Archive for April 2020

Thirteen Stars – ‘Finest Ramshackle Jam’   Leave a comment

UK-based southern rockers Thirteen Stars now unleash their soon-to-be-released album, ‘Finest Ramshackle Jam’.

Recorded at Axis Studios, Doncaster (Terrorvision, Massive Wagons, Black Spiders), co-engineered by Matt Ellis and TS’s very own Hoss Thompson and mastered by Geoff Pesche (Page And Plant, Therapy, The Divine Comedy), at Abbey Road Studios (The Beatles, Pink Floyd, Muse).

‘FRJ’ was the band’s way of building on past material and injecting more alternative eclecticism into it, reflecting the wide spectrum of influences and versatile lyricism within TS. The moniker ‘FRJ’ was a band friend’s description of the band’s rehearsals

I’m Ready – Opening on a cautious riff, moving, fluidly, from there, into a classic blues rock refrain. Sexy gritty vocals and catchy melody. These are really capable hands and it’s a very Quireboys-esque sound. A bit of repetitive track, but it’s hypnotically seductive enough not to matter. Well-rounded rhythms and a whole lot of inviting warmth.

Running So Long – Tangier essence to this riff intro. Strong, smooth delivery, melting into the melody. Completely natural vocal delivery. Stacked with vivid, comforting imagery. Brief, but pin-point ending and very Bon Jovi-esque balladry here.

Sweet Lies – Introing on a tin drum sound, breaking into an immediately stronger drum sound and more of those entrancingly warm vocals. It’s just a very cohesive, bluesy track. Back to that Quireboys feel and lots of soothing, moody qualities.

Give It Good – Very tight, neat slide riff intro. Right into a strikingly powerful, high octane blues rock base. Such precise production, flawless, in every facet. The vocal gravel never leaves and you just melt into it. Top quality accompaniments, attacking it with absolute perfection. It’s filled with groove, throughout and a slight hint of funk. Abrupt ending, but the melody makes it.

Sleeping – Rapidly fired riffs open onto a steadily increasing volume. So much gravel in that voice and a pitter-patter rhythm structuring and characterising the track. A vibrancy to this melody styles it in an emotional, but upbeat way. Again, it’s a very acute ending.

Sorcery – Coming in gradually, through a tunnel effect, emerging into a heavy rock refrain. A winding blues rock emphasis to this and a notably uplifting tone and feel. It rumbles on, through a dizzying array of catchy melodies, at a great, accessible pace. Standout track.

Be There In The Morning – Right into a traditional early blues lick, with tons of twang. A fine narrative strand and once more, it blends a style echoing the Quireboys and Bon Jovi. Expertly performed, with a slight feel of ‘Earth Angel’ to it. Always keeping the rhythm well, though this one’s a tad repetitious. Production and audio values still spot on, however and it seems that voice was made for that old school bluesy sound.

I’d Do Anything – Strong, hard-hitting intro, heaps of sexy twang and smooth sensuality to the vocals. This performance is stacked with well-placed confident assurance and it’s just immensely sexy. So rhythmic and alive, poignant and yet highly energised. Got to love those lyrics and this is packed to the rafters with orgasmic atmosphere).

Mint Jelly – Instant ‘Spirit In The Sky’-esque riffs, evoking immediate crunchy rock atmospherics. A clear standout track, it’s an exciting mix of hard rock, blues tones and lively choruses. Gorgeous piano sections just add to the potent imagery. A magical track, destined for the stars.

Rebel – Getting even heavier and more old school, immediately, it transports you elsewhere. Another rhythmic, confident delivery, of classic blues and groove, to fill your senses with rocky bliss.

Steel Horse – Gorgeous steel string intro! That’s alive with feeling and true conviction, from the start. Once more, echoing that combo of Quireboys upbeat jazzy blues and Bon Jovi-esque rock crunch. The grit remains, throughout and hits you hard, with every note. Evoking road trip visuals, through American deep South landscapes, it’s a clear, coherent, magical sound, from its striking beginning, to its solid, definitive drum hit end.

Keep Calm – Carry On – Blitzing electrifying riff opens. Softer vocals, with the same rhythmic form. Huge catch and uplifting melody. This is one to get absorbed in, lose the intensity, for a while and just fold into.

Razor’s Edge – Wah Wah intro now, taking this into a faster, but alternating pace. Changing the format here, to one of ascending and descending scales, but still, the sensuality remains. Some sublime riff breakdowns scattered through this and the odd police siren screaming. Lots of great guitar wizardry, just adding to that deeply ingrained sexiness. A vocal refrain you just want to join in with and get lost in. Acute, definitive ending.

