Archive for August, 2016

Torrefy – ‘The Infinity Complex’

August 30, 2016

From Victoria, Canada, Torrefy now present their next album, ‘The Infinity Complex’, following their previous offering, ‘Thrash And Burn’. This second project is a concept album, set to assault the senses, via an endless, electrifying journey, through chaos, mayhem and crazed, metal insanity, of stratospheric proportions.

Torrefy have thus far, played alongside greats such as, Havok , Skeletonwitch, Warbringer, Enforcer, Exmortus, Toxic Holocaust and Cattle Decapitation.  These combined influences have been melded into the style presented in this current album; a full on, loaded, intense school of thrash/death metal, once beheld, never forgotten.

Plank Epoch – What a gorgeous, mellow intro.  Unexpected and slightly sinister, in its surprisingly gentle opening.  Sometimes, though, it’s good to be thrown off course).

The Singularity – Opening with a similar style to the intro track, but this time, seguing, gradually, in a ‘Tallicaesque quiet/loud style, into an evil sounding performance, of classy death metal, to please the extreme, screamo fans.  Some lovely riffs in there, though, befitting the melo- death and thrash genres.  Growls aplenty, for the hardcores and still enough melody to cater for generic metal enthusiasts.  A mixed bag, with so much variety, it’ll keep you on your toes.

Hypochongea – Radio interference intro, soon followed by a few nice, chilled out riffs, yet there’s nothing chilled out about those vocals!  Ouch, those screams have got to hurt.  Speed riffs soon take over, in a very pleasing pace, but still, no vocal momentum is lost and those blackened screams continue.  Drums coming into their own at the mid-point, making themselves clearly heard, along with the bass line, providing a back-up of such unquestionable hardness, there’s nowhere else to go, but heavier all the way.  Driving himself insane, towards the end, with increasingly extreme, screamo vocals, one thing this singer does not lack is power.

Blinding The Beholder – Well that was freaky!  A short, but direct, announcement of imminent death, delivered in a cool, calm, ‘BBC’ manner!  Evidently, though, it removes nothing from the severity and aggression of the strong performance, following.  Speed, growly, screamo, thrash, with melo-death makes for a strong and urgent combo.  It’s striking, if nothing else.  You’re going to need your attention on full alert for this.

Thrashist Dictator – Very laid back drum and cymbal intro, with gradually involving riffs, joining in, before the deep and gory growls appear, evolving into crazed screams, gradually paving the way for a bit more melodic thrashy power.  Soon, though, the screams overtake again, with a few more growls, but the melody’s still present, actually upping its game, towards the end and going for it, with enough speed and power to make it clearly memorable.  Ending on a final, guttural grunt, there’s enough incensed aggression here to cause nightmares of meeting face-to-face with this bands’ anger, on a dark night.

Killed To Death – Opening with a ‘Tallicaesque riff section, but just in case you thought you could sit back and relax with some melodic stuff, the vocalist throws a bit more violent aggression at you.  He’s got to win an award for sheer vocal violence.  You can’t fail to notice a few Slayeresque riffs in there, though.  Pleasing to any old school purist’s ears.  Relentless driving pace and equally relentless and murderous tones make this track what it is.  An infinite ride through the harshest, yet most comprehensive metal landscape imaginable.

Infinity Complex – Title track.  Opening volley of rhythmic drums, with the now familiar strains of the Monster from the deep, along with some rather pleasant riffs, marrying melody with extreme death, again.  Enjoy a bit of melodic riffage around the mid-section, while you can, before your ears are attacked again, by the furious, rage-filled death screams.  It seems the end of the world is nigh and vocal extremity will soon be in short supply.

Celestial Warfare – Very ‘Tallicaesque stop-start riff intro, but wait….. it doesn’t last long, before being almost overshadowed, by spleen rending fury of the vocal kind.  The drums hammer their message home, like a battering ram, at that point.  You’ll still hear some skilled melody, here and there, but you just won’t escape the absolutely livid wrath of those blood-drenched lyrics, for a moment.  Frankly, you’ll be begging Freddy Krueger to make an appearance, to give you a rest, for a bit.

Trial By Stone – Another ‘Tallica type riff intro, before the screams return.  There’s a speedier essence to these riffs and you can actually sense that the drummer’s knackered himself, with the amount of sheer energy he’s thrown into maintaining such heavy momentum and that he’s reaching the end of his rope.  Oh!  What’s this?  Is the pace actually finally slowing?  No.  I thought not.  The aggro and full pelt action had to come back out, for one final hurrah.  Oh, but, it does appear to be moving towards a merciful slow close.  You won’t forget it, though, thanks to that seemingly endless echoey fade out feedback riff.

