Any magician will tell you that perfecting the art takes time and of course a little luck. Music is the same, back in 2010 the world wasn't really ready from Tom Hollister Trio, they gigged and released an EP or two but nothing really sank in resulting in a split. Guitarist Chris Buck and frontman Tom Hollister went on to do a few different things sometimes apart, sometimes together but in 2022 they released their debut single, immediately making a splash by knocking off Noel Gallagher from the top of the charts, then it was an EP and their debut full length, all to critical acclaim.
In the decade before acts such as Hozier, Rag N Bone Man and others brought back that soulful R'N'B sound; blues, soul, Americana and gospel music forged from adversity and through struggle, the world was ready now and Cardinal Black's own struggles to get there were captured on that debut record. Cue a whirlwind of touring, playing packed out houses from every local dive bar to the lofty boards of The Royal Albert Hall, this Welsh trio of Hollister, Buck and drummer Adam Roberts have forged their own independent path to success and with Midnight At The Valencia they celebrate, commiserate and reflect on what has come before through the hopeful gaze of what's to come.
Personal lyrics come again here with the poignant Push/Pull, which deals with the passing of Buck's father while Your Spark is Hollister paying tribute to his wife with his gorgeous baritone doing similar on the soulful Adeline. Produced deftly by Cyrill Camenzind, who has captured this album on analogue equipment to bring it warmth and a quiet reverence to the bands that inspire the trio, this sophomore release deals with heavy topics through delicate reflection and euphoric celebration.
"Bend your knees, take a deep breath and jump" the words from Peter Pan lead into a persistent drum beat from Roberts as Ride Home begins with some open chords from Buck, the simplicity of this opener hides complexity, piano, acoustic guitars, wind instruments, organs and bagpipes, that drum beat feeling like it should be on hip hop record as they segue into the moody Falling, Hollister's honeyed vocals telling these stories with grit and soul.
Cardinal Black utilize space, like the best composers it's the moments of quiet that hit as hard as the ones filled with music, the slow burn of Racing Cars and Breathe, for instance both are deep and slow, the first building on a one two drumbeat and some Fender Rhodes as Buck flits in and out with some beautiful guitars as the latter has a modern edge with the backing vocals and the use of piano.
Midnight At The Valencia is Cardinal Black proving to any doubters (not that there are many) that they deserve to be where they are. A fantastic album from a truly special band. 10/10
Häxan – Death Of Me (Self Released) [Simon Black]
It seems like an eternity since Häxan’s first full-length album landed on my platter just whilst we were all sitting around in 2020 wondering what the hell was happening to the world. Well, the world may not have become a better place since then, but the same definitely cannot be said for this Hard Rock trio from South Wales. They’ve garnered some strong exposure supporting well-established acts, received hugely positive reviews for the White Noise album, played at Bloodstock, but I have felt for a while that they deserve a little more success than they have so far achieved outside of their home turf. I suspect that I will be eating those words soon.
That album blew me away, cut as it was by themselves at a time when lockdown was stifling the careers of every band around the world, but this time they’ve brought in the meteoric Romesh Dodangoda and the results are an EP that takes the considerable talents the band already had and blows the back of your skull off. The sound is so rich, with all elements in the mix sounding a rich fat and cohesive whole without losing any individuality of the contributions in the mix. That’s a producer who knows what they are doing…
And with a band that know what they are doing too. The five songs on here don’t just pick up where White Noise left off, but are noticeably darker than the up-to-date, yet firmly traditional Hard Rock sound of what went before. I had already been warmed up by single Thirteenth Hour that things were taking a slightly different direction, but the whole EP takes their sound and song-writing to a much moodier, and meaty direction. It’s a powerful and moody track, which sees the considerable talents of vocalist Sam Bolderson in much more emotive directions than before, but the whole disk evolves their core root sound into much richer directions in terms of performance, musicianship and sheer song-writing skill.
Less traditional Rock’ N’ Roll yet without losing that core, but with way more richness, depth and a stronger, tighter delivery, were such a thing possible from a band who deserve a thesaurus entry for the word ‘tight’ just for them. Mind blown; pieces on floor behind chair. Mop and bucket needed… 10/10
Antropomorphia - Devoid Of Light (Testimony Records) [Mark Young]
And coming at you hot from the Netherlands, we have Antropomorphia who return after six years with Devoid Of Light, and to be honest you cannot fault any death metal album that kicks off the way that Devoid Of Light does, with the full-throated roar that announces The Withering Stench Of Hope. Its full on with the song coming in with all guns blasting. They nail their (blackened) colours to the mast almost straight away and at first you could be forgiven for thinking that its going to be this constant speed or approach, you would be wrong. There is a constant melodic feel that runs through this as well as conscious decision to switch speeds to suit so it never settles in one place.