Break It Down Slowly – A more percussive, cacophonous intro, with a lighter arrangement, before moving into a heavier, sexier, slightly Cooper-esque vocal. That’s one catchy hook of a melody. Climbing in intensity, before bringing it down again, smoothly. Great memorable lyrics and a hugely uplifting sound altogether. Finishing on a silky riff.

Soldier – Introing on a beautiful steel string riff, with a massive blues groove and real physicality. Very much a highly atmospheric number, with gigantic charisma. If ever you were looking for the catharsis of a track to get lost in, this is it. Brilliant twiddly riffage, just travelling into heavenly realms. The closest comparison’s got to be Bon Jovi’s ‘Dead Or Alive’, only much heavier, with far more intricate riffage and a significantly bigger sound. An astutely chosen finale, this is just about the dreamiest, grooviest blues rock you will ever find.

Overall – Little left to say, except that ‘FRJ’ is groove stacked hard rock blues at its best. This is one of the finest albums you’ll hear this year and if you’re wondering what rocker’s paradise sounds like, you’ve just found it.

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

For fans of Bon Jovi, The Quireboys, The Black Crowes, Blackberry Smoke, Black Stone Cherry, Muddy Moonshine, Heaven’s Basement.

Released June 19th 2020.

All current live appearances postponed, due to Corona virus.

Posted April 30, 2020 by jennytate in Uncategorized

Camp Marshy – ‘Black Soul, White Shoes And A Leather Jacket’   Leave a comment

Camp Marshy now announce their new album, ‘Black Soul, White Shoes And A Leather Jacket’, released on May 1st, 2020.

It’s available on Spotify and all other main digital platforms.

The Swedish punk rock band is comprised of ex-members of PAKK, Soul Divider and Infernal Gates.

‘BSWSAALJ’ follows March 2019’s ‘Baby Are You Ready For Some Fun’ EP, also accessible on all digital platforms. It attracted much positive acclaim.

CM have previously played alongside Askvader, Highride, etc and are known for their energised, upbeat, memorable sounds.

Walk Of Shame – Instant hard hitter intro. Loaded with electrifying riffs, confident vocals and tons of melody. A fun track, with happy, upbeat tones and a strong party rock feel. All’s in sync and the uplifting essence’ll stay with you. Light-hearted sounds, with a rocky edge. Unusual ending, with the sound of the slowed down LP, on the wrong speed, but generally, it’s filled with feelgood vibes you’ll want to re-spin.

Baby Are You Ready For Some Fun – Well gelled neat riff intro, right into the frame. Catchy vocals, good melodies and rhythmic drums. An old school feel to the style, with modern twists. Built around a simple structure, always retaining the beauty of the melody. Especially in the drums, more central here. It’s just a really jivey number, playing to the catchy edge, throughout.

Piece Of Meat – Good solid riff intro, right into a memorable, energised beat. Great audio production. Classy traditional rock lyrics and fabulous harmonies, stacked with hooks. Again, the strength is in its simplicity. Loving the old school ‘hey heys’. This one really pulls you in, with its vibrancy and accessibility. Just changing the riffs down a bit, towards the end, before taking them back up again, for the powerful close. Very Offspring-esque and tons of fun.

Love Song – Smooth riff opens, into notably mood lifting vocals, considering its title. In that department, it breaks the mould. Straight away, this track knows how to make it rock and keep it up. Very rhythmic, hugely melodic, great drum rolls and a highly energised sound. Hooks and catch in spades. Ending on a fabulous tangy riff).

Black Soul, White Shoes And A Leather Jacket – Immediate strong beat, fast-paced, melodious number. You couldn’t hear this and stay down. Again, it’s very Offspring-esque and shares many of their uplifting, bouncy qualities. Keeping that high-level momentum, it’s gorgeously basic and so much fun. Quite early rock, in some respects, combining that with high toned modern twists.

Hey Girl – Softer, gentler chords intro, moving, rapidly, into another upbeat tone and rhythm. Slightly more contemplative mood this time, but never losing the jivey rocky edge. Just as rhythmic, with loads of well synchronised accompaniments packed in. Just a very slight grunge aspect in there, blending 90’s Brit rock, punk and grunge. So flavoursome, it’s a great consistent performance, artfully delivered and rings with genuine passion.

Overall – An absolutely solid, zany, fun-stacked production, with tons of punk flavour and feelgood vibes.