Overall – Bloody hell!  This is one shining example of aural destruction, at its most intense, determined and downright explosive.  I suspect that this is what ‘The Big Bang’ sounded like, if there was such a thing.  Total planetary implosion.  They were aiming, with this new release, for cataclysmic impact.  They’ve succeeded.

8/10 ********

For fans of extreme, noise metal, thrash, death, melo- death and good, old-fashioned, heavy fucking metal.

https://www.facebook.com/Torrefy 

 

Acrania – ‘Fearless’

August 29, 2016

Acrania are a Mexico based, Latin edged thrash/death band, incorporating a major Latin element, in a bid to break the ‘rules’ of metal. This, ‘Fearless’, is their third album. Mastered in Tower studio, by Brett Caldas Lima, (Cynic, Megadeth), art work by Elarin Kantor – famous for his work with Testament, Iced Earth, Sodom, etc.

In common with many metal bands, Acrania’s musical vision is significantly driven by political, religious and world issues.  ‘Fearless’ was released with support from Mexico’s National Council for Culture and Arts (CONACULTA) and the National Fund for Culture and Arts (FONCA). 

Formed in Mexico, in 2006, their first EP, ‘In Peaceful Chaos’, was launched in 2007, by which time they had found their ideal sound.  Their first album, ‘Unbreakable Fury’, was launched in 2010.  Acrania toured Europe, to promote that release, with support from the Wacken Foundation.  It was met with positive acclaim. 

Their second album, ‘An Uncertain Collision, launched in 2012, with support from CONACULTA, once again.  Numerous publications have named it ‘Best Album of the Year’, including ‘Search N Destroy’ and ‘Rolling Stone’.

They then received an award for Best Album of the Year, from ‘Kalani Metal Awards’ and were also listed in ‘Best Albums of 2012’, by Sweden’s ‘Global Domination’, along with Candlemass’s ‘Psalms for the Dead’, Diablo Swing Orchestra’s ‘Pandora’s Pinata’, Kreator’s ‘Phantom Antichrist’ and it’s been highly acclaimed by ‘Metal Underground’, ‘Bravewords’, ‘About.com (Heavy Metal’), ‘The Metal Crypt’, etc.

Following such phenomenal success, they’ve toured Europe and Mexico, playing alongside Diablo Swing Orchestra, Death To All, Exodus, The Agonist, The Faceless, Legion Of The Damned and Havok.

People Of The Blaze – Wow!  Crazed intro of fiery, life affirming Latin, death combos.  Instant sense of a world of righteous anger being conveyed, with an attempt to make sense out of it, clearly presented within the clean, lively jazz sections, melded with the aggressive death and thrash arrangements.  It’s immediately evident that the wild, freely performed percussion works well; bringing a lightness and novel expression to the whole.  Fearless indeed).

Poverty Is In The Soul – Opening with riffs, combined with a mix resembling jungle and steel drums, Latin dance and wind instruments; together, conveying a loudly impassioned performance, so varied, it could go anywhere and compel you to listen.  Massively entrancing, wildly intriguing and blazing with utter conviction.

I Was Never Dead – Fuck, that woke me up!  A sheer blast of continental power of epic proportions.  Banging the volume and intensity up, for all it’s worth.  You’ll probably never hear anything else quite like this obscure, but enlightening mixture of multiple genres and instruments, again in your life.  It actually does kill all the rules stone dead.  Never before have I heard such a lively, exotic blend of techniques and sounds, which actually works and works well.

Blinded By Power – Softer acoustic intro, soon supported by tribal like drum beats, deathy lyrics and trumpet section, Bongos and flamenco riffs; all of which alternate with each other, throughout, in a stunning tour de force of gallant and markedly versatile musicianship.

Overflow – Wow again!  Talk about lively.  A totally confident performance of that awesomely unique blend of thrash, death, Latin American, jazz, European and one-off fusion metal.

En El Puerto – Tinkling piano, with string section, ocean waves and seagulls in the background.  Short, but very beautiful.  Attention grabbing and extremely memorable.

Hypocritical Conflict – Beat drum intro, with a jungle sound and thrash death vocals.  Acoustic guitar riffs, initially gentle, but rapidly turning wilder and freer.  Growly fury, combined with subtle introspection and fiery vibrancy.  ‘It’s a kind of magic’, to quote Queen.