Midnight At The Valencia is Cardinal Black proving to any doubters (not that there are many) that they deserve to be where they are. A fantastic album from a truly special band. 10/10
Häxan – Death Of Me (Self Released) [Simon Black]
It seems like an eternity since Häxan’s first full-length album landed on my platter just whilst we were all sitting around in 2020 wondering what the hell was happening to the world. Well, the world may not have become a better place since then, but the same definitely cannot be said for this Hard Rock trio from South Wales. They’ve garnered some strong exposure supporting well-established acts, received hugely positive reviews for the White Noise album, played at Bloodstock, but I have felt for a while that they deserve a little more success than they have so far achieved outside of their home turf. I suspect that I will be eating those words soon.
That album blew me away, cut as it was by themselves at a time when lockdown was stifling the careers of every band around the world, but this time they’ve brought in the meteoric Romesh Dodangoda and the results are an EP that takes the considerable talents the band already had and blows the back of your skull off. The sound is so rich, with all elements in the mix sounding a rich fat and cohesive whole without losing any individuality of the contributions in the mix. That’s a producer who knows what they are doing…
And with a band that know what they are doing too. The five songs on here don’t just pick up where White Noise left off, but are noticeably darker than the up-to-date, yet firmly traditional Hard Rock sound of what went before. I had already been warmed up by single Thirteenth Hour that things were taking a slightly different direction, but the whole EP takes their sound and song-writing to a much moodier, and meaty direction. It’s a powerful and moody track, which sees the considerable talents of vocalist Sam Bolderson in much more emotive directions than before, but the whole disk evolves their core root sound into much richer directions in terms of performance, musicianship and sheer song-writing skill.
Less traditional Rock’ N’ Roll yet without losing that core, but with way more richness, depth and a stronger, tighter delivery, were such a thing possible from a band who deserve a thesaurus entry for the word ‘tight’ just for them. Mind blown; pieces on floor behind chair. Mop and bucket needed… 10/10
Antropomorphia - Devoid Of Light (Testimony Records) [Mark Young]
And coming at you hot from the Netherlands, we have Antropomorphia who return after six years with Devoid Of Light, and to be honest you cannot fault any death metal album that kicks off the way that Devoid Of Light does, with the full-throated roar that announces The Withering Stench Of Hope. Its full on with the song coming in with all guns blasting. They nail their (blackened) colours to the mast almost straight away and at first you could be forgiven for thinking that its going to be this constant speed or approach, you would be wrong. There is a constant melodic feel that runs through this as well as conscious decision to switch speeds to suit so it never settles in one place.
Once they get into the final minute or so, they break out a tasteful and blistering lead break, setting it in two parts so that faster part segues into the main rhythm parts. Its handled superbly. Now, I’ve been a bit hit and miss with death metal recently and I’ve said that its likely that I’ve heard so much of it that it doesn’t really register anymore, other than superficially. With the title track, Devoid Of Light it follows much the same path in terms of build and once you recognise that it takes a little of the shine from it. In their defence, what they have committed to tape is very good and they keep those melodic touches coming , even down to the leads that come in and do a masterful job without being overwrought. With two songs having that same similarity in how they unfold, despite having some great touches to them it means that already I’m thinking about how the rest will come in.
Funeral Throne goes some way to picking up my interest, having a more propulsive feel to it that starts off with an urgent attack and maintains it right through. I think you could describe this as being shorn of all unnecessary fat whilst In Writhing Rapture goes the opposite way and works well because of that. The trem picking is still there, but with a restrained feel to it. When it does go down the blast route, its not totally unexpected but it does allow it to loop back into the slower measure and the lead that follows is spot on. How that lead comes in and deploys sums the album up. It does the expected things but doesn’t do them in the way you expect them to do it, and this applies to how each song is arranged and then deployed.
Cancerous Bane sees them going in the opposite direction, bringing the speed and crushing intensity back. Again, rather than just being one-note all the way through they up the melodic aspect which delivers an element of discord. Its just enough to mix things up without causing the wheels to fall off. What is apparent is that they can do the shorter, nastier songs equally as well as the longer ones. Unending Hunt follows and represents what I feel is the most cohesive example of their sound in one place. It combines mood, exemplary riff work, sublime drumming and lead work that could cause fires. Amongst this is that top class ability to wring the right level of emotion from what is a simple melody and you have a song of undoubted quality.