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

For fans of The Offspring, Green Day, Cryptids, CSAD (Constant Source Of Disappointment).

Posted April 28, 2020 by jennytate in Uncategorized

Cadence Noir – ‘A Reckless Endeavour’   Leave a comment

Cadence Noir are a Gothic folk ‘n’ roll band, UK-based and ‘A Reckless Endeavour’ is their 2nd EP, due for release on 19th June 2020. 7 tracks long, incorporating 3 new songs, a re-record of their 2014 single, ‘My Place’ and the 2015 single, ‘ARE’, the title track.

A light-hearted angle on the harsh realities of life, ‘ARE’ combines various styles, including punk, thrash, folk, metal, Celtic rock and pop.

Having been around for 9 years now, ‘ARE’ is a culmination of previous material, going back to 2007, when they were still an acoustic duo. EP ‘The Path’, for instance, arrived in 2016 and debut album ‘Physical Copy’, in 2018.

For CN, ‘ARE’ symbolises a long road of musical experiments, evolving into similar sounds, with the same socio-political context.

CN is a quintet.

Weighing Owls – Rapid strummed chords intro a lively jive of a Celtic rock track. Upbeat violins, protest lyrics, much in the vein of The Levellers and The Pogues. You couldn’t fail to be uplifted by this and its just got a huge spring in its step. Light, bouncy and fun.

Hammered And Sickened – Drums open, onto another wonderfully light folk rock number, with huge Celtic atmosphere. Quick rhythms and an almost rocky Riverdance quality resounds through it. Classic anti-right-wing sentiments pepper the lyrics and though there is a very slightly heavier section in there, it conveys the injustices of society in a very jovial way.

A Reckless Endeavour – Screeching riffs and slightly harder emphasis intro. A clear edge to the vocals here, but the overall sound makes it so easily listenable. The passion for their subject’s evident and very relatable. Definite zing and greater acuity to the accompaniments, though softer essences do appear, too. It’s a well delivered blend of textures.

Down The Park – Gentle acoustic riffs open, combined with violins and strong Celtic riffs. The vocals are softer here, but that roughness still persists, with gritty emphasis, round the edges. Exploding, then, into shards of beautiful fun Celtic rock feel. Huge meaning, executed in such an easy manner. It’s actually a very socially resonant track right now and it fits like a glove.

My Place – Easing into a comfortable blues twang, with a slight country, bluegrass sound. A well workable combination of accompaniments blend perfectly with those emphatic vocals. Meant for exactly this style of music. The fun and frolics are so well conveyed and it’s just a joy.

Dave’s Turnip Tart – A phalanx of tribal drums intro, Bongo-like, getting heavier and more fulsome, with cymbals added. A vortex of sound enters, at times, as if sucking the sounds into a tunnel, but the drums grow stronger, with more cymbal action, becoming a light cacophony. Pure drum instrumental, leaving room for interpretation.

Hey Yeah (Secret Track) – Continuing on from the drum instrumental, evolving into a beautiful Celtic mix of sounds. Passionate vocals, with even more grit and gravel. The most melodic feel to this gorgeously expressed track makes it so accessible and mood lifting. Ending on a full-bodied, atmospheric glow.

Overall – Unlike anything else you’re likely to hear this year, ‘A Reckless Endeavour’ wins instant points for pure escapism, individuality and light-hearted emphasis. If you’re looking to be uplifted and get away from sameness and darkness, this is the one to go for. A true joy and it stands out a mile.

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

For fans of The Levellers, The Pogues, Emerald Shine, Venus Rising, The Corrs, Dark Forest.

Recorded at band members homes, in February and March 2020.
Mixing, mastering and cover art by The Angry Goblin.
Band Logo – Pete Tynan
Band Photography – Beth Jones at Photograbeepics.

Posted April 24, 2020 by jennytate in Uncategorized

The Wizar’d – ‘Subterranean Exile’   Leave a comment

A long-held secret of Australia’s underground scene, The Wizar’d now present their album ‘Subterranean Exile’, a potion of otherworldly dark doom metal spellcraft.

This, their 4th studio album is an amalgamation of mystical processes, with dark vibrations, acting as a passageway into doom metal realms. It’s influenced by bands such as Black Sabbath, Witchfinder General, Pagan Altar, Saint Vitus and Trouble.

