again delivered by Sixteentimes Music, titled Vampire Witch Reptilian Super Soldier (...from outer space), which certainly sets up expectations for this album to be a weird, wild, and fun ride. You do get some of that, but for me this more of just a very solid, yet straight ahead stoner rock record.
Yeah, there is some sense of humor in some of the lyrics, giving this record a bit of personality, but is this a b-movie soundtrack with riffs? No, and that is fine, because songs like the opener, Planet Drifter, is quite the ripper, with a killer riff and excellent guitar work. Voodoo Hoodoo Space Machine is where you get some of the fun, and I love the chunkiness of the riff and the thunder of the rhythm section on this one.
Swiss stoners Gentle Beast are back with their second record, once again delivered by Sixteentimes Music, titled Vampire Witch Reptilian Super Soldier (...from outer space), which certainly sets up expectations for this album to be a weird, wild, and fun ride. You do get some of that, but for me this more of just a very solid, yet straight ahead stoner rock record.
Yeah, there is some sense of humor in some of the lyrics, giving this record a bit of personality, but is this a b-movie soundtrack with riffs? No, and that is fine, because songs like the opener, Planet Drifter, is quite the ripper, with a killer riff and excellent guitar work. Voodoo Hoodoo Space Machine is where you get some of the fun, and I love the chunkiness of the riff and the thunder of the rhythm section on this one.
I love how Mammoth Roams actually sounds like the title and is probably my favourite track on the record, mostly because of how many cool directions the song goes in just four and a half minutes. I dig the use of keys on Witch Of The Mountain, even if the spoken word part was unnecessary, but the fast-slow-fast tempo changes are nicely done. The record drags a bit in the middle, but the it ends strong, with the chugging riffs of Revenge Of The Buffalo and the trippiness of The Last Smoke.
Vampire Witch Reptilian Super Soldier (...from outer space) is a fun and solid stoner rock record. Is the second Gentle Beast offering going to blow anyone away and make them readjust their top albums list? Probably not, but if you like well crafter stoner rock then you will enjoy the record. 7/10
Vampire Witch Reptilian Super Soldier (...from outer space) is a fun and solid stoner rock record. Is the second Gentle Beast offering going to blow anyone away and make them readjust their top albums list? Probably not, but if you like well crafter stoner rock then you will enjoy the record. 7/10
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