Man’s Search For Meaning – There was something ‘Pink Panther’esque about that intro.  Deep throated, blood-soaked lyrics pour from the depths, offset against a backdrop of uplifting variety, encompassing a range of percussion and wind instruments, thrash guitars and an atmosphere of sun, sand, sea and dancing late into the night.  Again, it works.  Vividly visual, imagery provoking, highly spirited music from another dimension.  There’s a mystical brilliance about it.

Point Of Collision – Great metallic intro riffs.  Still, that sense, though, of being carried away by the continental mood.  Jazzy, jungly, deathy and thrashy, with a strong Latin feel, all at once.  Fabulous, fast pace and beat, with a strong sense of sorcery and excitement.  Always impressive vibes to end on.

Overall – A whirlwind of heady vibes, with exotic flavour and a combo of uniqueness rarely discovered.  I never thought I’d hear myself say that metal and jazz go together, that Latin music could work with death, or that thrash could still stay the course, alongside wind instruments and salsa beats.  Happily, I’ve been proved wrong.  Not only does this rich and eclectic combo work, but it fires things up to perfection.  It’s the first of its kind I’ve heard so far and strangely, for me, I hope it won’t be the last.  A fresh and vivacious inspiration.

9/10 *********

For fans of Santana, melo-death and combo, cross-over and sub-genres of metal.

www.acrania.net   

Slikk Wikked – ‘Savage’

August 27, 2016

Slikk Wikked are an emerging metal band from Tampa, Florida, USA, influenced by early rock and modern metal genres.  Established since 2011, playing a combination of styles and sounds, based on old school core values.  Energetic, enthusiastic personalities, stage presence and a belief in the music drive the band and their music forward.  Their objective of bringing the ‘metal to the masses’ (see what I did, there?) is assisted by the endeavours of their street team/fan club.

Equinox – Wow!  Dark melancholic, brooding intensity.  I wasn’t expecting that.  Pure instrumental, seguing into a ‘Parisienne Walkways’ type melody, ending with a couple of cymbal hits and leaving a lasting impression.

Savage – Thank fuck for that.  Some nice hard, heavy, vibrant metal).  Now I’m at home again.  Liking the enthusiastic combo of melodic and throaty lyrics.  Lives up to its title.  Great fiery riffs in there, with a lovely metal vibrato.  Sexy, strong, tuneful and direct.  That’s how you do it.

Death Never Rests – Yeah!  A practically velvet smooth riff intro, gliding down your throat, like an ice cold drink, on a hot summers day.  Great choruses.  Built on the solid bricks and mortar of old school metal and moulded carefully into new wave.  Fun, frenetic paced chaos.  Reign Of Fury fans will love it.

In My Blood – Blasting drum and riff intro, moving fluidly and effortlessly right into their stride, with pure, uplifting metal.  ‘Heavy Metal Killers’ needs this track.  Catchy as fuck!  For comparison’s sake, it’s very familiar to the strains of Crowning Glory.  All that’s left to say about this is that it’s got all the right ingredients.  Metal party territory.  Ending on a classic, timeless riff.  This is heaven.

Smokin’ With El Diablo – Very rocky and rhythmic, with an instant party flavour.  Loaded with oomph, sincerity and catchiness.  Packed to the rafters with glorious riffs and sheer metallic presence.  A throatier feel to these lyrics, ending with what sounds and feels like a road roller, grinding up the street, to flatten all in its’ path.

Ascent To Madness – Hitting those drums with eager force and propelling its way into your mind, this throws an eclectic variety of arrangements into the mix, maintaining the flow with each and showing it’s unafraid to experiment.  True focus, grit and determination.  Never losing the flow for a minute, closing on a perfected final riff and drum hit; it’s immense.

Dead In My Eyes – Right in there, with no hesitation.  Moving straight into the metal mood and throwing in some great volleys of drums and building momentum, with energy, feeling and drive.  Everything you need to make your night go with a metal swing is in this album.  Gigantic riffs, fast-paced, sexy vocals, solid, heavy bass, wicked drum rolls.  Fuck yeah!  This is where it’s at.