Founded in 2004, by Ol’ Rusty (guitars/vocals), The Wizar’d produced a string of releases, including the debut 2008 album ‘Infernal Wizardry’, followed by ‘Pathways Into Darkness’ (2010), ‘Ancient Tome Of Arcane Knowledge’ (2013), etc. Initially aiming to launch ‘SE’ and ‘Master Of The Night’ as separate EP tracks, following ‘ATOAK’, spiritual guidance changed the outcome of that, hence ‘SE’ being released as an album, some 8 years later.

Work on ‘SE’ began in January 2018, with production taking place at 2 locations – The Green Room, Hobart and Heavy Chains HQ, finishing in May 2019. ‘SE’ showcases the quartet at the height of their powers of synergy and doom metal synchronicity.

The result of this magical work of metal is a deep, complex journey into darkness and terror.

The Wizar’d is Ol’ Rusty (guitars/vocals), Blackie (bass), Master Of The Night (guitar) and Maniac Frodsham (drums).

Subterranean Exile – Opening on a crunching riff and an energetic drum roll, straight away, there’s a heightened energy to this. Otherworldly vocals work in unison with matching, lower backing vocals. Surprisingly upbeat, given the dark matter. Smooth riffs combine with those edgy vocals, taking it into other realms. Melodies well threaded through the riffs, it ends on spooky vocals.

Wizard’s Revenge – Similar riff intro, only heavier and clearly more Sab-esque and a smoother, stronger angle to it. You do find yourself disappearing into it, in a sense. So the magic’s definitely there. Riffs growing fuller and more melodic. It’s a bit of a maze of hypnotic sounds and rhythms, taking you with it, till the end. Lyrically sinister, closing on a memorable blackness.

Master Of The Night – Coming in gradually, it suddenly explodes on a lively riff. Still, it’s dark, but uplifting, in its way. This is where the catch moves in, on those hooky riffs. Higher pitched melodies interweave with ominous lyrics. Getting further into its stride, as it progresses, a great deal of intrigue lies within this. Liking the twiddly para-diddles. Fading out on a low, simple bass tone.

Ecstatic Visions Held Within The Monastic Tower – Creepy mid-tone humming riff intro’s. Very visually evocative of thrillers, horrors and the nightmares they induce. Just a pure, full instrumental, conveyed like the sound accompanying entrapment in endless, dizzying labyrinths, alone, in the dark.

Long Live The Dead – Powerful Celtic riff intro! Instant journeying to more melodic realms. Creepier, for its lyrical themes, sung with such obvious glee. Still, it sounds so uplifting. Strong rhythms and melodies throughout. Definitely more instrumental than vocal input here, but it’s a great listen, with thumping drums, thundering home, at the end.

Evil In My Heart – Vibrant, airy cymbal hits intro, immediately joined by fast-paced riffs and speed metal vocals, singing dark, doom lyrics, in eager passion. Surprisingly rapidly paced track, for a doom number. Whilst much of the riffage is fairly simple in basis, there’s a lot of power behind it. Good vocal harmonies and a faint blues echo to it, in the B.O.C. vein. Riffs finishing it off.

Dark Fortress – Cymbals tap out the intro again, leading into a pure riff, with plenty of melody within. A slower pace dictates the flow of this track, carrying well structured suspense. Once more, that melody gets you and takes you along, for the journey. Ritualistic flavour encapsulating the lyrics and it’s well vocalised. A voice distorter appears, throwing out darkened, evil intent. High-energy riffs take over, joined by equally executed vocals. The riffs get faster and more entranced and entrancing, till the end.

Overall – A refreshingly different and curious album, ‘Subterranean Exile’ has much to offer. Its biggest USP is probably how convincingly it conveys higher energy and more upbeat sounds and tones than suggested in the lyrical contents. A point of emphasis for improvement is the audio production, given the buzz and fuzziness off the amps and it could perhaps do with a little more complexity in the riffs, but otherwise, ‘SE’s an absorbing listen, with more melody than the average doom album.

8/10 ********

For fans of Witchcraft, Black Sabbath, Kyuss, Venom, Dizastra, Cybernetic Witch Cult, I Am The Law, Wykan, Blessed Birgit, Knifesex, Sacral Night.

Released 24.04.20.


‘Long Live The Dead’ video accessible on the above link.

Posted April 23, 2020 by jennytate in Uncategorized

Hammerheart – ‘Distant Skies’   Leave a comment

Presenting ‘Distant Skies’, the first single from Slovakian metal band Hammerheart’s forthcoming album. The track ‘DS’ features ex Iron Maiden front man Blaze Bayley, singing lead vocals.