Ash Drapes The Earth continues that strong theme of combining atmosphere and storming guitars but is forgotten in the dust that is kicked up by In The Shade Of The Devil’s Horns. That is not meant to be disrespectful, its just that the latter is a monster. I said that Unending Hunt probably represents the jumping on song for this album, but In The Shades...is my favourite. I can’t properly explain why this is the case, apart that it sounds different again and the solo is mint. I think that sometimes less words are better, and you should just trust me on this.
The closing piece is Triumphant Death, and for the final time they bring those unsettling melodies together just before they drop the big riffs. This is slower, more focused and as a result Is oppressive to the ear. Of course, they don’t stay slow, gradually ramping up the speed to a logical position where there is a feeling of movement without it being ridiculous. And then its done. Finished. It is an album that follows its own way, and nobody else. The opening two tracks are good tracks but because of that similarity of build, I wasn’t expecting Devoid Of Light to go the way it did. It is worth your time because of this and has certainly been one of the most engaging listens this year. 8/10
Handgemeng - Satanic Panic Attack (Ripple Music) [Pete J]
Norwegian-based stoner metal (not rock, metal) 4-piece return with only their second album in 7 years. Which either means the quality control is working or they were toos toned to do anything! I know how that feels!!
Well it starts off in a curious way, The Cauldron Born opens the album up in a fashion that brings to mind fellow Norwegian crazies Kvelertak. So much so I thought I had been sent the wrong album! Not a good start if you want the truth, opening your new album in such a way is very curious indeed. Next up Medieval Knieval carry's on in the same catchy stoned fashion, sounding more like themselves with their hard-edged stoner metal coming to the fore, establishing a sound so catchy you forget about the opening faux par.
The combination of hard rock, stoner groove and even a hint a death metal makes Satanic Panic Attack a tour-de-force of simply wondrous proportions. Charlie Ytterli and Cro-Magnus unleash sumptuous riffs upon sumptuous riffs, enveloping you with a glorious sound while the flowing solos fit perfectly, taking you away to magical lands of wonder and enlightenment. Martin Wennberg's crooning vocals do have a little of Erlend Hjelvik ex-member of the aforementioned Kvelertak about them, especially when he screams expelling his demons over the thunderous stoner grooves. The title track is a stand-out, its monstrous riffs suffocating you as the rhythm section of bassist Kim Grannes and Ola Holseth (drums) lay down the grooving heaviness that pummels you into submission with ease.
This album is so infectious, sucking you into its sublime grooves and not letting go until the last echoes of Supermoon drft away, leaving you wanting so much more. After the disappointing opening track Satanic Panic Attack forges its own glorious path taking you on a journey to psychedelic realms of pure heaviness, passing through stoner central and heavy metal land until you are completely hooked on Handgemeng's groove. This is well worth your attention and money. Now, can we get them over here? This will be killer live! 8/10
Handgemeng - Satanic Panic Attack (Ripple Music) [Pete J]
Norwegian-based stoner metal (not rock, metal) 4-piece return with only their second album in 7 years. Which either means the quality control is working or they were toos toned to do anything! I know how that feels!!
Well it starts off in a curious way, The Cauldron Born opens the album up in a fashion that brings to mind fellow Norwegian crazies Kvelertak. So much so I thought I had been sent the wrong album! Not a good start if you want the truth, opening your new album in such a way is very curious indeed. Next up Medieval Knieval carry's on in the same catchy stoned fashion, sounding more like themselves with their hard-edged stoner metal coming to the fore, establishing a sound so catchy you forget about the opening faux par.
The combination of hard rock, stoner groove and even a hint a death metal makes Satanic Panic Attack a tour-de-force of simply wondrous proportions. Charlie Ytterli and Cro-Magnus unleash sumptuous riffs upon sumptuous riffs, enveloping you with a glorious sound while the flowing solos fit perfectly, taking you away to magical lands of wonder and enlightenment. Martin Wennberg's crooning vocals do have a little of Erlend Hjelvik ex-member of the aforementioned Kvelertak about them, especially when he screams expelling his demons over the thunderous stoner grooves. The title track is a stand-out, its monstrous riffs suffocating you as the rhythm section of bassist Kim Grannes and Ola Holseth (drums) lay down the grooving heaviness that pummels you into submission with ease.
This album is so infectious, sucking you into its sublime grooves and not letting go until the last echoes of Supermoon drft away, leaving you wanting so much more. After the disappointing opening track Satanic Panic Attack forges its own glorious path taking you on a journey to psychedelic realms of pure heaviness, passing through stoner central and heavy metal land until you are completely hooked on Handgemeng's groove. This is well worth your attention and money. Now, can we get them over here? This will be killer live! 8/10
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