Use Your Head – Changing pace briefly, before returning to full on, loaded, metal intensity.  Now, though, they’ve hit on a slight touch of screamo extremity, for the briefest of moments, keeping it hard, but melodic.  Those riffs are just going to take you to paradise.  A very clever finishing touch of intriguing lyrics, likely to stay in your memory and make you wonder…

On The Rocks – Visualise a late-night film, showing a car chase, through the streets of America, in the dark and dead of night and you’re there.  Talk about metal values.  These lyrics are all about parading them, proudly.  A simple, but effective message.  It’s a banner for metal and all that it stands for.

Until The End – Opening with some truly beautiful riffs, sliding immediately into familiar heaviness and just sucking you right into the vortex of its’ power.  So catchy I just headbanged so hard, my necklace fell off.  This track possesses a very clear sense of being literally sucked right inside it and held there, so you never want to leave.  Pure orgasmic magic.

Don’t Push Your Luck – Oh yeah!  I just couldn’t help myself.  I just joined in with that power scream intro, just after the daytime car chase melody.  (Yes, I get some weird images in my head, but you know, cars and metal go together).  Loving those intricate riffs to death.  No live entity could miss the sheer power in here or fail to be entranced by it.

Like An Addiction – Now this intro’s reminding me of an obstacle race through an adventure theme park.  Involved, engaging, thrusting, powerful action.  A novel pitch around the mid-section, of some very high-pitched vocals, which fit weirdly well.  Ending, in complete contrast, with an unarguably heavy, pounding instrumental, to end all doubt.

When Angels Cry – Oh, delightfully fast-paced thrills, a blatant NWOHM sound and a little alternation with vocal style and pitch, from melodic, to growly; cohesive, to individual; dark to light and not forgetting more of those delicious riffs.  Point proved.  True metal love and devotion.

Solstice – Moving finale of pure, beautiful instrumental.  Raw emotional expression.

Overall – What more can be said to clarify the absolute magic of this band, that hasn’t already been said?  Their strength is immense and lies in their pure, simple and down-to-earth message.  They care about the music.  That much is obvious.  Not many modern bands live up to their PR ‘hype’.  This one does.  They’re real, sincere, genuinely talented and true to their metal faith.  I can pay them no bigger compliment.  If you only choose one album to enter your life this year, let it be this one.

10/10 **********

For fans of NWOHM, NWOTM, classic rock, melodic, speed, power and extreme metal.

https://www.facebook.com/SlikkWikkedband

Stryctnyne – ‘Unfinished Business’

August 26, 2016

Stryctnyne are a hard rock/heavy metal band, from Long Island, N. Y., USA.  Established since the mid-80s, performing with various line-ups, Stryctnyne is currently composed of the original line-up.  They’ve previously opened for and supported legendary artists, such as Adrenaline Mob, Jake E. Lee and Joe Lynn Turner. ‘Unfinished Business’ is now complete and available via their website: http://stryctnyne.wix.com/stryctnyne and via digital downloads from CD baby, Itunes, Amazon, etc.  Currently looking for short-term vinyl/CD label support, for this release, live gigs are planned, to promote current and past material.  New music is now in process, which will begin pre-production at the close of 2016.  The band’s facebook page is now at 9000 and growing.  For all music press enquiries, PM the band on facebook or contact them via their website.

Blasphemer – Ooh, incredibly growly, gritty intro.  A distinct power metal sound, with a hard, darker edge.  Some noticeably catchy, anthemic sections and tasty, melodic riffs.  Almost metallically choral in places, with a nice, strong, heavy roll to it, akin to a boulder being rolled along, with powerful intent.  The message is clear.  Don’t fuck with these guys.

Last Rite – Oh, liking that single bass note opening.  Conveying so much sinister purpose within that one note.  Here, you’ll find an impressively hard and heavy groove, which wouldn’t be out of place on the Crobar album.  Imagine walking into your favourite rock club, instantly hitting play on the jukebox and hearing immediate strains of the most classic rock pub inspired fayre.  All it needs is a vehicle, roaring away, with a squeal of breaks, on a gravel road, in a backstreet of downtown L. A.  Enough said).

Kill Or Be Killed – Fabulous drum intro!  Immediate and catchy and joined by equally intense vocals and riffs and even one or two sublime power screams.  This is one of those tracks which pours so much spirit into one simple message that it needs no more.  If this doesn’t get them a label deal, there’s no justice in the world.  Stunning vibes.

Line Them Up – Dark, brooding, menacing and that’s just the intro.  A rhythm which will hook you, effortlessly and a pace to match.  Simply filled with visual imagery to create an entire rock film in your head.  The stuff of legend.  It will get inside you.  It will eat you.  It will consume you.  Get the message?  Transportation to metal world incarnate.