Distant Skies – Instant power metal intro, melodic from the start. Catchy riffage, anthemic and memorable. Those vocals are pure Maiden and classic Blaze. An uplifting tone sings through it, as the drums hammer it home and the infectious riffs continue. This is just a really driven melody, transporting you right up to those distant skies and right now, it’s as close to heaven as we’re gonna get. Completely natural performance, hopeful lyrics, well produced, with meaningful visuals. It’s a decent length, fulsome track, enabling real enjoyment and total immersion. Pure contagion).

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

For fans of Iron Maiden, Blaze Bayley and all good power metal.–295512850459653/

Official ‘Distant Skies’ lyric video:

Posted April 22, 2020 by jennytate in Uncategorized

Reaper – ‘Sigil’   Leave a comment

A thrash quartet from Liverpool, founded 2011, Reaper combine various influences including prog, tech, ambient and extreme metal, to intensify their sound. This approach is encapsulated in their mission statement, ‘if it sounds good, use it’.

Their latest track, ‘Sigil’, was miraculously released on April 1st, 2020, amidst a catalogue of misfortunes, including their engineer and producer, Adam Aboufayed contracting Covid 19. Work continued, with the assistance of David Dyson and ‘Sigil’ was completed, at the last minute!

Recorded in LIPA, ‘Sigil’ is a huge accomplishment, in such extreme circumstances.

Sigil – Straight out thrash metal intro. Fevered drumming, heavy industrial riffs and echoed hardened metal vocals). A fast-paced delivery of passionate sounds, with clear edge and conviction. Good beat, neatly hit power screams and plenty melody, in with the thrash. Classic lyrics and highly impressively held notes. A short, sharp shock of cutting and catchy thrash metal, destined for repeated spins.

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

For fans of Skid Row, Kickin’ Valentina, Heaven’s Basement, Reign Of Fury.


Posted April 19, 2020 by jennytate in Uncategorized

Dark Years From Now – ‘Heaven And Hell Collide’   Leave a comment

Announcing new video ‘Heaven And Hell Collide’, from Dark Years From Now. Already premiered in Canada, it’s set to a theme of faulty TV transmission, whereby every channel is metal. (Sounds more idyllic than faulty to me). Containing obscure, extreme images, ‘HAHC’ is self directed by Dan Potter, solo artist.

DYFN is a complex and varied project, created and performed entirely by Dan. Originating in Vancouver, BC, it utilises heavy thrash and multi-layered riffs, to increase tension. Set against a deep, dark atmosphere, it’s a unique and versatile sound. Taking the guitars to the heights of extremity, with experimental formats, it aims to bring forward the ideal background to the chaos and twisted patterns and screams within the music.

2019 saw the release of DYFN’s self-titled debut LP. Contained within is a throbbing industrial sound, coupled with thick layers of electronica and aural landscapes of unusual material. Breaking the mould, it attempts a complex miasma of visual imagery to the edgy sounds. Essentially, a world you have to get lost in, to find.

Out of 11 tracks, 4 are pure instrumentals, adding additional dimensions to the listening experience. ‘HAHC’ could be said to build on this.

Heaven And Hell Collide – Snow (of the TV kind) intro’s, amongst a lot of eyes and screaming, but dreamy riffs and images of the same. A spacey image, like a Doctor Who soundtrack backing image follows, with a face, with cut-out eyes, throwing out some Smegor-like death vocals. Time shows on multiple watches. War scenes, with a body on a pathologist’s table. Vehicles driving down roads. Burning buildings and forests, darkness and guns being fired, amongst simultaneously smooth and industrial riffs. Siren sounds are executed, through the riffs and darkened wastelands show, with obscurely placed imagery of slot machines being played and the blackened screeches accompany it all. The scenes get more disturbing, with deaths and torture becoming more present. It’s certainly an effective sound, doing what it’s intended to do and plenty details included. Visually, it’s harrowing and potentially traumatic. An affecting sound, dominated by the visuals.

7/10 *******

For fans of Carcass, Zeit, Skeletonwitch.

Posted April 17, 2020 by jennytate in Uncategorized

Witchkiss – ‘Transformation’   Leave a comment

Introducing ‘Transformation’, the debut EP from doom metal trio Witchkiss.

This 2 track offering is the band’s creative response to the current Corona virus crisis, as a means of supporting self-isolating fans through it, musically.

It’s a short, but meaningful means of expression. The forthcoming single ‘Splitting Teeth’ is included. ‘ST’ is due to be launched on 04.10.20, on Bandcamp.