Hammer Down – Now if that intro doesn’t carry you away, I honestly don’t know what will.  This time, the power screams come in right at the start and still, the manly, gritty, gravelly, deepness echoes throughout.  Uplifting, mood enhancing, metal therapy, right here.  These guys were simply born to rock!  This is what you call a choir of metal angels!  One listen and I guarantee you’ll be hooked.

Reality – Banging drum and power scream intro.  There’s a magical combo here of hard southern style, groove rock and high-level power metal and I just love it.  Deep, melodic, cohesive and perfectly pitched, all at once.  Top rate audio production and quality to die for.  Some truly fabulous stuff in there.  This band need to be signed now.

Satan’s Ride – Wow, what a growly, deep-throated, monster of an intro!  More spoken word stuff in here, but still retaining that top-notch melody, in the sung sections.  Lyrically, worthy of the likes of Sabbath.  Evil, dangerous and plausibly so.  Such deeply dredged aggression, it’s about to go up in flames.

ThunderGods – Here’s a change of tack, in an infinitely more sombre, sinister, funereal intro, which then segues rapidly into a fun, rocky, upbeat vibe, reminiscent of ‘The Monster Mash’; thus, proving Stryctnyne’s metal credibility as a band well capable of flowing easily from one sound to another, with total versatility.  This track’s a candidate for the ‘party rock’ genre, yet it still holds on to that constant thread of heaviness.  Now that’s what you call ‘metal’.

Turn The Power On – Oh yeah, straight into classic rock territory, with no holds barred.  Saxon, eat your heart out.  Just filled with proper old school riffs, to bang your head to.  The heart and soul of rock is alive and well.  Perfect simplicity lies right here.

WitchesHunt – Bang, crash, hard and heavy darkness lives).  The whole Halloween feel’s been captured so well here.  It’s almost a re-creation of a Witches’ Sabbath.  Dark arts have found their home.  Every elaborate story or myth you’ve heard about witchcraft rituals is imagined within this track.

The Power And The Glory – Crashing drum intro to blow your head right off.  Ooh, political content.  Well it had to rear it’s head some time.  It’s caught the mood of the moment perfectly, within the melody.  Strong, courageous and outspoken.  It wins points for that alone.  To have the courage of your convictions is one thing, but to depict them so clearly and cleverly, musically, while still maintaining an enjoyable sound, is another.  They’ve succeeded.

Keepers Of The Secret – Slowing things down and alternating the mood again, in another direction completely, this here is an ideal closing track, which still bears some lyrical relation to the last track.  Contemplative, urgent and affecting, simultaneously.  Such a fitting power scream, just prior to the mid-section.  Slight echoes of ‘Black Sabbath’, briefly, till the rhythm and pace picks up again, heating up the vocals to boiling point.  Fiery, in a very literal sense.  Ending on a magnificent power scream.  Truly brave, sincere, energetic, metallic sentiment.

Overall – Overflowing with fire, passion and infectious energy.  This could be the next Judas Priest.

10/10 **********

http://stryctnyne.wix.com/stryctnyne

For fans of Judas Priest, Saxon, Steppenwolf, WASP, Black Sabbath, Motorhead, Enforcer, power metal, classic rock, groove and blues rock and NWOTM, generally.

Concrete Kingdoms – EP

August 24, 2016

Hail To The King – Very classic old school intro, similar trad type riffs and a prominent down-tuned bass line.  A slight stoner feel, combined with typically sex, drugs and rock ‘n’ roll lyrics; all of which fits together nicely.  Steady pace and some well-placed high-pitched vocals towards the end.  All in all, it’s the kind of track you’d expect to hear on a film soundtrack, with a storyline about the re-formation of an old school band, from back in the day.  This, IMHO, is a good thing.

Whole Lotta Hype – Ooh, very Californian style bluesy intro.  Now, this is happening.  It’s got grit and plenty of it.  Catchy, sexy, rockiness in spades.  Some lovely riffs and great sound production.  It just flows effortlessly, treating us to more of those gorgeous screams, while taking nothing away from the general cool, rocky vibes.  Immediate and powerful.  Remember that Wrigleys spearmint chewing gum ad?  Well this is an even sexier, rockier version, with a sultry, stoner leaning.  What’s not to like?

Fade Away – Beautiful riff and vocal intro, bringing an instant sense of uplifted melancholia, which will slow everything down, calm your senses and hit ‘that’ spot of emotional release, in a way which has to be experienced to be understood.  Heavy and gentler flow, in and out, like rhythmic breathing, throughout.  An almost yogic element lives within this.  An absolutely serene and uplifting example of hearing a guitar sing, to the very depths of your soul.  Healing, profound and just unforgettable.

Overall – It speaks the deep and unheard language of your soul.

10/10 **********

www.concretekingdoms.com 

Elliot Millman – Jor El / Box The Sky – A World Upside Down

August 10, 2016

Crash bang intro of hammering drums and riffs, followed by an intriguingly mixed vocal section, of interchangeable poppy and growly sounds, creating an impression of uncertain direction.  A gentler phase after the mid-section seems to suggest another alternative route.  Collectively, a difficult style to categorise, as it comes across as a song trying to pull in too many different directions at once.  Potential catchiness here and there, but it needs to know where it’s going.  Vocally speaking, a bit too ‘boy band’ for the rock genre.  Promising riff and drum sections in places, but neither one thing nor another.

Overall – Confusing mish-mash of techniques.

3/10 ***

 

Zen Juddhism – ‘Zen Juddhism’

August 5, 2016

Introducing Zen Juddhism’s forthcoming self titled album, ‘Zen Juddhism’.

Chocolate Cake – Delicious title!  Nice cool bass opening, followed with rather bluesy vocals and the whole thing carries a lounge music atmosphere.  Quite a high vibe about it, plenty of melody and there’s definitely that feeling of being taken back in time.  A psychedelic flavour, with an old school sound.  If you remember ‘Happy Days’, you’ll know where I’m coming from here.  Anyone under 30, go back to sleep, cos that’ll mean nothing to you.

Private Banks (So Cold) – Good solid drum intro, a feel good vibe and an overall sound probably best described as ‘eclectic’.  More alt than rock, imo, but very melodic.

Want To Be Free – Liking that bluesy, stonerish opening and those pleasantly surprising female vocals, with a definite Chrissie Hynes essence.  However, it is a tad too lyrically repetitive.

Concrete Beat – This has got an instantly likeable slide intro and a really cool, relaxed upbeat bluesy tone, with lots more rock and even a touch of soul.  One for mellow, chilled out moods.  So much rhythm, you could figure skate to it.

Heart Removal – Ooh, now this has got something!  Catches you immediately.  Loads of rhythm, some decent finger picking going on there and a memorable chorus.  Liking the closing riffs.  Takes me back to my early student days, when ‘ambience’ was the name of the game.

Clash From Oblivion – Now this reminds me of Kyuss’s ‘Demon Cleaner’ – definitely a good thing.  Unusual lyrics, but that makes them more memorable.  Lots of catchiness here.  Standout track, possibly.

Am I Alive? – Ah and now, the mood changes down a gear, with some particularly classy female vocals, which really do the song justice.  Soulful groove rock, if ever I heard it.  Effortless and smooth, gliding along and sliding down, like melted chocolate.

Green Eyes – Paul Weller, eat your heart out.  That intro could almost have been ‘The Changing Man’.  Again, hitting that rhythmic feel instantly; maintaining a slower, but steady pace now and just cruising along easily.  Speaking of easily, it does have slight evocations of The Red Hot Chilli Peppers’ track of the same name; carrying a very similar sound and atmosphere.

Hold – Hmm, a slightly more sinister edge to this, with an altogether darker feel, yet there’s still light.  Catchy drum beats and in spite of the innocuous lyrics, the tone of the whole song makes it sound like a warning of some encroaching threat of danger.  Still catchy, regardless.

East – Like that intro very much, which could easily be Hendrix’s cover of ‘Wild Thing’.  It’s really just like a Zen Juddhism instrumental cover of ‘Wild Thing’, set to the lyrics of a different, yet similar track.  Very powerful, pleasant female vocals give the whole thing an extra edge.

Temporary – Familiar ‘Changing Man’ rhythm again.  Very 50s/60s.  It’s got blues, it’s got soul, it’s got groove, with a melodic soft alt rock edge to it.  Imagine a ‘Heartbeat’ character, driving along the bleak, Yorkshire roads, with the car stereo on and this is what they’re going to be playing.  Yes, it’s got that very early rock feel to it, which, imho, is great potential.

Overall – A classy, groove laden piece of nostalgia, to send your mind back to all that reminds you of the media presentation of the glory days of the beginnings of rock and blues, in its pure and unadorned format.

8/10 ********

http://facebook.com/zenjuddhism