Empty Hands – Mysterious intro, feeling its way in, through wavy sounds, as if emerging slowly, from under water. A classic doom tone soon follows. Only even darker than much traditional doom. There’s an ambient, disastrous sense within the expression of these feminine vocals. Very slow, morbid accompaniments create the sense of crisis well. Just very physical, with through the floor vibes and very little let-up from the constant feeling of overwhelm. Funereal rhythms are at the heart of this and it’s almost resembling a death march emphasis.

Splitting Teeth – Opening even slower, on the sound of a helicopter overhead. The bass has the emphasis here. Echoic vocals enter. It’s a very dense, unforgiving sound, with a larger drum presence now. Riffs working in perfect timbre and tone with the drums. A wailing vocal quality, between the whispers and vague psychedelia. Executed as if set in stone, but with glimmers of hope, where the key lifts, slightly, with an airier feel. A cacophony of sound comes through. Again, a wavy essence permeates it, as it crawls to a long, protracted end, like a train, pulling to a stop, mid-tunnel. The terror mounts, as it does. A real sense of it being dragged out pervades.

Overall – ‘Transformation’ may be of its time, in a social sense and in that respect, it captures that essence well, but musically speaking, it takes doom to such heavy extremes, it’s like having a slab of concrete repeatedly dropped on your foot, as professional mourners wail around you, relentlessly. It may express the mood of the time, but the bottom line is, it’s thoroughly depressing.

4/10 ****

For fans of Gravehuffer, Nick Cave And The Bad Seeds, Ashes Of Life, Dirge, MANES, Holden, Doombanomicon.

Posted April 16, 2020 by jennytate in Uncategorized

Chugger – ‘Beg, Burn, Fear’   Leave a comment

Presenting the 2nd single and video for ‘Beg, Burn, Fear’, by groove death metal band Chugger, taken from their forthcoming album, ‘Of Man And Machine’.

The album will launch on 24th April 2020, through Wormhole Death.

This video is one of a 2-part video, featuring horror themes, homing in on the death aspect within groove death metal.

Pre-gig scene opens onto a selection of venue scenes, moving into horrifically bloody torture, worsening and intensifying, with every moment. That’s all there is to this video and it’s actually so disturbing, it detracts from the music. It does add to the visual emphasis, but the contents are deeply unsettling. Best termed, the blackest of the black.

Beg, Burn, Fear (audio) – Introing with a creepy, ominous oration, quickly building up, into a hammering death sound, with echoes of The More I See, tinged with fiery forms. Crushingly, forcefully heavy, with gory vocals, laced with death growls. Smooth riffs push forward, as if in a tunnel and it ends, definitively and sharply, on an intertwined riff and drum roll.

8/10 ********

For fans of The More I See, Skeletonwitch, Carcass, Zeit, Amon Amarth.

Posted April 14, 2020 by jennytate in Uncategorized

Abertooth Lincoln – ‘Jones Ya Glad I Didn’t Say Alex’   Leave a comment

Abertooth Lincoln, from Dayton, Ohio, is a surreal prog punk hard-core band, playing aggressive music, dressed as friendly space people.

As a timely reminder of the dangers and risks posed by false propaganda and conspiracy theories, ‘Jones Ya glad I Didn’t Say Alex’ pertains to one of these theorists, in particular. (i.e. Alex Jones, referred to in the track title). The track is really a warning against placing trust in such people and in misinformation, generally, via a nod to the specific case surrounding AJ, presently. That info and plea for common sense to be utilised and care to be taken around such issues is conveyed in a surrealist, chaotic representation of a million voices, speaking at once and theories, clamouring for attention, as it were.

Jones Ya Glad I Didn’t Say Alex – Instant drum hits and tangy, zingy riffs, amongst immediate surreal, shouted lyrics intro. Melody follows, with an obscure atmosphere of proggy, sci-fi, space rock sounds. It’s very much a chaotic cacophony of unusual noise rock, with a huge intrigue factor. Psychedelic flavour, encased in random oddities. Points for sheer individualism, if nothing else. It has got quite a strong beat, even if it does come across like a bizarre audio spin-off of Mork and Mindy. Raw, in its own way, but more spacey and trippy than anything else.

6/10 ******

For fans of Space Parasites, Dark Years From Now, Gent, Fleshpress, Flesh Eating Foundation.

Single available on Spotify, Google Music and iTunes.

Abertooth Lincoln_Official Logo

Posted April 13, 2020 by jennytate in Uncategorized